{"meta":{"query_hash":"530cab9bf69b","filters":{"topic":"Cinema and Media Studies"},"cohort_total":2489,"direct_labels_cover":2,"predictions_cover":2489,"exported":2489,"export_cap":100000,"truncated":false,"label_status":"direct model label, unvalidated","prediction_status":"machine_predicted_unvalidated (Codex and Gemma teacher distillation)","score_status":"score_only:v0-immature-baseline","snapshot":{"source":"OpenAlex, pinned release, all 482 partitions","release":"2026-06-24","frame_built":"2026-07-12"},"permalink":"https://metacan.xera.ac/q/530cab9bf69b","api":"https://metacan.xera.ac/api/v1/cohort?topic=Cinema+and+Media+Studies"},"results":[{"id":"W10101577","doi":"10.5040/9781628929188","title":"World Cinema and the Ethics of Realism","year":2011,"lang":"en","type":"book","venue":"The Continuum International Publishing Group eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":108,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Realism; Aesthetics; Art; Art history; Sociology; Literature","score_opus":0.056905322799717335,"score_gpt":0.23453070612502705,"score_spread":0.17762538332530972,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W10101577","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014421896,0.019323634,0.007986379,0.027428484,0.0009819653,0.000028960216,0.00005376025,0.000047829493,0.92972714],"genre_scores_gemma":[0.79115194,0.012747324,0.003990219,0.0036264276,0.0018959831,0.00008366251,0.00006352556,0.000121629484,0.18631932],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980708,0.0013893438,0.0000347496,0.00012388373,0.0002678983,0.00011331537],"domain_scores_gemma":[0.9973247,0.0019271944,0.00015553992,0.0001934904,0.00024569873,0.00015332767],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017482592,0.0002841788,0.00015286785,0.0007476759,0.0019190165,0.006847934,0.00046057056,0.0012620444,0.00552765],"category_scores_gemma":[0.004151902,0.00018768983,0.00013218081,0.00046878718,0.010917918,0.004784754,0.0016078178,0.0023953496,0.0005582133],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005553305,0.0000050124495,0.00006495014,0.000026963078,0.0000013577873,0.000032395743,0.0047820085,0.00006551425,0.000060235412,0.9793992,0.009546657,0.006010281],"study_design_scores_gemma":[0.000015816113,0.000018099641,0.00067303336,0.00031351537,0.0000050570184,0.00014630142,0.004714865,0.0005328935,0.00024349027,0.4008373,0.59248954,0.000010001777],"about_ca_topic_score_codex":0.0024097015,"about_ca_topic_score_gemma":0.002857106,"teacher_disagreement_score":0.006847934,"about_ca_system_score_codex":0.0024851735,"about_ca_system_score_gemma":0.0009701562,"threshold_uncertainty_score":0.018491805},"labels":[],"label_agreement":null},{"id":"W1026658348","doi":"","title":"The Artist as Monster: The Cinema of David Cronenberg by William Beard (review)","year":2002,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Monster; Movie theater; Art history; Art; Literature","score_opus":0.012159835566785616,"score_gpt":0.1829116806182181,"score_spread":0.17075184505143248,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1026658348","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00008905194,0.9384759,0.00003371493,0.047663502,0.011695955,0.000004205864,0.000019507715,0.0000056143117,0.0020125655],"genre_scores_gemma":[0.002800782,0.92910516,0.0001028241,0.029124206,0.031893443,0.000022709797,0.00004494568,0.000019765701,0.0068862243],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986357,0.000507998,0.00008293108,0.00017785022,0.0004549029,0.00014058943],"domain_scores_gemma":[0.9941204,0.00231151,0.00053526444,0.0001375369,0.0019408516,0.00095442776],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030452108,0.00108601,0.0015871244,0.0039333645,0.0020075946,0.0062908647,0.0013337409,0.005102773,0.008414179],"category_scores_gemma":[0.01113383,0.0005724961,0.00045015357,0.004042919,0.0036449875,0.0048825066,0.0024281738,0.0051859873,0.0031720903],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024018316,0.000009515272,0.0000886857,0.0011332581,0.000016430273,0.000030764455,0.0003051432,0.000027927521,0.00004672878,0.0021629457,0.9425352,0.053619348],"study_design_scores_gemma":[0.000013164315,0.000012396567,0.0005822105,0.0026807133,0.00002218676,0.00016662826,0.00037151366,0.000013685027,0.000028876617,0.00088999234,0.99520606,0.00001266885],"about_ca_topic_score_codex":0.028499672,"about_ca_topic_score_gemma":0.057710562,"teacher_disagreement_score":0.028499672,"about_ca_system_score_codex":0.0038276806,"about_ca_system_score_gemma":0.0051064347,"threshold_uncertainty_score":0.056667566},"labels":[],"label_agreement":null},{"id":"W1029641576","doi":"10.1016/j.ijresmar.2015.07.003","title":"The effect of critical reviews on exhibitors' decisions: Do reviews affect the survival of a movie on screen?","year":2015,"lang":"en","type":"article","venue":"International Journal of Research in Marketing","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":43,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"HEC Montréal","funders":"","keywords":"Affect (linguistics); Box office; Set (abstract data type); Advertising; Intermediary; Marketing; Business; Operations research; Economics; Computer science; Psychology; Engineering","score_opus":0.20379982513484768,"score_gpt":0.4453220507924338,"score_spread":0.24152222565758613,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1029641576","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9887933,0.0012332269,0.00014558843,0.0016686276,0.00009295923,0.000023354274,0.0003419458,0.000011808458,0.007689134],"genre_scores_gemma":[0.9974654,0.00028219997,0.000058987378,0.00021822116,0.00011799732,0.000009792228,0.00011492333,0.000006197783,0.0017263498],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9990415,0.00045064924,0.00005639004,0.00013711335,0.00016792465,0.00014649748],"domain_scores_gemma":[0.88527495,0.07662985,0.024403904,0.0017452653,0.0057055196,0.0062405006],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026265602,0.00022875213,0.00033377323,0.00049999973,0.0006088556,0.0022056722,0.00032422345,0.0013016628,0.0074596126],"category_scores_gemma":[0.04240711,0.00013504813,0.0003656829,0.00040031254,0.0003487417,0.0009089884,0.0003448527,0.0014069552,0.0011409791],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.011785253,0.002969955,0.8729356,0.00057674875,0.00115052,0.000701797,0.0022242484,0.0017133416,0.009564276,0.0019003245,0.015073964,0.07940399],"study_design_scores_gemma":[0.00014611719,0.00080390205,0.991706,0.000052648957,0.00044772768,0.0000792888,0.0011110149,0.001502301,0.0011296516,0.0008008279,0.0021902816,0.000030211531],"about_ca_topic_score_codex":0.006232948,"about_ca_topic_score_gemma":0.008878847,"teacher_disagreement_score":0.0074596126,"about_ca_system_score_codex":0.0007831954,"about_ca_system_score_gemma":0.0005232482,"threshold_uncertainty_score":0.024954855},"labels":[],"label_agreement":null},{"id":"W104240992","doi":"","title":"Acts of Gaiety: LGBT Performance and the Politics of Pleasure by Sara Warner (review)","year":2014,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Pleasure; Politics; Art; Gender studies; Psychoanalysis; Sociology; Aesthetics; Psychology; Political science; Law; Psychotherapist","score_opus":0.018262078431050516,"score_gpt":0.2041400869666378,"score_spread":0.18587800853558728,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W104240992","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003547939,0.9699528,0.000015997526,0.026350325,0.0015748353,0.0000037184104,0.000021850703,0.0000018798519,0.0017237609],"genre_scores_gemma":[0.006099216,0.9749473,0.00004259131,0.013096009,0.0034099591,0.000023285622,0.000034784032,0.000006689396,0.0023401931],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992073,0.00043178693,0.000050201623,0.00007671832,0.00014266795,0.000091311056],"domain_scores_gemma":[0.99702173,0.0019737573,0.00038999287,0.000044880646,0.00031804742,0.000251637],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018374466,0.00058829103,0.0009207092,0.0014144037,0.0009357531,0.0031669347,0.0007915538,0.003609007,0.006446044],"category_scores_gemma":[0.0065735565,0.0002666962,0.00042278128,0.00222295,0.0022511412,0.0026822584,0.0021551535,0.0036938426,0.001540457],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015473156,0.00006734376,0.0008088136,0.012746801,0.00021631541,0.00012101871,0.0019696956,0.000092140755,0.00010628431,0.008322544,0.5958214,0.379573],"study_design_scores_gemma":[0.000079734105,0.000075391166,0.0073046954,0.034767557,0.00021975205,0.00047819482,0.003459956,0.000032515727,0.000092035276,0.0029250022,0.9505349,0.000030338235],"about_ca_topic_score_codex":0.007984353,"about_ca_topic_score_gemma":0.021007098,"teacher_disagreement_score":0.007984353,"about_ca_system_score_codex":0.0015277439,"about_ca_system_score_gemma":0.0034280478,"threshold_uncertainty_score":0.021564126},"labels":[],"label_agreement":null},{"id":"W104943405","doi":"","title":"Hollywood North: The Feature Film Industry in British Columbia","year":2005,"lang":"en","type":"article","venue":"Canadian Literature = Littérature canadienne: A quarterly o criticism and review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Feature (linguistics); Film industry; Feature film; History; Political science; Art history; Movie theater; Linguistics; Philosophy","score_opus":0.008471527959636448,"score_gpt":0.18774378438503822,"score_spread":0.17927225642540176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W104943405","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50299513,0.08982923,0.0004706674,0.038298942,0.00062877405,0.00011785305,0.0066051595,0.00011130108,0.36094296],"genre_scores_gemma":[0.7254006,0.04780804,0.00045113967,0.0025264935,0.00010814499,0.000025951378,0.0017298042,0.00005818748,0.22189157],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994357,0.00005049623,0.000017864426,0.000053438107,0.00023927381,0.00020318024],"domain_scores_gemma":[0.9971409,0.00046697998,0.00019231922,0.000052636653,0.0015684585,0.00057874346],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004348866,0.0001922352,0.00018313594,0.004338477,0.0049253306,0.004522855,0.0008418988,0.0009406396,0.01932436],"category_scores_gemma":[0.0027108623,0.0002063961,0.000106938634,0.010485211,0.00091433746,0.0012888728,0.0008803529,0.00076279277,0.0010444849],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002680874,0.00014567385,0.1139272,0.0023630427,0.00006578803,0.0037812572,0.059239462,0.0007767457,0.002395896,0.029258858,0.35069305,0.437085],"study_design_scores_gemma":[0.0000066534926,0.000019785653,0.40356278,0.0010134699,0.000047063335,0.00030765164,0.08572081,0.00034429695,0.000659586,0.00095678546,0.50731677,0.00004426085],"about_ca_topic_score_codex":0.9843448,"about_ca_topic_score_gemma":0.99652666,"teacher_disagreement_score":0.038865466,"about_ca_system_score_codex":0.038865466,"about_ca_system_score_gemma":0.045690786,"threshold_uncertainty_score":0.28199},"labels":[],"label_agreement":null},{"id":"W1124459175","doi":"","title":"Live from the Archive: Film, Folders, and Mina Loy","year":2015,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Computer graphics (images); Computer science; Visual arts; Art","score_opus":0.0520901769025831,"score_gpt":0.21461252614448,"score_spread":0.1625223492418969,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1124459175","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16779764,0.029953167,0.0018338484,0.12536736,0.004880902,0.00007224995,0.0007226677,0.00019854374,0.6691736],"genre_scores_gemma":[0.79076976,0.012279211,0.0012902399,0.0056134937,0.0051972526,0.000085864,0.00024102107,0.00032599887,0.18419714],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989747,0.00055108743,0.000020204592,0.000102975486,0.00016526853,0.00018574305],"domain_scores_gemma":[0.9979899,0.0010571613,0.0002634365,0.00015066651,0.00018291097,0.00035601069],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017694724,0.00044282444,0.00030508148,0.0013425574,0.008480033,0.009633916,0.00062907534,0.001362919,0.016905257],"category_scores_gemma":[0.0069785514,0.00023964846,0.00025086466,0.0011151258,0.006120086,0.0060885064,0.004093412,0.0030652448,0.0013394871],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006414524,0.0001850368,0.0066074547,0.0005397945,0.00005337558,0.0011095137,0.25438026,0.00024135776,0.0010477521,0.29135874,0.33081663,0.11301867],"study_design_scores_gemma":[0.000020957013,0.00010250083,0.009292783,0.00058554293,0.000017376178,0.00043119656,0.07634407,0.00011018506,0.0004333733,0.0072972383,0.9053315,0.000033254877],"about_ca_topic_score_codex":0.0063693896,"about_ca_topic_score_gemma":0.014993501,"teacher_disagreement_score":0.016905257,"about_ca_system_score_codex":0.0026466753,"about_ca_system_score_gemma":0.0009909695,"threshold_uncertainty_score":0.05655366},"labels":[],"label_agreement":null},{"id":"W1131939763","doi":"","title":"De Nanouk à l’Oumigmag, le cinéma documentaire au Canada : une exposition virtuelle de la Cinémathèque québécoise","year":2001,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.00375848570955214,"score_gpt":0.1577515091812915,"score_spread":0.15399302347173935,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1131939763","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.065139435,0.20822757,0.025811689,0.10792584,0.0041849823,0.00017148079,0.002395619,0.00031450397,0.5858288],"genre_scores_gemma":[0.50317436,0.06638921,0.00951807,0.005690372,0.00091900723,0.00017003994,0.00053115824,0.00024267321,0.4133651],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994235,0.00013709726,0.000012971463,0.000078093464,0.00021923902,0.00012910613],"domain_scores_gemma":[0.9991793,0.0003155632,0.00004170914,0.000023046565,0.00034741612,0.00009287386],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00061835203,0.00085447787,0.0003518749,0.0028281412,0.0076358984,0.007419943,0.0007819437,0.0022372503,0.0181166],"category_scores_gemma":[0.0022251129,0.0002893964,0.00032953513,0.0032221612,0.003936303,0.003057116,0.000826247,0.0027737776,0.0010693561],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041982817,0.000027160515,0.002642977,0.00027630397,0.000023411458,0.0004195002,0.02146324,0.0005519488,0.0009057563,0.8285193,0.10127103,0.04385736],"study_design_scores_gemma":[0.0000074888103,0.000008865618,0.008863315,0.00033142747,0.000016078504,0.00018307213,0.0070560975,0.0006585062,0.00049449323,0.017045805,0.9652977,0.000037123653],"about_ca_topic_score_codex":0.9549404,"about_ca_topic_score_gemma":0.9751819,"teacher_disagreement_score":0.04505962,"about_ca_system_score_codex":0.038897254,"about_ca_system_score_gemma":0.024512133,"threshold_uncertainty_score":0.28222066},"labels":[],"label_agreement":null},{"id":"W1135334705","doi":"10.32920/29657048.v1","title":"Cinephemera: Archives, Ephemeral Cinema, and New Screen Histories in Canada","year":2025,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Ephemeral key; Narrative; Visual arts; Media studies; Conversation; Materiality (auditing); Art; Art history; History; Sociology; Literature; Aesthetics; Computer science","score_opus":0.0320212079995922,"score_gpt":0.20710300798498468,"score_spread":0.17508179998539247,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1135334705","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.55906385,0.035575777,0.001437015,0.027183827,0.0008087142,0.0002220586,0.0054344707,0.00023316016,0.3700411],"genre_scores_gemma":[0.9039357,0.0124470135,0.0010136383,0.0012583548,0.000090330635,0.00006114793,0.0010700623,0.00013548162,0.07998831],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99822956,0.00017667389,0.000049016326,0.00022559511,0.00069477485,0.0006243714],"domain_scores_gemma":[0.9965054,0.0006528211,0.00023728074,0.0001634704,0.0012502987,0.0011908642],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012596222,0.0003393919,0.0004146328,0.005689828,0.028602637,0.014855287,0.0016436998,0.0011102183,0.013721654],"category_scores_gemma":[0.00450881,0.0004634722,0.00030989645,0.01226641,0.008941483,0.0034383,0.004381769,0.0020146114,0.0004917174],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001960556,0.0000887775,0.030981084,0.00077044667,0.000037729682,0.0015804333,0.526426,0.00035697853,0.0010077108,0.1573429,0.10676431,0.17444749],"study_design_scores_gemma":[0.0000067410497,0.000018818946,0.058423754,0.00062563404,0.000029492003,0.000349584,0.25120938,0.00021829891,0.00039672756,0.0019378496,0.6867241,0.00005951472],"about_ca_topic_score_codex":0.9967332,"about_ca_topic_score_gemma":0.99895394,"teacher_disagreement_score":0.16505148,"about_ca_system_score_codex":0.16505148,"about_ca_system_score_gemma":0.2006338,"threshold_uncertainty_score":0.96842194},"labels":[],"label_agreement":null},{"id":"W1158937599","doi":"10.3138/cjfs.22.2.2","title":"The Virtual <i>Metropolis</i>: Restoration as Simulacrum","year":2013,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Art history","score_opus":0.032330154753250157,"score_gpt":0.24288895870590763,"score_spread":0.21055880395265747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1158937599","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33214453,0.0028756429,0.021388436,0.012736897,0.0012799045,0.0000701149,0.00017679526,0.00037311835,0.62895447],"genre_scores_gemma":[0.92099625,0.0007184024,0.0027077133,0.00038154027,0.000119366836,0.000020784508,0.00003760327,0.00016680264,0.07485159],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9995926,0.0001985123,0.000009953597,0.0000677754,0.000059559425,0.000071569324],"domain_scores_gemma":[0.99951017,0.00014260277,0.00006975202,0.000118177326,0.000057863643,0.00010146111],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006368491,0.00042340963,0.0002119395,0.0004848551,0.0035322777,0.0060611116,0.00068148796,0.0007528741,0.012888936],"category_scores_gemma":[0.0015395097,0.00020745739,0.00024590603,0.0004761715,0.008098111,0.004007506,0.003396267,0.0017311482,0.0010821101],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001581991,0.000036888672,0.0022393644,0.00023115815,0.000015966347,0.00067292544,0.112035714,0.00063565123,0.004175777,0.83719146,0.012413402,0.030193463],"study_design_scores_gemma":[0.000022817856,0.000118427335,0.0048755356,0.00024494383,0.000036421505,0.000705664,0.0731228,0.0014259944,0.004365699,0.03561754,0.8794196,0.00004442215],"about_ca_topic_score_codex":0.008362443,"about_ca_topic_score_gemma":0.01939429,"teacher_disagreement_score":0.012888936,"about_ca_system_score_codex":0.002984944,"about_ca_system_score_gemma":0.001052574,"threshold_uncertainty_score":0.04311782},"labels":[],"label_agreement":null},{"id":"W1164067269","doi":"","title":"Le Bonimenteur de vues animées : le cinéma muet entre tradition et modernité, Germain Laçasse, Paris / Québec : Méridiens Klincksieck / Nota Bene, 2000, 229 pages Le Bonimenteur de vues animées : le cinéma muet entre tradition et modernité, Germain Laçasse, Paris / Québec : Méridiens Klincksieck / Nota Bene, 2000, 229 pages","year":2001,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Geography","score_opus":0.020409241373927512,"score_gpt":0.22662125314114684,"score_spread":0.20621201176721932,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1164067269","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006146564,0.7707183,0.0019487449,0.061703045,0.0067098467,0.00004234782,0.0027902862,0.00031170715,0.14962916],"genre_scores_gemma":[0.12547162,0.30259484,0.003069338,0.004893719,0.0036315497,0.0000850295,0.0030804607,0.00039024558,0.55678326],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99964523,0.00006132331,0.000015763853,0.00005818729,0.00014886119,0.000070698035],"domain_scores_gemma":[0.9989492,0.00018836376,0.000075589305,0.00003577577,0.0005178678,0.00023314076],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007378911,0.0013608303,0.0006045812,0.0021547873,0.0028882404,0.005576886,0.0010263909,0.0018124543,0.050657462],"category_scores_gemma":[0.0016838785,0.000551936,0.00027525547,0.0050273975,0.0020475502,0.0041951207,0.00095054257,0.0020844808,0.0059948293],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003708922,0.0000228136,0.0011168355,0.00040720345,0.000014634089,0.00008353435,0.002544507,0.000248402,0.0004766178,0.0118853655,0.89298344,0.09017956],"study_design_scores_gemma":[0.000009054527,0.000008009689,0.016822454,0.00076901674,0.000016418946,0.0001630226,0.004102858,0.00023051676,0.00023077652,0.002080949,0.9755484,0.000018540664],"about_ca_topic_score_codex":0.8409128,"about_ca_topic_score_gemma":0.90998226,"teacher_disagreement_score":0.8409128,"about_ca_system_score_codex":0.023796787,"about_ca_system_score_gemma":0.013949885,"threshold_uncertainty_score":0.3200481},"labels":[],"label_agreement":null},{"id":"W1169191110","doi":"10.29105/rinn9.17-4","title":"Factores mercadológicos utilizados por las organizaciones de producción cinematográfica mexicanas (OPCM) y su impacto en los ingresos en taquilla: caso de estudio Área Metropolitana de Nuevo León","year":2017,"lang":"en","type":"article","venue":"Revista Innovaciones de Negocios","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Metropolitan area; Humanities; Political science; Box office; Revenue; Advertising; Business; Geography; Art; Finance","score_opus":0.031168938078447183,"score_gpt":0.2870482065406781,"score_spread":0.2558792684622309,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1169191110","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99754685,0.0003905633,0.00006650812,0.00006667209,0.0000030138642,0.0000125436445,0.000109605884,0.000001963122,0.0018023307],"genre_scores_gemma":[0.99772125,0.00047822448,0.00019822457,0.000014993594,0.000008126571,0.000023593138,0.00013338204,0.0000031625032,0.0014190988],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9986745,0.0005699801,0.000074567775,0.00020797888,0.00027507177,0.00019789826],"domain_scores_gemma":[0.9969512,0.0011413092,0.001181776,0.00018663991,0.000330088,0.00020892038],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016430964,0.0003871883,0.00035530582,0.0011065175,0.000617752,0.002291955,0.0005340124,0.00029794738,0.0021884234],"category_scores_gemma":[0.004029643,0.00025554284,0.00032224503,0.0014509789,0.0006533608,0.00055131846,0.0011567379,0.0004383796,0.00019897945],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007385575,0.000102164806,0.9777443,0.00010931266,0.00008251825,0.00018406982,0.0065374183,0.000117145035,0.00039350626,0.0002002477,0.00033568536,0.014119746],"study_design_scores_gemma":[0.0000013947414,0.00003819781,0.98668087,0.000053660246,0.000031779367,0.000043905406,0.010821793,0.0001269658,0.00012011528,0.00002516423,0.0020525504,0.000003739498],"about_ca_topic_score_codex":0.049632337,"about_ca_topic_score_gemma":0.07443421,"teacher_disagreement_score":0.049632337,"about_ca_system_score_codex":0.0010055657,"about_ca_system_score_gemma":0.0007701651,"threshold_uncertainty_score":0.098686874},"labels":[],"label_agreement":null},{"id":"W1181643900","doi":"","title":"Papier glacé, média froid et cinéma muet. Stardom, Denys Arcand, Canada / France, 2000, 102 minutes Stardom, Denys Arcand, Canada / France, 2000, 102 minutes","year":2000,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography; Art","score_opus":0.009835678068893705,"score_gpt":0.1959187744307528,"score_spread":0.1860830963618591,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1181643900","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025527508,0.19800876,0.0013512032,0.043048598,0.03785552,0.00011518111,0.005725268,0.0016761974,0.70966655],"genre_scores_gemma":[0.0064548594,0.01657866,0.00037451656,0.00092489854,0.003584744,0.000039016108,0.0009071539,0.00032743593,0.97080874],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99956626,0.00006291019,0.00001311463,0.00009082407,0.0001992743,0.00006760681],"domain_scores_gemma":[0.9992149,0.00017683512,0.000044413227,0.000027611719,0.00027415468,0.00026204565],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00049149245,0.0014087483,0.00081217114,0.0013828791,0.0020252042,0.004019222,0.0004978924,0.0017824748,0.40095863],"category_scores_gemma":[0.0018793053,0.0004742235,0.0003035398,0.0016989723,0.000531574,0.0018514409,0.0009167176,0.0019205202,0.13506189],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028074444,0.0000067778046,0.00008760518,0.000047676287,0.000001410293,0.000020493722,0.000050517232,0.000039536866,0.000082722756,0.001242117,0.9816296,0.016763395],"study_design_scores_gemma":[0.000006338136,0.000005164213,0.0010284833,0.000054097392,0.0000010541389,0.00003094718,0.000088726694,0.000039969946,0.000037878497,0.00019263751,0.9985121,0.0000027259748],"about_ca_topic_score_codex":0.0874209,"about_ca_topic_score_gemma":0.18036158,"teacher_disagreement_score":0.9125791,"about_ca_system_score_codex":0.003258501,"about_ca_system_score_gemma":0.002008226,"threshold_uncertainty_score":0.8544598},"labels":[],"label_agreement":null},{"id":"W118769749","doi":"10.32920/ryerson.14648970.v1","title":"Between The Symbolic And The Sublime : Slavoj Žižek In Film Studies ... And Out","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University","funders":"","keywords":"Ideology; Film theory; Psychoanalytic theory; Film studies; Subjectivity; Movie theater; Criticism; Sublime; Interpretation (philosophy); Epistemology; Aesthetics; Philosophy; Sociology; Psychoanalysis; Literature; Art; Psychology; Law; Politics; Political science","score_opus":0.07876570613583946,"score_gpt":0.2717056292111671,"score_spread":0.19293992307532765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W118769749","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15735453,0.35695413,0.0062279017,0.2616598,0.007886176,0.00009752278,0.00011474171,0.0000980321,0.20960723],"genre_scores_gemma":[0.91458374,0.059511673,0.0016005515,0.007949056,0.002252558,0.000083660954,0.00003796569,0.00011560405,0.013865074],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9964886,0.002649286,0.00008303864,0.00025189802,0.00028259173,0.0002446425],"domain_scores_gemma":[0.99806875,0.00136015,0.00020627533,0.000073220384,0.00013944061,0.00015215507],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003026783,0.000478747,0.0006116739,0.0025861387,0.007987254,0.01290107,0.0006449992,0.0018581898,0.001922717],"category_scores_gemma":[0.005564088,0.00042274417,0.00023284173,0.0026502789,0.020669986,0.011715066,0.0035385739,0.0047573554,0.00043642466],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012474839,0.000075371616,0.0015607551,0.00062690926,0.000021333022,0.00043009088,0.24670596,0.00012936437,0.00053122453,0.67810315,0.03596651,0.035724558],"study_design_scores_gemma":[0.000044356522,0.00009408921,0.0070802546,0.0028463604,0.000048231548,0.0006247686,0.23464765,0.00045662798,0.00049100677,0.18859112,0.56501234,0.00006326914],"about_ca_topic_score_codex":0.0075306795,"about_ca_topic_score_gemma":0.0066179316,"teacher_disagreement_score":0.01290107,"about_ca_system_score_codex":0.0057406747,"about_ca_system_score_gemma":0.001987483,"threshold_uncertainty_score":0.041651666},"labels":[],"label_agreement":null},{"id":"W1197135055","doi":"10.17851/2317-2096.16.2.94-109","title":"O outro cinema","year":2007,"lang":"pt","type":"article","venue":"Aletria Revista de Estudos de Literatura","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Adidas (Canada)","funders":"","keywords":"Movie theater; Hollywood; Art; Humanities; Panorama; Art history; Visual arts","score_opus":0.02096927142849964,"score_gpt":0.25168824856477606,"score_spread":0.23071897713627643,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1197135055","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015740348,0.01128073,0.0019446636,0.010597781,0.0064971554,0.00015591238,0.0023862799,0.0002739366,0.9511231],"genre_scores_gemma":[0.13741349,0.015252616,0.0027293635,0.0043056807,0.0056087538,0.00015042814,0.0022560628,0.0003670976,0.8319166],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994941,0.00012709593,0.000023385559,0.00012344231,0.00015158924,0.000080414895],"domain_scores_gemma":[0.99925226,0.00017735043,0.00008221356,0.00008559732,0.00023558096,0.00016695763],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005816128,0.0005573228,0.00035374163,0.0016195232,0.0025727714,0.005290588,0.000640613,0.0009832166,0.14590605],"category_scores_gemma":[0.0022884705,0.00022042448,0.00031338094,0.00135316,0.00092239416,0.003131754,0.002517885,0.0016055676,0.025019819],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019874757,0.0001383581,0.0036178043,0.0012387051,0.00002363428,0.0010625892,0.024293248,0.00013516864,0.003385377,0.087439924,0.6038116,0.27465487],"study_design_scores_gemma":[0.0000030460963,0.000012066828,0.0012665426,0.00017834747,0.000004641683,0.0002193408,0.0018924263,0.000032130036,0.00015179375,0.00064928725,0.99558485,0.0000054362804],"about_ca_topic_score_codex":0.0054781004,"about_ca_topic_score_gemma":0.009284433,"teacher_disagreement_score":0.14590605,"about_ca_system_score_codex":0.0012418004,"about_ca_system_score_gemma":0.00090483675,"threshold_uncertainty_score":0.48810434},"labels":[],"label_agreement":null},{"id":"W125424627","doi":"10.3138/cjfs.19.1.75","title":"Film Noir’s Dark Secret <i>or</i> What Does the Hysteric Want?","year":2010,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Mythology; Literature","score_opus":0.03214562675589721,"score_gpt":0.23680183982758354,"score_spread":0.20465621307168633,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W125424627","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10365228,0.009780731,0.0036727851,0.10858862,0.0031600283,0.000075004406,0.00022235642,0.00009784761,0.7707502],"genre_scores_gemma":[0.8361953,0.008099102,0.0014364836,0.010820901,0.0013172508,0.000057620397,0.00014090199,0.00016464223,0.14176792],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9989955,0.00048385045,0.000028152868,0.00010164211,0.0002483211,0.00014261418],"domain_scores_gemma":[0.9988802,0.0004594059,0.00015804915,0.00010605153,0.00022755864,0.00016872883],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010282961,0.0003067635,0.00022290167,0.00054386945,0.003375268,0.006156848,0.0004870001,0.0012346286,0.0098873675],"category_scores_gemma":[0.0036613576,0.0001639575,0.00024381262,0.00044603742,0.007910011,0.0045177415,0.0019204327,0.002613402,0.0013518139],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014305308,0.000043692093,0.004762998,0.00057729665,0.000038298047,0.0017459837,0.2841004,0.00011106327,0.0049486076,0.5504401,0.092139326,0.06094916],"study_design_scores_gemma":[0.00002142345,0.0000601656,0.008660593,0.00059029897,0.000030588068,0.0013035111,0.18524802,0.00013951777,0.0015160963,0.028918708,0.7734677,0.00004331186],"about_ca_topic_score_codex":0.009734408,"about_ca_topic_score_gemma":0.014982688,"teacher_disagreement_score":0.0098873675,"about_ca_system_score_codex":0.0030701288,"about_ca_system_score_gemma":0.0013709533,"threshold_uncertainty_score":0.033076525},"labels":[],"label_agreement":null},{"id":"W128349173","doi":"10.3138/cjfs.16.2.23","title":"J-Horror: New Media's Impact on Contemporary Japanese Horror Cinema","year":2007,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":21,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.08630371865106803,"score_gpt":0.28733256919189615,"score_spread":0.2010288505408281,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W128349173","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8860202,0.0040474357,0.0003081021,0.0023660266,0.00013959085,0.000017194245,0.00012912309,0.0000115187495,0.10696073],"genre_scores_gemma":[0.99436086,0.0011798628,0.000079703685,0.00010432334,0.000084358995,0.0000056029444,0.000035344965,0.00000850901,0.004141382],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99963593,0.00012985787,0.000016067708,0.00005253983,0.00006506609,0.00010053011],"domain_scores_gemma":[0.9981091,0.0007530264,0.00035757633,0.00009028418,0.00035349771,0.0003364848],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000960605,0.0002860307,0.00018970494,0.001321038,0.0023849665,0.005075267,0.00027122468,0.00066027883,0.007672915],"category_scores_gemma":[0.00303211,0.00017769921,0.00017517057,0.0017584858,0.0022727933,0.0025235047,0.001859232,0.00085866905,0.00034269507],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0021952416,0.000401564,0.22588293,0.0018558748,0.00018676037,0.0062982147,0.46654272,0.0012450395,0.0142029,0.11924482,0.019141797,0.14280215],"study_design_scores_gemma":[0.000036815683,0.00026777672,0.60251725,0.00040509168,0.00013069257,0.000664165,0.2497948,0.0011264164,0.0014872683,0.003922864,0.13956934,0.00007748434],"about_ca_topic_score_codex":0.019983886,"about_ca_topic_score_gemma":0.038558934,"teacher_disagreement_score":0.019983886,"about_ca_system_score_codex":0.0023825218,"about_ca_system_score_gemma":0.0006529282,"threshold_uncertainty_score":0.03973514},"labels":[],"label_agreement":null},{"id":"W129338775","doi":"","title":"D. A. Pennebaker by Keith Beattie (review)","year":2014,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Film director; Art; Aesthetics; Art history","score_opus":0.01641147483731487,"score_gpt":0.22107442324668486,"score_spread":0.20466294840937,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W129338775","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000052647803,0.98361313,0.00006832769,0.0074238437,0.0054669976,0.000021180664,0.000114695016,0.000015601177,0.003223553],"genre_scores_gemma":[0.0007971265,0.96899486,0.00016051815,0.012581931,0.005554988,0.00007226438,0.00030535657,0.000016454624,0.011516526],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914443,0.000116016665,0.00010326424,0.00020835157,0.0003451146,0.00008275663],"domain_scores_gemma":[0.99828064,0.0005231753,0.00028550185,0.00005078302,0.00057413883,0.0002857587],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010356782,0.0014374425,0.0018430066,0.0024134377,0.0006861557,0.0035149588,0.0019418815,0.0026543695,0.038334258],"category_scores_gemma":[0.0045236405,0.0005819316,0.0009764369,0.0028885496,0.0006842816,0.003023346,0.0015987814,0.004861905,0.022537934],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041097854,0.00002355464,0.00016404218,0.009129704,0.000061035113,0.00008420581,0.00004991704,0.00004649191,0.00011888769,0.0006384471,0.7695729,0.22006975],"study_design_scores_gemma":[0.000034200377,0.000030036204,0.0007265758,0.008757017,0.000067473855,0.0006102217,0.000051186315,0.000023066726,0.000056541274,0.0004933598,0.9891332,0.000017131146],"about_ca_topic_score_codex":0.0052694585,"about_ca_topic_score_gemma":0.0057847146,"teacher_disagreement_score":0.038334258,"about_ca_system_score_codex":0.0015811153,"about_ca_system_score_gemma":0.0038435205,"threshold_uncertainty_score":0.12824082},"labels":[],"label_agreement":null},{"id":"W133516139","doi":"","title":"Reader : Selected Work by Jan Peacock","year":2002,"lang":"en","type":"book","venue":"Presentation House Gallery eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subjectivity; Exhibition; Performance art; Presentation (obstetrics); Identity (music); Visual arts; Work (physics); Art; Scripting language; Art history; Sociology; Media studies; Aesthetics; Computer science; Engineering; Epistemology; Philosophy","score_opus":0.04192909045861868,"score_gpt":0.22075523601117047,"score_spread":0.1788261455525518,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W133516139","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00098091,0.10230827,0.0012356353,0.09133384,0.09892148,0.000082694656,0.00082845864,0.0009375882,0.7033711],"genre_scores_gemma":[0.002653154,0.015655933,0.00034162938,0.010770893,0.008983803,0.000029791676,0.00024975304,0.0003776445,0.9609373],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994142,0.000082028564,0.000023646518,0.00014642863,0.0002797182,0.000053975255],"domain_scores_gemma":[0.99888235,0.00019326864,0.000046119858,0.000061142026,0.0005318196,0.0002853058],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00069393107,0.0010710066,0.0009795887,0.002276359,0.003303295,0.0041230484,0.0010233325,0.0014693765,0.18528333],"category_scores_gemma":[0.0029555426,0.0004482519,0.0003478646,0.0017061967,0.00088634476,0.004193981,0.0025444648,0.0024209747,0.15932286],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000028572397,0.000004230337,0.000019657524,0.00002793863,3.721509e-7,0.000022652832,0.00012055678,0.000004976774,0.000032820033,0.0007442451,0.9890617,0.009958018],"study_design_scores_gemma":[7.427258e-7,0.00000234725,0.00007788437,0.00004855095,4.644066e-7,0.000052688043,0.0000990022,0.000003861865,0.0000173525,0.00020893707,0.9994861,0.0000019780348],"about_ca_topic_score_codex":0.0072754547,"about_ca_topic_score_gemma":0.019501839,"teacher_disagreement_score":0.18528333,"about_ca_system_score_codex":0.002236167,"about_ca_system_score_gemma":0.0013568727,"threshold_uncertainty_score":0.61983454},"labels":[],"label_agreement":null},{"id":"W138629310","doi":"","title":"A melodramatic imagined nation : the unruly subject of Canadian cinemas","year":2003,"lang":"en","type":"dissertation","venue":"Spectrum Research Repository (Concordia University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Subjectivity; Multiculturalism; Criticism; Subject (documents); Art; Aesthetics; Film theory; National identity; Narrative; Identity (music); Film studies; Sociology; Literature; Political science; Philosophy; Epistemology; Law","score_opus":0.03913565756281777,"score_gpt":0.24560271220776247,"score_spread":0.2064670546449447,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W138629310","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45332184,0.007467273,0.0060899076,0.016577506,0.0006060839,0.0001382525,0.00022626824,0.000098195516,0.5154746],"genre_scores_gemma":[0.9825616,0.002136541,0.0014982108,0.00040360712,0.000057529316,0.00002685825,0.000046109115,0.000053877622,0.0132156005],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9970124,0.0012598884,0.00005093959,0.00030209406,0.0008256855,0.0005489119],"domain_scores_gemma":[0.9974802,0.001091475,0.00017532818,0.00016476246,0.00073328,0.00035501434],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034077552,0.0005711352,0.0003618823,0.00394223,0.028295936,0.020506099,0.0013262547,0.0014112648,0.003502262],"category_scores_gemma":[0.0062349923,0.0003874538,0.00025468253,0.0035603142,0.029965417,0.0057877186,0.0041262074,0.0024746363,0.00019538331],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000362817,0.000014295458,0.0019421594,0.000098328055,0.0000066358557,0.000431349,0.69892883,0.000087660446,0.00090975326,0.272227,0.005555432,0.019762238],"study_design_scores_gemma":[0.0000064425417,0.000023668612,0.007086229,0.0004609745,0.000026514235,0.0003736235,0.65238124,0.0005033027,0.00078771845,0.016043972,0.32224712,0.00005925208],"about_ca_topic_score_codex":0.8102855,"about_ca_topic_score_gemma":0.8844087,"teacher_disagreement_score":0.18971449,"about_ca_system_score_codex":0.053275127,"about_ca_system_score_gemma":0.029769031,"threshold_uncertainty_score":0.38653988},"labels":[],"label_agreement":null},{"id":"W1479839266","doi":"","title":"Views from Off-Centre: The Cultural Work of Film and Television Studies in Canada","year":2011,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of New Brunswick","funders":"","keywords":"Work (physics); Media studies; Sociology; Engineering; Mechanical engineering","score_opus":0.03555220813656848,"score_gpt":0.170071850306446,"score_spread":0.13451964216987752,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1479839266","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44647962,0.057994545,0.00080299785,0.2787916,0.0030064955,0.000064916436,0.0017881363,0.000056737063,0.21101496],"genre_scores_gemma":[0.95568603,0.010773287,0.00019360751,0.0072396304,0.00028314712,0.000019604995,0.00018563293,0.00011743282,0.025501562],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9947826,0.0012579709,0.00008665102,0.00044460985,0.0014041738,0.002023907],"domain_scores_gemma":[0.98274374,0.0036203421,0.0007704354,0.0003459114,0.006418755,0.006100903],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033127645,0.0005738876,0.0007294265,0.004191196,0.032836046,0.022035178,0.0021589869,0.002967581,0.015408961],"category_scores_gemma":[0.008848597,0.00043175003,0.00030740528,0.010521374,0.014355506,0.004116479,0.0056311144,0.0055337553,0.0004327843],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021279142,0.000097865704,0.023762414,0.00039983256,0.00008101229,0.0010410158,0.6971001,0.00033637584,0.0013091303,0.09118697,0.12880886,0.055663615],"study_design_scores_gemma":[0.000010854142,0.000016599815,0.049442936,0.0006993,0.000034436052,0.00016208796,0.5655471,0.00012894563,0.00037302793,0.001990381,0.38150245,0.00009195067],"about_ca_topic_score_codex":0.9931437,"about_ca_topic_score_gemma":0.9961119,"teacher_disagreement_score":0.14809546,"about_ca_system_score_codex":0.14809546,"about_ca_system_score_gemma":0.18768354,"threshold_uncertainty_score":0.9880885},"labels":[],"label_agreement":null},{"id":"W1480190987","doi":"","title":"Melodrama and Modernity: Early Sensational Cinema and Its Contexts","year":2003,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Modernity; Depiction; Historiography; Art; Aesthetics; Literature; Scholarship; Realism; Art history; History; Law; Political science","score_opus":0.05211611723689393,"score_gpt":0.2337373712193573,"score_spread":0.18162125398246337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1480190987","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1133367,0.34753177,0.001114131,0.041377608,0.0010655986,0.000037224872,0.00008299004,0.00003614557,0.49541783],"genre_scores_gemma":[0.94416535,0.041383322,0.00026507306,0.001277177,0.00091472233,0.00003449529,0.000020321637,0.00002558085,0.011913873],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901843,0.0006328089,0.000025384299,0.000091740316,0.00008320009,0.00014844003],"domain_scores_gemma":[0.9986461,0.0008212264,0.00011255652,0.00006048787,0.00009793266,0.00026178363],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015896714,0.0004172766,0.0004002572,0.002521346,0.005699683,0.011334382,0.00076960935,0.0016263307,0.0055215037],"category_scores_gemma":[0.0020839712,0.0003009613,0.00016193259,0.0027811513,0.022895504,0.0071955454,0.0038541425,0.0031238964,0.00031498942],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052340412,0.00006362503,0.0010786053,0.0003487533,0.000007693707,0.00050130824,0.22667596,0.00003333972,0.00041256452,0.73658675,0.00841758,0.025821466],"study_design_scores_gemma":[0.000025290974,0.00009665711,0.013066866,0.0021258704,0.000017575694,0.0011136539,0.21994159,0.00013955786,0.00038083782,0.09137029,0.67168534,0.00003643721],"about_ca_topic_score_codex":0.006897009,"about_ca_topic_score_gemma":0.00974823,"teacher_disagreement_score":0.011334382,"about_ca_system_score_codex":0.006173759,"about_ca_system_score_gemma":0.001676011,"threshold_uncertainty_score":0.044793963},"labels":[],"label_agreement":null},{"id":"W1482082701","doi":"","title":"Cross-Cutting: Cinema and Television in Canada","year":2006,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Visual arts; Media studies; Sociology; Aesthetics","score_opus":0.025591526515136468,"score_gpt":0.22869025998831607,"score_spread":0.2030987334731796,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1482082701","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9036459,0.01337214,0.00030072755,0.014109747,0.00022552127,0.000055578734,0.004069251,0.00003281304,0.0641882],"genre_scores_gemma":[0.9828091,0.0032489318,0.00014435903,0.0005077175,0.000049325412,0.000008095178,0.0007876862,0.000018993242,0.012425925],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99877495,0.00009097703,0.00003159303,0.00011657054,0.0004482135,0.0005378319],"domain_scores_gemma":[0.99429494,0.0009501073,0.0005292124,0.00007945176,0.0026242048,0.0015220633],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007569174,0.0003172661,0.000394322,0.0050200066,0.0070704506,0.0076211635,0.0013329433,0.0013332505,0.014698239],"category_scores_gemma":[0.006406319,0.00028251525,0.00032621645,0.0113335755,0.0017133917,0.00197905,0.0019355881,0.0022772818,0.00039111022],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010307562,0.0006867449,0.52247626,0.0007705943,0.00024038464,0.002662827,0.08700713,0.0023630997,0.001512367,0.056784246,0.11175557,0.21271007],"study_design_scores_gemma":[0.000029565403,0.00005689312,0.80371714,0.00045862788,0.00012985649,0.00028997593,0.09979428,0.0014843922,0.00048192585,0.0017170474,0.091749795,0.000090531496],"about_ca_topic_score_codex":0.99666107,"about_ca_topic_score_gemma":0.998351,"teacher_disagreement_score":0.07416111,"about_ca_system_score_codex":0.07416111,"about_ca_system_score_gemma":0.06790701,"threshold_uncertainty_score":0.538079},"labels":[],"label_agreement":null},{"id":"W1482468115","doi":"10.1007/s11151-007-9141-0","title":"Estimating the Effects of Movie Piracy on Box-office Revenue","year":2007,"lang":"en","type":"article","venue":"Review of Industrial Organization","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":128,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Counterfactual thinking; Revenue; Box office; The Internet; Film industry; Advertising; Economics; Argument (complex analysis); Studio; Damages; nobody; Business; Marketing; Law; Finance; Computer science; Political science; Computer security; Telecommunications; History","score_opus":0.031054464913758555,"score_gpt":0.2522402644045006,"score_spread":0.22118579949074205,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1482468115","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99307936,0.000933122,0.0028641785,0.00058981817,0.000036688994,0.000051301107,0.0006438486,0.00007201258,0.0017295838],"genre_scores_gemma":[0.99501604,0.00057521864,0.0017048222,0.000060180522,0.00006785011,0.000020894251,0.0011134061,0.000016382532,0.0014253358],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9969097,0.0018373001,0.00015355207,0.00041519973,0.00031728615,0.00036699843],"domain_scores_gemma":[0.8735548,0.11324511,0.0072956486,0.00216731,0.0022346019,0.0015024643],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.010108984,0.00093911495,0.0015175317,0.0016406337,0.00060957327,0.0024913764,0.0014866706,0.001954902,0.004989892],"category_scores_gemma":[0.05161243,0.0009767625,0.0012214471,0.0017544876,0.0010126454,0.0023247679,0.0011397217,0.0027337759,0.0010940932],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0026333432,0.0026078166,0.86667234,0.00034013717,0.0012207843,0.00047026927,0.00022706733,0.061449673,0.0010080162,0.002788211,0.0035910162,0.05699136],"study_design_scores_gemma":[0.00046702882,0.001773207,0.6214161,0.00010223417,0.0014017567,0.00017555854,0.0011315655,0.36075523,0.0033883925,0.0063219103,0.0029791591,0.00008786668],"about_ca_topic_score_codex":0.031156516,"about_ca_topic_score_gemma":0.022999978,"teacher_disagreement_score":0.031156516,"about_ca_system_score_codex":0.001563589,"about_ca_system_score_gemma":0.0015037132,"threshold_uncertainty_score":0.061950326},"labels":[],"label_agreement":null},{"id":"W1484124404","doi":"","title":"Conflict Between Individual and Society in Sister Carrie","year":2014,"lang":"en","type":"article","venue":"Studies in literature and language","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jungle; Commit; Sister; Materialism; Sociology; Aesthetics; Law; Environmental ethics; History; Art; Political science; Philosophy; Epistemology","score_opus":0.03731522975548634,"score_gpt":0.2802076385484509,"score_spread":0.24289240879296453,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1484124404","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4346307,0.009284862,0.000887937,0.107400194,0.0012727125,0.00003310388,0.000046173744,0.000034983044,0.44640943],"genre_scores_gemma":[0.9530495,0.0013856117,0.00014185719,0.005802245,0.00027342152,0.000026726315,0.000015555386,0.00002773653,0.039277274],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99528295,0.002615596,0.000072102055,0.00043559916,0.0005939906,0.0009997841],"domain_scores_gemma":[0.99680245,0.0009225418,0.0003419447,0.00013824744,0.0003755322,0.0014192577],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0040451237,0.0003814704,0.00047972915,0.001959495,0.026559006,0.0106664505,0.0009673145,0.003920452,0.0108765345],"category_scores_gemma":[0.007525674,0.0004127397,0.0001765282,0.0016332616,0.025744433,0.0086289495,0.011462274,0.0046823467,0.00063298846],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005630353,0.0000570169,0.003755871,0.000056892295,0.00000944836,0.0012823682,0.5598325,0.00004952991,0.00016955705,0.39055684,0.03078984,0.013383699],"study_design_scores_gemma":[0.000019116767,0.000048477523,0.0055140075,0.00024811237,0.00000798692,0.0007311052,0.30422667,0.00011911642,0.00013266037,0.04639532,0.64248514,0.00007221642],"about_ca_topic_score_codex":0.049070217,"about_ca_topic_score_gemma":0.056728337,"teacher_disagreement_score":0.049070217,"about_ca_system_score_codex":0.009285512,"about_ca_system_score_gemma":0.0036708117,"threshold_uncertainty_score":0.09756917},"labels":[],"label_agreement":null},{"id":"W1489802734","doi":"10.1080/14747731.2015.1056494","title":"Humanitarian Melodramas, Globalist Nostalgia: Affective Temporalities of Globalization and Uneven Development","year":2015,"lang":"en","type":"article","venue":"Globalizations","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":24,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Lakehead University","funders":"","keywords":"Globalization; Temporalities; Ambivalence; Political economy; Flourishing; Hegemony; Sociology; Poverty; Aesthetics; Development economics; Political science; Economics; Law; Art; Social psychology; Psychology; Politics","score_opus":0.04354663406989086,"score_gpt":0.23802092267808816,"score_spread":0.19447428860819732,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1489802734","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15308669,0.015782783,0.011186659,0.1002008,0.0023385882,0.00004749791,0.00009538822,0.0001355223,0.7171261],"genre_scores_gemma":[0.97186434,0.0021700666,0.0007185495,0.0028205097,0.0005955022,0.000037967897,0.000014840677,0.00005422833,0.021724029],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988966,0.00078254315,0.00001531638,0.00009138945,0.00010016265,0.00011398989],"domain_scores_gemma":[0.9986437,0.00075376075,0.00016912172,0.00014768736,0.000094154646,0.00019155083],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017397733,0.00049844297,0.00016984211,0.00083330297,0.0049743378,0.007347558,0.0004801993,0.0014164095,0.0037755158],"category_scores_gemma":[0.0033866048,0.00013808387,0.00014436609,0.0006014079,0.027257292,0.0060382825,0.0040079267,0.003497881,0.0002850607],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034994988,0.000017356318,0.00042426802,0.0000539664,0.000004022123,0.00019090249,0.11617409,0.00007590463,0.00031995162,0.8663178,0.009950783,0.0064358856],"study_design_scores_gemma":[0.000022551847,0.000045231514,0.0019010454,0.00027338034,0.000008014519,0.00043301398,0.14291432,0.000346586,0.00053150003,0.23948655,0.61401224,0.000025604963],"about_ca_topic_score_codex":0.0016071285,"about_ca_topic_score_gemma":0.003100407,"teacher_disagreement_score":0.007347558,"about_ca_system_score_codex":0.0025094885,"about_ca_system_score_gemma":0.0009460769,"threshold_uncertainty_score":0.018207729},"labels":[],"label_agreement":null},{"id":"W1491995545","doi":"10.22230/cjc.2004v29n2a1442","title":"Indy Dreams and Urban Nightmares: Speed Merchants, Spectacle, and the Struggle over Public Space in the World-Class City","year":2004,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Spectacle; Space (punctuation); Public space; Class (philosophy); Urban space; Political science; Sociology; Aesthetics; Geography; Art; Economic geography; Law; Computer science; Engineering; Architectural engineering; Artificial intelligence","score_opus":0.03334401701638059,"score_gpt":0.22473211865744358,"score_spread":0.19138810164106299,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1491995545","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9000305,0.0010124405,0.00009416921,0.023464879,0.00012442647,0.000007767968,0.00019355502,0.000009219685,0.075063035],"genre_scores_gemma":[0.996014,0.00024187895,0.000013311515,0.00021792713,0.000038204187,0.0000027411559,0.00002286512,0.000006144212,0.0034429838],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99945205,0.00018902324,0.000011424134,0.000038752085,0.00006293883,0.00024586616],"domain_scores_gemma":[0.99740857,0.00046905992,0.00062015926,0.00009264253,0.00025706712,0.0011525091],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009868001,0.00019999515,0.00023929958,0.0010802227,0.006953301,0.007904693,0.0008462814,0.0016222324,0.0121535845],"category_scores_gemma":[0.0033305539,0.0002518393,0.00021536094,0.0015801416,0.008485343,0.0042095194,0.004066484,0.003300279,0.00050296774],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005537641,0.00049767905,0.2317558,0.000128259,0.00008621281,0.0013481053,0.5156169,0.0005049088,0.00029992583,0.15161487,0.06648472,0.031108955],"study_design_scores_gemma":[0.000013696702,0.000037757552,0.098108254,0.00006494607,0.000016410451,0.00011437886,0.85294175,0.00017954431,0.00007368863,0.005900949,0.042517204,0.000031363306],"about_ca_topic_score_codex":0.09190007,"about_ca_topic_score_gemma":0.21460061,"teacher_disagreement_score":0.90809995,"about_ca_system_score_codex":0.0038735357,"about_ca_system_score_gemma":0.0019612021,"threshold_uncertainty_score":0.18273032},"labels":[],"label_agreement":null},{"id":"W1494391597","doi":"","title":"Aunt Dot Said Aunt Flow’s in Town / Aunt Rose is Visiting Aunt Ruby","year":2007,"lang":"en","type":"article","venue":"Canadian women's studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Aunt; Art; Art history","score_opus":0.026994336855829918,"score_gpt":0.23691539811495746,"score_spread":0.20992106125912754,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1494391597","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026699357,0.0071847104,0.00068961084,0.47144243,0.02636886,0.00010449654,0.0016505271,0.00050104724,0.46535897],"genre_scores_gemma":[0.03281769,0.0015230195,0.00034551663,0.019384587,0.0006794483,0.000018540315,0.00016917227,0.00016425818,0.9448978],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993048,0.00007652134,0.000011191333,0.000088097615,0.00024564858,0.00027379207],"domain_scores_gemma":[0.9973834,0.00019342062,0.00007537279,0.00005719226,0.0011165077,0.0011740222],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00081298925,0.000544474,0.00043388267,0.0010050788,0.017517984,0.0039324067,0.0006109652,0.0024886513,0.14571437],"category_scores_gemma":[0.0034613572,0.00042233974,0.0004037713,0.00080894533,0.0015464576,0.0018856145,0.00142984,0.006490861,0.015080183],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028953515,0.000020037312,0.0018814629,0.000033864322,0.000004946121,0.0005403426,0.006089124,0.000015468226,0.0003683228,0.004090357,0.97349143,0.013435621],"study_design_scores_gemma":[0.0000026019668,0.00000996026,0.0029475193,0.000053858013,0.0000053689832,0.0002943453,0.014894037,0.000015331801,0.00019810736,0.000249948,0.98131174,0.000017125387],"about_ca_topic_score_codex":0.55828667,"about_ca_topic_score_gemma":0.7967515,"teacher_disagreement_score":0.55828667,"about_ca_system_score_codex":0.009219966,"about_ca_system_score_gemma":0.008129395,"threshold_uncertainty_score":0.8886293},"labels":[],"label_agreement":null},{"id":"W1495412829","doi":"","title":"Héros malgré lui. Searching for Sugar Man de Malik Bendjelloul, Suède–Angleterre, 2012, 86 minSearching for Sugar Man de Malik Bendjelloul, Suède–Angleterre, 2012, 86 min","year":2013,"lang":"en","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sugar; Art; Humanities; Food science; Chemistry","score_opus":0.04338284955238349,"score_gpt":0.2614492602448652,"score_spread":0.21806641069248173,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1495412829","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004924903,0.17160434,0.00076875003,0.14132994,0.03634258,0.000119205455,0.002883815,0.0006172825,0.64140916],"genre_scores_gemma":[0.007409873,0.015630806,0.00032976043,0.008011086,0.0020298327,0.000039547333,0.00036541958,0.00022375089,0.96595985],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972445,0.00005810827,0.000013619718,0.00004806859,0.000093350434,0.00006243395],"domain_scores_gemma":[0.9994506,0.00008271263,0.00005215889,0.000016622262,0.00016608262,0.00023181851],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00060460164,0.0011048018,0.00042110556,0.0010108203,0.0035128838,0.0031011207,0.00056567317,0.0017030258,0.20274056],"category_scores_gemma":[0.0014593814,0.00041466186,0.00020248166,0.0010399118,0.00060071325,0.0031415005,0.0018533928,0.0018372864,0.07647875],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017756916,0.000008588764,0.00018411687,0.00007529584,0.0000014220938,0.000039934548,0.00044802314,0.000008738855,0.000090676986,0.001410421,0.96689254,0.030822523],"study_design_scores_gemma":[0.0000013622129,0.0000039277193,0.0006457429,0.000048931746,7.4595204e-7,0.00003572437,0.00056937453,0.0000065956447,0.000027009562,0.00013464465,0.9985239,0.000002011537],"about_ca_topic_score_codex":0.020006727,"about_ca_topic_score_gemma":0.108304255,"teacher_disagreement_score":0.20274056,"about_ca_system_score_codex":0.0023847462,"about_ca_system_score_gemma":0.0015512296,"threshold_uncertainty_score":0.67823476},"labels":[],"label_agreement":null},{"id":"W1495621691","doi":"10.1353/mos.2011.a440543","title":"\"Look at me\": The Camera Obscura and the Apprenticeship of the Gaze in Tracy Chevalier's Girl with a Pearl Earring","year":2011,"lang":"en","type":"article","venue":"Mosaic","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Gaze; Girl; Apprenticeship; Pearl; Art; Transformative learning; Art history; Visual arts; Sociology; Psychoanalysis; Psychology; History; Philosophy; Theology; Developmental psychology","score_opus":0.033946515059642246,"score_gpt":0.18937152066817564,"score_spread":0.1554250056085334,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1495621691","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3511501,0.008972031,0.0033852505,0.087266445,0.0013001909,0.00003192114,0.000056182682,0.00006044601,0.5477774],"genre_scores_gemma":[0.9720311,0.0016218262,0.00028684485,0.0018229067,0.00030032513,0.000010470917,0.000007878088,0.000047600162,0.02387113],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99845076,0.0010506259,0.000011466932,0.000115319475,0.00018039078,0.00019137781],"domain_scores_gemma":[0.9982109,0.001061076,0.00023896531,0.00007654671,0.00014590462,0.00026666568],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012399973,0.000369472,0.00021928792,0.0006370498,0.0076994062,0.0068804403,0.00064480555,0.0020616269,0.0055472646],"category_scores_gemma":[0.0050005335,0.00023151904,0.00019865566,0.0004002774,0.017660538,0.0039055713,0.0038293155,0.0048854914,0.0003957964],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059800343,0.00003778047,0.001240098,0.000060681552,0.000009745914,0.0020644139,0.62103945,0.0000952515,0.0006258879,0.3351632,0.028503709,0.011100101],"study_design_scores_gemma":[0.000023872957,0.0000684479,0.0044091097,0.0003769837,0.000014774154,0.0027775585,0.4074518,0.00029492762,0.0005979155,0.032332055,0.55161023,0.00004225826],"about_ca_topic_score_codex":0.013536065,"about_ca_topic_score_gemma":0.01974224,"teacher_disagreement_score":0.013536065,"about_ca_system_score_codex":0.0029177566,"about_ca_system_score_gemma":0.0011452602,"threshold_uncertainty_score":0.026914537},"labels":[],"label_agreement":null},{"id":"W1496367181","doi":"10.1002/9781118274453.ch8","title":"The Discourses of Art in Early Film, or, Why Not Rancière?","year":2012,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Movie theater; Historicism; Historiography; Aesthetics; Quality (philosophy); Art; Art history; Philosophy; Epistemology; Literature; History; Archaeology","score_opus":0.029800021414509888,"score_gpt":0.2312588210031052,"score_spread":0.20145879958859533,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1496367181","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03616133,0.034342367,0.0007737679,0.027378894,0.0005912472,0.00001600287,0.00009978958,0.00003739569,0.90059924],"genre_scores_gemma":[0.7951005,0.029694118,0.0010100858,0.0033146313,0.0013285078,0.00005362088,0.00012538937,0.00015763886,0.16921547],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.996757,0.0019841588,0.000066772336,0.00032773908,0.0005363586,0.0003279833],"domain_scores_gemma":[0.9974728,0.0016601254,0.00017417764,0.00020494858,0.00030970728,0.00017808007],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003025957,0.0004576168,0.00041663845,0.0023031083,0.0074298033,0.016658189,0.0011200081,0.0022210565,0.014614035],"category_scores_gemma":[0.0067437245,0.00022860322,0.00017278362,0.003816533,0.013413847,0.009123748,0.0020526815,0.0035525935,0.0007868955],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032347252,0.00002746221,0.00042700107,0.00016500238,0.000005179209,0.00014263025,0.10153902,0.00003582755,0.00012322413,0.8389553,0.02604813,0.0324989],"study_design_scores_gemma":[0.0000077378045,0.00001210234,0.0037104303,0.00093506847,0.0000075585303,0.00022300205,0.05904705,0.00008622637,0.00022105571,0.02313091,0.91260326,0.000015595773],"about_ca_topic_score_codex":0.029204946,"about_ca_topic_score_gemma":0.033867285,"teacher_disagreement_score":0.029204946,"about_ca_system_score_codex":0.009149002,"about_ca_system_score_gemma":0.0019061755,"threshold_uncertainty_score":0.06638098},"labels":[],"label_agreement":null},{"id":"W149716872","doi":"","title":"Spectacles of prison visibility: Masculinities, punishment and social order in US screen prison drama 1995-2005","year":2007,"lang":"en","type":"dissertation","venue":"Summit (Simon Fraser University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Prison; Visibility; Drama; Punishment (psychology); Criminology; Order (exchange); Social order; Sociology; Political science; Psychology; Visual arts; Art; Social psychology; Geography; Law; Politics; Business","score_opus":0.018931918051231043,"score_gpt":0.2299470739623397,"score_spread":0.21101515591110867,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W149716872","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9428357,0.0015327152,0.000215263,0.009716309,0.00025177168,0.00001549273,0.0001809998,0.000023799998,0.045227908],"genre_scores_gemma":[0.99211615,0.00061470625,0.000057975558,0.0006470315,0.00006213052,0.000016951297,0.000069392685,0.000015064191,0.006400636],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99937385,0.00026584548,0.000021512782,0.000057010297,0.00011661575,0.00016515587],"domain_scores_gemma":[0.99912316,0.00028482755,0.0002098645,0.00004247175,0.00012562443,0.00021403516],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000858766,0.00039960394,0.00022593814,0.0013344028,0.008380406,0.0042954846,0.00043375307,0.0010095417,0.0043843384],"category_scores_gemma":[0.0022614475,0.00020911725,0.00019218167,0.00095488864,0.003883932,0.0017220416,0.0035194294,0.0018635455,0.00026958092],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019201796,0.00008975393,0.024938118,0.000121401405,0.000027433905,0.00084462494,0.88887393,0.00009411874,0.0013618782,0.02146332,0.033342436,0.028650856],"study_design_scores_gemma":[0.000008673401,0.000093167495,0.096686855,0.00030567677,0.000021820155,0.0002829589,0.7408634,0.00011501304,0.00070940744,0.0008905442,0.15998408,0.0000383298],"about_ca_topic_score_codex":0.081951246,"about_ca_topic_score_gemma":0.19546154,"teacher_disagreement_score":0.081951246,"about_ca_system_score_codex":0.005793604,"about_ca_system_score_gemma":0.0015503746,"threshold_uncertainty_score":0.16294849},"labels":[],"label_agreement":null},{"id":"W1499287711","doi":"10.7202/1005586ar","title":"Narration in the Transitional Cinema: The Historiographical Claims of the Unauthored Text","year":2011,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Historiography; Narrative; Movie theater; Exhibition; Period (music); Film director; History; Film studies; Rewriting; Literature; Aesthetics; Art; Art history; Computer science","score_opus":0.061557911560754824,"score_gpt":0.21651524951388348,"score_spread":0.15495733795312866,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1499287711","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5510354,0.0398392,0.010276038,0.058253907,0.002608269,0.00007013821,0.00033921876,0.00010858442,0.33746925],"genre_scores_gemma":[0.9893066,0.0033829114,0.00039470528,0.0006197559,0.00047172283,0.00001344567,0.000024473999,0.00003360057,0.005752773],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981414,0.0013358127,0.000045541,0.0001856106,0.00016956672,0.00012202302],"domain_scores_gemma":[0.99475116,0.003906485,0.00042134649,0.00033632194,0.0002741979,0.00031056677],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034564377,0.00029918016,0.00023169546,0.0014270187,0.0046044686,0.007537169,0.00070321007,0.0011913248,0.0029656065],"category_scores_gemma":[0.012242313,0.00016603626,0.00014095297,0.0014285232,0.018364307,0.005392646,0.0032061508,0.002423443,0.00025568542],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000085196094,0.00001849163,0.0018864169,0.00015820086,0.000007022594,0.0006977594,0.5836282,0.00008362374,0.0004863449,0.3882446,0.00985566,0.014848552],"study_design_scores_gemma":[0.000020323116,0.00008401289,0.009733625,0.0011284236,0.000022231585,0.0013357829,0.34736216,0.00059454935,0.00092521636,0.053639,0.58511746,0.00003722781],"about_ca_topic_score_codex":0.0036474979,"about_ca_topic_score_gemma":0.004184284,"teacher_disagreement_score":0.007537169,"about_ca_system_score_codex":0.0029315434,"about_ca_system_score_gemma":0.00086144137,"threshold_uncertainty_score":0.021269977},"labels":[],"label_agreement":null},{"id":"W1499578362","doi":"","title":"Cave of Forgotten Dreams : L’empreinte du tempsCave of Forgotten Dreams — France / États-Unis / Grande-Bretagne / Canada / Allemagne 2010, 90 minutesCave of Forgotten Dreams — France / États-Unis / Grande-Bretagne / Canada / Allemagne 2010, 90 minutes","year":2011,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Geography","score_opus":0.014661079076344157,"score_gpt":0.1932478557258382,"score_spread":0.17858677664949404,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1499578362","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23400174,0.048233107,0.011130551,0.25467777,0.018018115,0.00014083987,0.014492318,0.001310721,0.41799483],"genre_scores_gemma":[0.8097346,0.0064232643,0.0038032942,0.008841136,0.0035182098,0.00008965422,0.0045710574,0.0008650257,0.16215372],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986172,0.0005876019,0.00003449736,0.00016140632,0.00035670988,0.0002425738],"domain_scores_gemma":[0.996327,0.0014545389,0.000323129,0.0003262611,0.000736459,0.00083251816],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021935406,0.0005712555,0.0004482763,0.0011908335,0.0072132256,0.0067790747,0.0008521094,0.0026758614,0.028311143],"category_scores_gemma":[0.012474054,0.00050534,0.00050119247,0.0015616511,0.0039618732,0.0049965726,0.0029348764,0.0049006226,0.0028841526],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004909307,0.000045418066,0.0065154345,0.00035101434,0.00005416183,0.0010335871,0.05183608,0.0005899244,0.0005615295,0.056750752,0.82548594,0.05628517],"study_design_scores_gemma":[0.00002608185,0.00002889019,0.023441857,0.0004318868,0.000014059975,0.0006352031,0.030634945,0.00039790844,0.00025957247,0.006919853,0.9371509,0.00005889211],"about_ca_topic_score_codex":0.16359767,"about_ca_topic_score_gemma":0.31121394,"teacher_disagreement_score":0.16359767,"about_ca_system_score_codex":0.0072060036,"about_ca_system_score_gemma":0.0031071617,"threshold_uncertainty_score":0.32529086},"labels":[],"label_agreement":null},{"id":"W1499846165","doi":"","title":"Clint Neufeld, Pipe Dreams of Madame Récamier, Koffler Gallery Off-site at General Hardware Contemporary, Toronto, January 10 – March 3, 2013Clint Neufeld, Pipe Dreams of Madame Récamier, Koffler Gallery Off-site at General Hardware Contemporary, Toronto, January 10 – March 3, 2013","year":2013,"lang":"en","type":"article","venue":"Esse/Esse arts + opinions","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art gallery; Art history; Visual arts; Exhibition","score_opus":0.04024006123206006,"score_gpt":0.2615006380051183,"score_spread":0.22126057677305824,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1499846165","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019389495,0.057839792,0.0010618297,0.45602256,0.06262519,0.00011838751,0.003310193,0.00094940467,0.41613364],"genre_scores_gemma":[0.006965872,0.007813409,0.00030646622,0.018929038,0.004894986,0.000045308905,0.0005161386,0.00045690688,0.9600719],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99853504,0.00019421118,0.000038132937,0.0002068803,0.0006557335,0.00037004804],"domain_scores_gemma":[0.9966582,0.0003484173,0.00013226901,0.00011971992,0.0012592559,0.0014821815],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016522062,0.0010034107,0.0005904298,0.0013790348,0.009644413,0.007278106,0.0012030923,0.0062558386,0.26700386],"category_scores_gemma":[0.0055908635,0.00077062025,0.0005673806,0.0014400107,0.0017712193,0.004338821,0.0033246505,0.00651853,0.079447284],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000042880424,0.0000017666329,0.00001735889,0.000007350749,3.4787726e-7,0.000010275038,0.00005955791,0.000005263212,0.000010697654,0.00053101365,0.99805933,0.0012926752],"study_design_scores_gemma":[0.0000038775056,0.000003399638,0.00028413415,0.00004000177,0.000001531269,0.00002274067,0.000430332,0.00001431585,0.000026910555,0.00022603599,0.99893934,0.0000073676715],"about_ca_topic_score_codex":0.21334727,"about_ca_topic_score_gemma":0.582684,"teacher_disagreement_score":0.78665274,"about_ca_system_score_codex":0.009272602,"about_ca_system_score_gemma":0.0068419115,"threshold_uncertainty_score":0.8932169},"labels":[],"label_agreement":null},{"id":"W1500168651","doi":"10.3366/film.2010.0054","title":"Ellis Cashmore (2009) <i>Martin Scorsese's America</i>","year":2010,"lang":"en","type":"article","venue":"Film-Philosophy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Art; Philosophy; Art history","score_opus":0.02441421833145515,"score_gpt":0.2166664141782541,"score_spread":0.19225219584679895,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1500168651","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0029517412,0.23491779,0.0012677483,0.2950944,0.060722232,0.00004648348,0.0014708086,0.00034860882,0.4031802],"genre_scores_gemma":[0.02653895,0.050534263,0.0006111269,0.022071037,0.0129625285,0.000029089244,0.0005479005,0.00023711007,0.88646793],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995927,0.000079523335,0.000017758919,0.00008480091,0.00015139239,0.00007389931],"domain_scores_gemma":[0.9989242,0.0002139813,0.000096763826,0.00006243564,0.00046416218,0.00023839444],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00084315997,0.00089898333,0.00035027775,0.0025515787,0.0027006033,0.0060664862,0.00056815904,0.002824679,0.06565061],"category_scores_gemma":[0.00263668,0.00028984455,0.00026597074,0.0026330112,0.00082836486,0.0038807439,0.0017203147,0.0024692207,0.017672801],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008635509,0.000004867291,0.00013426793,0.000051491195,0.0000016292254,0.000016704378,0.00016947016,0.000011433689,0.00006931006,0.008132074,0.9677389,0.02366118],"study_design_scores_gemma":[0.0000015076508,0.0000030428473,0.00080915174,0.00015120456,0.000003410002,0.000024069699,0.00025855238,0.000011817408,0.00008419036,0.0011798355,0.9974693,0.0000039655674],"about_ca_topic_score_codex":0.039672036,"about_ca_topic_score_gemma":0.11246592,"teacher_disagreement_score":0.06565061,"about_ca_system_score_codex":0.0037615697,"about_ca_system_score_gemma":0.0024103227,"threshold_uncertainty_score":0.21962315},"labels":[],"label_agreement":null},{"id":"W1500425460","doi":"10.31165/nk.2014.64.322","title":"The Irish in American Cinema 1910 – 1930: Recurring Narratives and Characters","year":2014,"lang":"en","type":"article","venue":"Networking Knowledge Journal of the MeCCSA Postgraduate Network","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"McGill University","keywords":"Irish; Movie theater; Narrative; Comedy; History; Character (mathematics); Media studies; Ethnic group; Servant; Literature; Genealogy; Art; Sociology; Art history; Anthropology; Linguistics; Engineering","score_opus":0.021992025676505107,"score_gpt":0.23502143145356708,"score_spread":0.21302940577706198,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1500425460","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72955143,0.002340284,0.0008258141,0.005887818,0.0003215829,0.000055718934,0.00018531684,0.000038721868,0.26079327],"genre_scores_gemma":[0.9695136,0.0014425408,0.00037926558,0.0005373977,0.00012389154,0.000037385737,0.00008924015,0.00005545054,0.027821194],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.998865,0.0005458276,0.000026297203,0.00011585466,0.00018592717,0.0002610855],"domain_scores_gemma":[0.9985892,0.0006835007,0.00015685458,0.00005953483,0.00020968854,0.0003012201],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026456937,0.00038129647,0.00019155674,0.0017889718,0.009583877,0.0073657557,0.0007513343,0.0009924439,0.0035143911],"category_scores_gemma":[0.0032060214,0.00028231548,0.00015229433,0.0021549903,0.007285397,0.00287408,0.0032402154,0.0025793924,0.00038489298],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008514108,0.00003075259,0.004920424,0.000065581444,0.000007051839,0.0006366372,0.9392802,0.000050037346,0.000724103,0.03202427,0.0101698935,0.012005999],"study_design_scores_gemma":[0.0000050806134,0.00002314209,0.011401567,0.00015866247,0.000009657562,0.00032861304,0.71079093,0.00009450778,0.0005349357,0.0008984197,0.27572262,0.00003196442],"about_ca_topic_score_codex":0.03722885,"about_ca_topic_score_gemma":0.08184752,"teacher_disagreement_score":0.03722885,"about_ca_system_score_codex":0.007896989,"about_ca_system_score_gemma":0.001676702,"threshold_uncertainty_score":0.07402432},"labels":[],"label_agreement":null},{"id":"W1501881621","doi":"","title":"North of Everything: English-Canadian Cinema since 1980","year":2003,"lang":"en","type":"article","venue":"British Journal of Canadian Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; History; Media studies; Sociology; Art history","score_opus":0.03588528173518599,"score_gpt":0.20903527378175546,"score_spread":0.17314999204656947,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1501881621","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3261152,0.097421534,0.00082274753,0.052550003,0.0035338784,0.00012030406,0.012711674,0.00020256483,0.50652206],"genre_scores_gemma":[0.8301931,0.027433794,0.0005702381,0.002786067,0.00044401424,0.000022604429,0.0016831459,0.00010949938,0.13675757],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998382,0.00011598264,0.00003985227,0.00020470133,0.00060987007,0.0006476882],"domain_scores_gemma":[0.9945148,0.00039736807,0.0004272087,0.00010226812,0.0025734038,0.0019850023],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010213727,0.0005586828,0.00036386127,0.0027773702,0.0072800224,0.0067382557,0.0010311145,0.0010749184,0.034455072],"category_scores_gemma":[0.005043081,0.00022948615,0.0002486278,0.0063593327,0.0029743582,0.002218372,0.0018132593,0.0019437197,0.0014346889],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00081243255,0.00018568411,0.06523356,0.0033028803,0.00012996589,0.0023430658,0.15178679,0.00044838744,0.002258669,0.08276096,0.38248885,0.3082488],"study_design_scores_gemma":[0.0000063339667,0.0000114145105,0.12207152,0.000543953,0.000040373125,0.00024155891,0.037809167,0.00006518026,0.000267578,0.00046380833,0.8384365,0.000042653217],"about_ca_topic_score_codex":0.9849769,"about_ca_topic_score_gemma":0.9946344,"teacher_disagreement_score":0.06410747,"about_ca_system_score_codex":0.06410747,"about_ca_system_score_gemma":0.06892159,"threshold_uncertainty_score":0.46513444},"labels":[],"label_agreement":null},{"id":"W1501946561","doi":"10.7202/1011656ar","title":"« It is man’s work and you are just little girlies » : narration genrée et figures de l’empowerment féminin dans le film catastrophe hollywoodien","year":2012,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Sociology","score_opus":0.03663980368142663,"score_gpt":0.24991849143541964,"score_spread":0.213278687753993,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1501946561","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.489104,0.010872001,0.00878717,0.048403665,0.0015857102,0.00014529393,0.0003218331,0.00014281359,0.44063762],"genre_scores_gemma":[0.9492305,0.002442349,0.0011439038,0.0016687729,0.00024674193,0.000100509526,0.00006195732,0.00013061093,0.044974536],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9977664,0.0016075948,0.000027986873,0.00013550001,0.00024427037,0.00021830596],"domain_scores_gemma":[0.9984347,0.0010602258,0.00013953753,0.000053815806,0.00012233028,0.00018934169],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019332258,0.00077419897,0.00036825176,0.0010994792,0.011049591,0.0068123145,0.0010040384,0.0020560054,0.0044218595],"category_scores_gemma":[0.0035566303,0.000290657,0.00022755028,0.0011585756,0.01461348,0.00476791,0.0033359588,0.0043473304,0.0005775507],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003490216,0.000010613195,0.00038272655,0.00005532658,0.0000027783694,0.0006963743,0.9395856,0.0000363013,0.0005472698,0.04797334,0.0069219004,0.0037528367],"study_design_scores_gemma":[0.000009794766,0.000030219184,0.002391954,0.00035036352,0.000009090836,0.00080832717,0.58548087,0.00014447761,0.0007706424,0.0046238126,0.40535584,0.000024597892],"about_ca_topic_score_codex":0.020861033,"about_ca_topic_score_gemma":0.033104785,"teacher_disagreement_score":0.020861033,"about_ca_system_score_codex":0.005633098,"about_ca_system_score_gemma":0.0015158231,"threshold_uncertainty_score":0.04147923},"labels":[],"label_agreement":null},{"id":"W1502266404","doi":"","title":"Picture of Light de Peter Mettler, Canada, 1994, 83 minutesPicture of Light de Peter Mettler, Canada, 1994, 83 minutes","year":2012,"lang":"en","type":"article","venue":"Images","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.011455734150136341,"score_gpt":0.19744653796852066,"score_spread":0.18599080381838431,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1502266404","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014887486,0.018903904,0.00091648364,0.02767812,0.030735012,0.00038906373,0.012368319,0.001180394,0.90634],"genre_scores_gemma":[0.0016584126,0.0019784197,0.00023048549,0.0005698016,0.00082673685,0.000025728887,0.00087432767,0.00014870056,0.99368745],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994404,0.000040139756,0.000010929044,0.00006145036,0.00028963314,0.00015738448],"domain_scores_gemma":[0.9979382,0.000113019734,0.000044528173,0.00006019619,0.0012706873,0.0005734112],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005745153,0.0013295929,0.0007055834,0.0019393159,0.004755586,0.004747092,0.0011091833,0.0020977256,0.69027984],"category_scores_gemma":[0.0022929749,0.00063015154,0.0005269475,0.0017469316,0.0005989733,0.0018578724,0.001716918,0.002440671,0.30391264],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000969045,0.000003926929,0.00003247611,0.000020037625,5.9432904e-7,0.000013860795,0.000016241254,0.000015397249,0.000053117696,0.00024178509,0.99459404,0.0049987384],"study_design_scores_gemma":[0.0000035944483,0.000004235222,0.00048865477,0.00004284948,0.000001529537,0.00002210634,0.00011112051,0.000023920213,0.000032290332,0.00007856873,0.9991873,0.0000038627877],"about_ca_topic_score_codex":0.44240996,"about_ca_topic_score_gemma":0.76195765,"teacher_disagreement_score":0.69027984,"about_ca_system_score_codex":0.0069705555,"about_ca_system_score_gemma":0.00754442,"threshold_uncertainty_score":0.8796697},"labels":[],"label_agreement":null},{"id":"W1502443073","doi":"","title":"Retour aux sources. Frankenweenie de Tim Burton, États-Unis, 2012, 87 minFrankenweenie de Tim Burton, États-Unis, 2012, 87 min","year":2013,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Art","score_opus":0.02101273258085843,"score_gpt":0.23124754201416098,"score_spread":0.21023480943330256,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1502443073","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012552235,0.1879979,0.002891383,0.17694321,0.20727217,0.00019493219,0.067142606,0.001920892,0.35438165],"genre_scores_gemma":[0.0068395156,0.056755826,0.0017156457,0.015407878,0.021254579,0.00031167,0.019168671,0.002014134,0.876532],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980082,0.00030278595,0.00020296958,0.00023974646,0.0010614438,0.00018490726],"domain_scores_gemma":[0.99191135,0.0018786985,0.00046905823,0.0005525129,0.004859445,0.00032903312],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016279914,0.0012968385,0.0011200028,0.00904583,0.0018391608,0.006039768,0.0018227876,0.0029095903,0.2856957],"category_scores_gemma":[0.018625243,0.00076845184,0.00070412306,0.012638503,0.00072069204,0.0051067714,0.002866871,0.003477847,0.18921992],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000086999535,0.0000027013627,0.000037202997,0.00009780432,0.0000016286073,0.0000150304095,0.000048348542,0.000010468778,0.00001720885,0.0013603211,0.9902199,0.008180693],"study_design_scores_gemma":[0.0000030467957,0.0000011936727,0.00037744865,0.00025071247,0.0000018115097,0.000020033724,0.000050985098,0.0000123709015,0.000035769157,0.00041553896,0.9988275,0.0000036223958],"about_ca_topic_score_codex":0.029880859,"about_ca_topic_score_gemma":0.045597855,"teacher_disagreement_score":0.2856957,"about_ca_system_score_codex":0.0043825926,"about_ca_system_score_gemma":0.0026640084,"threshold_uncertainty_score":0.95574737},"labels":[],"label_agreement":null},{"id":"W1504520110","doi":"10.7202/1015184ar","title":"Visual Style in the “Golden Age” Anthology Drama: The Case of CBS1","year":2013,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Style (visual arts); Realism; Framing (construction); Style analysis; Art; Aesthetics; Literature; Visual arts; History; Psychology","score_opus":0.03362272364938426,"score_gpt":0.25806418799137726,"score_spread":0.224441464341993,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1504520110","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5015099,0.0012697949,0.0038199676,0.00903735,0.000563793,0.00006226029,0.00019987854,0.00012515734,0.48341197],"genre_scores_gemma":[0.9750922,0.00032142136,0.00095865026,0.00027213356,0.00012096762,0.000016212243,0.000043624157,0.00007654095,0.02309832],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99868435,0.0008317334,0.000022166656,0.00011268306,0.00018724274,0.00016178197],"domain_scores_gemma":[0.9983541,0.0009976748,0.0001326921,0.000119910255,0.00012617414,0.00026952522],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012266284,0.00032561523,0.00016638951,0.0012251437,0.0076606534,0.006938589,0.0007055232,0.0011758808,0.0046659377],"category_scores_gemma":[0.004635923,0.0001831066,0.00014209774,0.0014067623,0.0064618974,0.0023383552,0.00212874,0.0019562896,0.0004112668],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012057276,0.000046588706,0.0035269374,0.00013727805,0.000007677133,0.0028911757,0.64089125,0.00026510382,0.0013327065,0.2944158,0.02675765,0.029607326],"study_design_scores_gemma":[0.000019116529,0.00004746368,0.00991806,0.0002685127,0.000016266546,0.0018910508,0.37127662,0.0010665207,0.0013834062,0.014812519,0.59925956,0.00004084654],"about_ca_topic_score_codex":0.020535177,"about_ca_topic_score_gemma":0.033613164,"teacher_disagreement_score":0.020535177,"about_ca_system_score_codex":0.0057812524,"about_ca_system_score_gemma":0.001083226,"threshold_uncertainty_score":0.041946113},"labels":[],"label_agreement":null},{"id":"W1505682296","doi":"10.1002/9781444351071.wbeghm233","title":"Film and migration: the problem of trauma","year":2013,"lang":"en","type":"other","venue":"The Encyclopedia of Global Human Migration","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pride; Immigration; Colonialism; Settlement (finance); Narrative; Phenomenon; Movie theater; Political science; History; Gender studies; Sociology; Political economy; Media studies; Art; Law; Art history; Literature","score_opus":0.014900454629622285,"score_gpt":0.2235202119994747,"score_spread":0.20861975736985242,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1505682296","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06997505,0.115879804,0.0031539816,0.35428098,0.006252011,0.000110415334,0.00046464388,0.0001045526,0.4497786],"genre_scores_gemma":[0.75557804,0.14008728,0.001230064,0.036419123,0.00797088,0.00020899731,0.0002577512,0.00022513332,0.058022738],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9938958,0.004333737,0.00020494252,0.00032955845,0.0007708367,0.00046503454],"domain_scores_gemma":[0.98230904,0.012528983,0.0015611104,0.0009824892,0.0013181935,0.0013001905],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004941407,0.0005274503,0.00056501257,0.003357073,0.00797735,0.013383471,0.0013809891,0.004337925,0.026341472],"category_scores_gemma":[0.029721774,0.00036167298,0.00031860103,0.0045366073,0.015553143,0.009159322,0.0073865987,0.0046048486,0.0016340852],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012321473,0.00013149995,0.005839871,0.0011454676,0.000055434837,0.003989625,0.18551877,0.00016917294,0.00018368909,0.3876134,0.22621937,0.18901046],"study_design_scores_gemma":[0.000038762657,0.000057554073,0.0060879285,0.0057206177,0.000032547556,0.0063270642,0.22585675,0.0001953181,0.00018122864,0.07874627,0.6767134,0.00004256575],"about_ca_topic_score_codex":0.0070273043,"about_ca_topic_score_gemma":0.0069542723,"teacher_disagreement_score":0.026341472,"about_ca_system_score_codex":0.005142901,"about_ca_system_score_gemma":0.0027408374,"threshold_uncertainty_score":0.088121},"labels":[],"label_agreement":null},{"id":"W1506609832","doi":"10.3138/tric.33.1.1","title":"Walking the Edge of the Stage in Theory; Or, Janet Cardiff’s Sensorium for Intermedial Bodies","year":2012,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Subjectivity; Identity (music); Sociology; Narrative; Aesthetics; Normative; Representation (politics); Art; Epistemology; Philosophy; Literature; Politics","score_opus":0.10013618437044208,"score_gpt":0.32026122143566366,"score_spread":0.22012503706522157,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1506609832","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.061493345,0.004085383,0.019360904,0.03221706,0.0012680789,0.000058438032,0.0000716672,0.00017458439,0.88127047],"genre_scores_gemma":[0.8633275,0.0011790815,0.0048017553,0.00253601,0.00009574644,0.000043664222,0.00003173766,0.00014595858,0.1278385],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99835384,0.00061484386,0.000026190111,0.00024819263,0.0004333876,0.00032354528],"domain_scores_gemma":[0.9989467,0.00033299328,0.00005609795,0.00017575784,0.00020948335,0.0002789963],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011510936,0.00040733855,0.00015703222,0.00079335744,0.011477244,0.008419552,0.00090506225,0.0018578662,0.009786897],"category_scores_gemma":[0.002875645,0.00018994857,0.00023298718,0.0005958893,0.028210333,0.0037341479,0.004633387,0.0027264473,0.0009181962],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041984607,0.000010434563,0.0008590312,0.000075259646,0.000004296887,0.00039468808,0.10995426,0.00014454339,0.0012552837,0.8440523,0.021354776,0.0218531],"study_design_scores_gemma":[0.0000071554996,0.000030682742,0.0021700514,0.00028718833,0.000011253445,0.0005560552,0.069205694,0.000397275,0.00097587425,0.04549735,0.88082063,0.000040842515],"about_ca_topic_score_codex":0.22957571,"about_ca_topic_score_gemma":0.34965983,"teacher_disagreement_score":0.22957571,"about_ca_system_score_codex":0.012283864,"about_ca_system_score_gemma":0.011120099,"threshold_uncertainty_score":0.45647883},"labels":[],"label_agreement":null},{"id":"W1507165512","doi":"10.51644/9780889209107-013","title":"Figures of Otherness in Canadian Video","year":2006,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Computer graphics (images); Computer science","score_opus":0.023458282704433123,"score_gpt":0.19608342702098067,"score_spread":0.17262514431654755,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1507165512","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20269208,0.0040829056,0.0009347656,0.0044784425,0.00021163198,0.00003872301,0.01642765,0.00018656574,0.7709472],"genre_scores_gemma":[0.91108114,0.0025234516,0.00091054675,0.00022548139,0.000058455607,0.000013004295,0.00479821,0.00011143269,0.08027842],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990336,0.00007800086,0.000027808801,0.000110894245,0.00046544848,0.00028423168],"domain_scores_gemma":[0.99456525,0.00059887185,0.00036482065,0.0002098318,0.0035653517,0.00069578923],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007151401,0.00038065907,0.00022399653,0.010981539,0.005136072,0.0056186696,0.0008180875,0.00051144167,0.026320577],"category_scores_gemma":[0.007113908,0.00017309167,0.0002781585,0.019434463,0.0013038403,0.0019235436,0.00079179293,0.00090119,0.00084511295],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002619887,0.000045442983,0.059909448,0.0002529254,0.00007231884,0.0003315469,0.028450303,0.0022233315,0.0005610606,0.47919247,0.2565982,0.17210102],"study_design_scores_gemma":[0.000014634217,0.000021749242,0.37680024,0.00049970427,0.000060582744,0.00022535038,0.039940275,0.0026724895,0.0006271379,0.011707445,0.5673265,0.00010394226],"about_ca_topic_score_codex":0.9893908,"about_ca_topic_score_gemma":0.99314284,"teacher_disagreement_score":0.045128852,"about_ca_system_score_codex":0.045128852,"about_ca_system_score_gemma":0.014658461,"threshold_uncertainty_score":0.3274343},"labels":[],"label_agreement":null},{"id":"W1507407401","doi":"","title":"Gabriel Manrique: An Environmentalist Filmmaker","year":2011,"lang":"en","type":"article","venue":"The Trumpeter","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Filmmaking; Film director; Environmentalism; Art; SAFER; Gentrification; Art history; Media studies; Aesthetics; Visual arts; Sociology; Political science; Engineering; Law; Civil engineering; Computer science; Computer security; Movie theater","score_opus":0.0696941529416272,"score_gpt":0.2003195755677913,"score_spread":0.1306254226261641,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1507407401","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.057863157,0.04054451,0.0020254243,0.6882488,0.0065448536,0.00007795927,0.00033438744,0.0002700329,0.2040909],"genre_scores_gemma":[0.5277035,0.030882383,0.0032615317,0.07138847,0.007921072,0.0001286021,0.00013295175,0.00035940527,0.35822204],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991757,0.00043492825,0.0000139404965,0.00011030623,0.00016667772,0.000098388926],"domain_scores_gemma":[0.9982267,0.00097572303,0.00010834819,0.00005503055,0.00036867044,0.0002654689],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014780281,0.00057302404,0.00034475868,0.0012007297,0.0042626024,0.0058453837,0.0009112027,0.0026937004,0.007023924],"category_scores_gemma":[0.006495472,0.00019888801,0.00016858635,0.00078973954,0.0025899138,0.0037279972,0.0011319154,0.003538811,0.0013361927],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005706021,0.00008481838,0.0009271892,0.00014581051,0.000013178253,0.0015256209,0.03618939,0.00020443733,0.000568759,0.11488504,0.81700313,0.028395573],"study_design_scores_gemma":[0.0000075011735,0.000014797284,0.0008544567,0.00015279869,0.0000058537144,0.00039756793,0.015952775,0.00038871565,0.0002683402,0.00447957,0.9774596,0.000017881644],"about_ca_topic_score_codex":0.023345182,"about_ca_topic_score_gemma":0.036726575,"teacher_disagreement_score":0.023345182,"about_ca_system_score_codex":0.0041203196,"about_ca_system_score_gemma":0.0012809229,"threshold_uncertainty_score":0.046418548},"labels":[],"label_agreement":null},{"id":"W1510480564","doi":"","title":"Cinema's Conversion to Sound Technology and Film Style in France and the U.S","year":2006,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Scholarship; Sound (geography); The arts; Style (visual arts); Film studies; Motion picture; Visual arts; Media studies; Art history; Art; Sociology; Political science; Law; Computer science; Acoustics","score_opus":0.013662129575840107,"score_gpt":0.20383292365109815,"score_spread":0.19017079407525805,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1510480564","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.046554018,0.32736474,0.0011239459,0.062070027,0.00377162,0.000030373552,0.0002487524,0.00015197888,0.5586845],"genre_scores_gemma":[0.74328744,0.0942063,0.0013726872,0.0066139866,0.0023615775,0.000052977935,0.00016489605,0.00010461967,0.15183558],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.99833846,0.0007833495,0.000049553473,0.00015400257,0.00040816132,0.00026642566],"domain_scores_gemma":[0.99921477,0.00025681965,0.0000974285,0.000040698418,0.00022169264,0.00016859648],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014016571,0.0005113084,0.00032526214,0.0027544796,0.0037110732,0.0081859315,0.0003695692,0.001455733,0.008149292],"category_scores_gemma":[0.0022734595,0.00022158006,0.00034128904,0.0021869056,0.0046225097,0.0026852244,0.0015972689,0.001767644,0.0007640149],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007820762,0.000058978047,0.0034775622,0.00029853111,0.000026265714,0.00039488042,0.09764647,0.00028433398,0.0013228295,0.29808524,0.27335984,0.32496688],"study_design_scores_gemma":[0.000005192309,0.00003503567,0.01613055,0.00050784193,0.000008395228,0.00021726084,0.013647695,0.000082125836,0.00017614986,0.0031916841,0.965976,0.000022027754],"about_ca_topic_score_codex":0.16052471,"about_ca_topic_score_gemma":0.15881486,"teacher_disagreement_score":0.16052471,"about_ca_system_score_codex":0.011466414,"about_ca_system_score_gemma":0.0028528678,"threshold_uncertainty_score":0.31918073},"labels":[],"label_agreement":null},{"id":"W1510805546","doi":"10.3917/rfea.136.0096","title":"“A Voice That Is Not There Otherwise” : An Interview with B. R. Rich (26 June 2012)","year":2014,"lang":"fr","type":"article","venue":"Revue française d’études américaines","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Humanities; Art; Art history; Movie theater; Sociology; Gender studies","score_opus":0.043735086108348295,"score_gpt":0.23772649026256068,"score_spread":0.1939914041542124,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1510805546","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.114401616,0.037412718,0.0019588692,0.6997318,0.006341155,0.00021019786,0.00029254975,0.00013840439,0.13951275],"genre_scores_gemma":[0.549576,0.017529676,0.0011668518,0.20220879,0.0009767009,0.00044448642,0.00013246945,0.00023454262,0.22773051],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9919722,0.0055103647,0.00014743286,0.00038980617,0.0008276787,0.0011524665],"domain_scores_gemma":[0.9968014,0.0016156291,0.00024735805,0.000071243194,0.00046706188,0.00079726183],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0065915324,0.00074016524,0.00070083735,0.0011707686,0.023381777,0.007518999,0.0013719975,0.00721739,0.0075289905],"category_scores_gemma":[0.008681114,0.0010568651,0.00044597153,0.0013305076,0.007943911,0.00861229,0.0038181993,0.012846968,0.0018487559],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006533031,0.00008135187,0.001272765,0.00018209318,0.000010065288,0.0016016469,0.62275875,0.000055062974,0.00077956193,0.021253988,0.33658555,0.0153537905],"study_design_scores_gemma":[0.000005469169,0.00003410266,0.001458199,0.00036895566,0.0000061157225,0.0005469946,0.52390367,0.00004863222,0.00023772806,0.00082345196,0.472525,0.000041635645],"about_ca_topic_score_codex":0.05580467,"about_ca_topic_score_gemma":0.0891811,"teacher_disagreement_score":0.05580467,"about_ca_system_score_codex":0.0074038967,"about_ca_system_score_gemma":0.006075201,"threshold_uncertainty_score":0.11095971},"labels":[],"label_agreement":null},{"id":"W1513313232","doi":"10.1353/mod.2013.0094","title":"Getting Mary Married by Allan Dwan (review)","year":2013,"lang":"en","type":"article","venue":"Modernism/modernity","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Studio; Art history; Performance art; Movie theater; Art; History; Character (mathematics); Visual arts","score_opus":0.02912851051820734,"score_gpt":0.21627515755676824,"score_spread":0.1871466470385609,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1513313232","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00012585062,0.9852728,0.000047826084,0.006702205,0.0036197207,0.000027824808,0.00016833223,0.000018635035,0.004016789],"genre_scores_gemma":[0.002046251,0.9777143,0.00010786553,0.011082113,0.0027158675,0.000067062545,0.0003095681,0.000015872021,0.005941044],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918646,0.00016578287,0.00013413143,0.00013576834,0.00029483615,0.00008300357],"domain_scores_gemma":[0.99730694,0.00073939806,0.00050082355,0.00006978104,0.0009710074,0.00041200884],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010293111,0.0007813646,0.0011723596,0.0016836998,0.0007259221,0.002393182,0.001500067,0.0015576391,0.033890374],"category_scores_gemma":[0.0068852184,0.00038951807,0.0006325826,0.0023965063,0.0005337521,0.0020918685,0.0010659954,0.0026970597,0.009603622],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005996987,0.000019330497,0.00030219072,0.022391845,0.00011601385,0.00015205397,0.000112776426,0.000025194897,0.00012066005,0.0004763297,0.78057796,0.19564565],"study_design_scores_gemma":[0.000033397137,0.00002911528,0.0016114577,0.018376118,0.00017881731,0.0009096526,0.00016524341,0.000014345927,0.00008077858,0.00022982921,0.9783546,0.000016699563],"about_ca_topic_score_codex":0.0041831816,"about_ca_topic_score_gemma":0.008934504,"teacher_disagreement_score":0.033890374,"about_ca_system_score_codex":0.0013323531,"about_ca_system_score_gemma":0.0040555974,"threshold_uncertainty_score":0.11337459},"labels":[],"label_agreement":null},{"id":"W1513976694","doi":"10.22230/cjc.2001v26n3a1243","title":"We Want Some Too: Underground Desire and the Reinvention of Mass Culture","year":2001,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Mass culture; Aesthetics; Sociology; Art; Anthropology","score_opus":0.044897184405504706,"score_gpt":0.22238792715983224,"score_spread":0.17749074275432752,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1513976694","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44332603,0.0034598545,0.0053673917,0.09197504,0.00038771358,0.000026908316,0.00010983573,0.000056620116,0.4552906],"genre_scores_gemma":[0.9934615,0.00023752685,0.00019485524,0.001087031,0.000053686315,0.0000080059035,0.0000080692025,0.00002172593,0.004927737],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99768317,0.0010908728,0.000057818605,0.00020292455,0.0003791054,0.00058603764],"domain_scores_gemma":[0.99293923,0.003295015,0.0010759842,0.00090351974,0.00060681195,0.0011793607],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031110041,0.00019119619,0.00029346038,0.0010690677,0.0060547437,0.010259669,0.0009040715,0.0031350593,0.008345749],"category_scores_gemma":[0.011612775,0.00023362474,0.00027468556,0.001725152,0.035939854,0.010165243,0.0057505653,0.00463269,0.0004985912],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004632713,0.000034115732,0.0029372894,0.00002612914,0.000007971149,0.00014128014,0.06012922,0.00008890557,0.00021463617,0.9225078,0.0032824178,0.010583868],"study_design_scores_gemma":[0.000033606997,0.000051655974,0.008685265,0.00024273885,0.000022978162,0.00026678925,0.12237053,0.0004957661,0.0006656994,0.73911756,0.12798268,0.00006482627],"about_ca_topic_score_codex":0.019880649,"about_ca_topic_score_gemma":0.028585121,"teacher_disagreement_score":0.98011935,"about_ca_system_score_codex":0.0041464623,"about_ca_system_score_gemma":0.004699523,"threshold_uncertainty_score":0.03952986},"labels":[],"label_agreement":null},{"id":"W1515499976","doi":"10.1080/08997764.2012.729544","title":"The Changing Role of Hollywood in the Global Movie Market","year":2012,"lang":"en","type":"article","venue":"Journal of Media Economics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":62,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Calgary","funders":"","keywords":"Hollywood; Box office; Movie theater; Exhibition; Film industry; Market share; Revenue; Domestic market; Economics; Advertising; Market size; Distribution (mathematics); Economy; Business; Commerce; Marketing; International trade; History; Finance; Art history","score_opus":0.018891082645596746,"score_gpt":0.21162912570112374,"score_spread":0.192738043055527,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1515499976","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9624462,0.0010724822,0.00041638082,0.0028618923,0.000019477751,0.0000116320825,0.00018833161,0.000011532617,0.032971907],"genre_scores_gemma":[0.99865156,0.0002646984,0.00007586102,0.00011137521,0.000024727313,0.0000019128709,0.000041658575,0.000006072358,0.0008221755],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994967,0.00012651121,0.000015885296,0.00009480115,0.0000937327,0.00017241511],"domain_scores_gemma":[0.99672514,0.0013724351,0.0009847103,0.00017860421,0.0002731171,0.00046607622],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010867391,0.00018722119,0.00032468248,0.001567717,0.0008210227,0.005371437,0.00045252094,0.0008728281,0.008663986],"category_scores_gemma":[0.0046534794,0.0001730283,0.00022817096,0.0016017397,0.0024257044,0.008983531,0.0011292627,0.0011885987,0.00046010653],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006638673,0.0005403491,0.6412291,0.00030860933,0.00013758955,0.0027426619,0.020623965,0.002413066,0.0046970174,0.22965898,0.010268458,0.08671646],"study_design_scores_gemma":[0.00003849327,0.00018923846,0.8849406,0.00019562966,0.00006930534,0.0005191321,0.048700448,0.0060151904,0.0013972525,0.024307584,0.033522453,0.000104611216],"about_ca_topic_score_codex":0.007998812,"about_ca_topic_score_gemma":0.014659838,"teacher_disagreement_score":0.008663986,"about_ca_system_score_codex":0.0016001269,"about_ca_system_score_gemma":0.00049242075,"threshold_uncertainty_score":0.028983891},"labels":[],"label_agreement":null},{"id":"W1518166901","doi":"","title":"Sexe, drogue et escroquerie. The Wolf of Wall Street de Martin Scorsese, États-Unis, 2013, 179 minThe Wolf of Wall Street de Martin Scorsese, États-Unis, 2013, 179 min","year":2014,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Art","score_opus":0.019867635958072574,"score_gpt":0.23724111815396898,"score_spread":0.21737348219589642,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1518166901","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011098891,0.8064285,0.0002602907,0.07291155,0.016746823,0.000009050386,0.0005118899,0.00004894319,0.10197304],"genre_scores_gemma":[0.0470903,0.3782233,0.0006594382,0.017737418,0.02833156,0.0000729063,0.0005294022,0.00028296947,0.52707267],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992405,0.00030333505,0.00004599862,0.00013089424,0.00018791121,0.00009131278],"domain_scores_gemma":[0.9994042,0.00024204626,0.00007710667,0.000045235527,0.00010872436,0.00012265125],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00091643905,0.0014004243,0.00074794743,0.0018863776,0.002563259,0.0049883956,0.0006905102,0.0029271967,0.033295132],"category_scores_gemma":[0.0022929497,0.0007992145,0.0002900895,0.0023115417,0.0032411737,0.0052345716,0.0021818008,0.0034532282,0.006418504],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034627556,0.00001703358,0.00027241668,0.00019616498,0.0000073461583,0.000048418435,0.0014431445,0.000050424132,0.00007007939,0.047040455,0.9017634,0.04905651],"study_design_scores_gemma":[0.0000034170682,0.0000034486177,0.0011904701,0.00031482213,0.0000019464858,0.0000729404,0.0006718435,0.000022430197,0.000027361624,0.0022238449,0.99546283,0.000004503584],"about_ca_topic_score_codex":0.04022547,"about_ca_topic_score_gemma":0.09880449,"teacher_disagreement_score":0.04022547,"about_ca_system_score_codex":0.0045980737,"about_ca_system_score_gemma":0.0021458114,"threshold_uncertainty_score":0.11138326},"labels":[],"label_agreement":null},{"id":"W1522914077","doi":"","title":"If You're In My Way, I'm Walking (review)","year":2010,"lang":"en","type":"article","venue":"Labour / Le Travail","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Psychology","score_opus":0.019472547075919992,"score_gpt":0.2244994291763881,"score_spread":0.2050268821004681,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1522914077","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00009961408,0.9941859,0.00006774425,0.00334563,0.0010456892,0.00001317506,0.000106187195,0.000005967248,0.0011300254],"genre_scores_gemma":[0.0011996723,0.99456394,0.00017828087,0.0022813096,0.00077508506,0.000023995972,0.00008838353,0.0000036025433,0.00088576047],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990626,0.00028231615,0.0001817873,0.00013041083,0.0002645194,0.00007848659],"domain_scores_gemma":[0.9913908,0.0045385733,0.0013121655,0.00013287646,0.0021185023,0.0005069423],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029212101,0.00061456684,0.0022984575,0.0030905441,0.00045765456,0.0025773835,0.0013212218,0.002082845,0.014580399],"category_scores_gemma":[0.01012816,0.00037521368,0.00096078345,0.004585644,0.0010516294,0.0024745408,0.00090815214,0.0018870034,0.004581467],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000920307,0.00002703613,0.00051758083,0.041198608,0.00044725768,0.00005937201,0.000097293094,0.00006237789,0.00015145727,0.00096883567,0.20920278,0.74717546],"study_design_scores_gemma":[0.00009747915,0.000086360254,0.004866468,0.068288565,0.0010526201,0.00050606177,0.00045582175,0.000028655455,0.00016364043,0.0009968084,0.9234204,0.00003717778],"about_ca_topic_score_codex":0.0067856824,"about_ca_topic_score_gemma":0.025832688,"teacher_disagreement_score":0.014580399,"about_ca_system_score_codex":0.0010282525,"about_ca_system_score_gemma":0.0040117847,"threshold_uncertainty_score":0.04877627},"labels":[],"label_agreement":null},{"id":"W1525406275","doi":"10.1002/9780470671153.wbhaf042","title":"Hollywood Unions and Hollywood Blacklists","year":2011,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Studio; Blacklisting; Alliance; Autonomy; Jurisdiction; Collective bargaining; Political science; Advertising; Media studies; Law; Sociology; Visual arts; Business; History; Art; Art history","score_opus":0.032608521050114324,"score_gpt":0.2047776405522344,"score_spread":0.17216911950212008,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1525406275","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4087356,0.0040956363,0.0006951943,0.022631302,0.00038692888,0.000028956689,0.00019429471,0.00002808391,0.5632041],"genre_scores_gemma":[0.89759636,0.0011816724,0.00011214433,0.0013736647,0.0002298714,0.000012871598,0.00007109473,0.000014014718,0.099408306],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986712,0.00038288155,0.000021335385,0.00010199951,0.0002924742,0.00053010066],"domain_scores_gemma":[0.9954946,0.0015448176,0.0011180306,0.00012697534,0.00049296924,0.0012226716],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001551375,0.00015783413,0.0001615033,0.0017844136,0.0046921973,0.0044154637,0.00050571683,0.0011682983,0.057581477],"category_scores_gemma":[0.0044269003,0.00009746758,0.0000872537,0.0022851513,0.0030332792,0.002556604,0.0018014027,0.00141514,0.001728445],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030150675,0.0005291563,0.094505824,0.00018596706,0.0000173152,0.0007548834,0.03874979,0.0004384829,0.00018711548,0.49889356,0.12929635,0.23614007],"study_design_scores_gemma":[0.000038112936,0.00014987365,0.21590428,0.00089561567,0.000017683877,0.00034004173,0.19673584,0.0009508382,0.00041235326,0.05319369,0.5313136,0.000048083744],"about_ca_topic_score_codex":0.02131191,"about_ca_topic_score_gemma":0.06159452,"teacher_disagreement_score":0.057581477,"about_ca_system_score_codex":0.00341066,"about_ca_system_score_gemma":0.0022009048,"threshold_uncertainty_score":0.19262928},"labels":[],"label_agreement":null},{"id":"W1527252615","doi":"10.1080/14680777.2013.826268","title":"Melodrama and Gendered Mediation","year":2013,"lang":"en","type":"article","venue":"Feminist Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":25,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Mediation; Sociology; Psychology; Social psychology; Political science; Social science","score_opus":0.057391767096685996,"score_gpt":0.24983802703376892,"score_spread":0.19244625993708292,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1527252615","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3924484,0.0031325645,0.005375584,0.01052113,0.00026185738,0.000047669128,0.000085244676,0.00003878989,0.5880888],"genre_scores_gemma":[0.9921942,0.00039862285,0.00024120216,0.00018423442,0.00004959463,0.000018390852,0.000010127338,0.000011469017,0.006892218],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99770325,0.0014734279,0.00003629767,0.00021327405,0.00021913524,0.00035476268],"domain_scores_gemma":[0.99565965,0.003045014,0.0005684857,0.0003277719,0.00017273585,0.00022635303],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024840024,0.00033170843,0.000219427,0.0016272871,0.0034085957,0.006034981,0.0006768942,0.0007952576,0.011212437],"category_scores_gemma":[0.0063367956,0.00021497728,0.00016752571,0.0011086568,0.014469459,0.0038859637,0.004388672,0.0016235111,0.00041846506],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009922575,0.000079184545,0.007123912,0.00012362536,0.000022637389,0.001204488,0.15624858,0.000111077774,0.00091030274,0.80841726,0.0021541072,0.02350556],"study_design_scores_gemma":[0.000050337167,0.00015681717,0.025212845,0.00056550145,0.00004553026,0.0012538891,0.41221842,0.0007522297,0.0033311353,0.26136115,0.29500103,0.000051029663],"about_ca_topic_score_codex":0.0018849093,"about_ca_topic_score_gemma":0.0027391203,"teacher_disagreement_score":0.011212437,"about_ca_system_score_codex":0.002152404,"about_ca_system_score_gemma":0.0008698894,"threshold_uncertainty_score":0.037509322},"labels":[],"label_agreement":null},{"id":"W1527402618","doi":"10.18061/dsq.v34i4.4551","title":"The Giver: Movie Review","year":2014,"lang":"en","type":"article","venue":"Disability Studies Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Lethbridge; McMaster University","funders":"","keywords":"Psychology","score_opus":0.04035157050291343,"score_gpt":0.2735814263463397,"score_spread":0.23322985584342626,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1527402618","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015792027,0.16526972,0.00078755995,0.094363526,0.2768565,0.00072445866,0.015300528,0.00094056356,0.44417796],"genre_scores_gemma":[0.006049013,0.04495001,0.00036072012,0.015945304,0.06564107,0.00021437094,0.004836604,0.00057595706,0.8614269],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998678,0.00022057419,0.00012650383,0.00015698826,0.00065034867,0.00016742147],"domain_scores_gemma":[0.9899921,0.0008508186,0.00086512446,0.00047698454,0.005664875,0.0021500455],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0014433352,0.0009899263,0.0012951024,0.0067809466,0.0013309504,0.0044993837,0.0009978143,0.0023060148,0.44856986],"category_scores_gemma":[0.011322996,0.00039172196,0.0007118569,0.004610879,0.0003894314,0.0025297212,0.0017384611,0.0015528323,0.26434729],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028112261,0.0000060932384,0.000045537847,0.00028816727,0.0000059877125,0.000015945212,0.000004983987,0.0000049346295,0.000060944683,0.00018884744,0.9785624,0.02078796],"study_design_scores_gemma":[0.000009249437,0.000016324973,0.000948894,0.00054938096,0.0000118696735,0.000032546963,0.000028230894,0.000014654909,0.000055730357,0.00014313265,0.99818426,0.0000057331245],"about_ca_topic_score_codex":0.0039755483,"about_ca_topic_score_gemma":0.011688156,"teacher_disagreement_score":0.44856986,"about_ca_system_score_codex":0.001639187,"about_ca_system_score_gemma":0.0026051535,"threshold_uncertainty_score":0.78654814},"labels":[],"label_agreement":null},{"id":"W1529933412","doi":"10.1002/aps.1350","title":"Catherine Breillat's “<i>Tapage nocturne</i>”","year":2013,"lang":"en","type":"article","venue":"International Journal of Applied Psychoanalytic Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Pleasure; Subversion; Praise; Ideology; Psychoanalysis; Sociology; Feminist theory; Gender studies; Value (mathematics); Sign (mathematics); Psychology; Aesthetics; Feminism; Art; Social psychology; Law","score_opus":0.03657673715774905,"score_gpt":0.2790788178030458,"score_spread":0.2425020806452967,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1529933412","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06022847,0.025129102,0.0047609624,0.2370885,0.010669084,0.00009108757,0.00022161116,0.0007104649,0.6611008],"genre_scores_gemma":[0.60759825,0.006143984,0.0022822195,0.027542919,0.0015923603,0.000072097384,0.00006127374,0.0005452641,0.35416165],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99882966,0.00071157573,0.00001542897,0.0001345729,0.00018141088,0.00012724022],"domain_scores_gemma":[0.9990816,0.00037768637,0.000088718225,0.00006354219,0.00021395767,0.00017448483],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009582087,0.00055302813,0.000218439,0.0005455964,0.007004124,0.0036914481,0.00047859256,0.0017579375,0.011853718],"category_scores_gemma":[0.0030321274,0.00019501869,0.00020009931,0.00019572563,0.00415744,0.0024645657,0.0015255511,0.0031934087,0.0020164703],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015051437,0.00003358417,0.0019415173,0.00025802737,0.000018302493,0.0014294086,0.09887914,0.0001399514,0.0038936203,0.112137675,0.7278276,0.05329062],"study_design_scores_gemma":[0.0000020862553,0.000022426899,0.00092529634,0.00014574749,0.0000030148071,0.0005604862,0.013184587,0.000062400766,0.0006813335,0.0007964281,0.9836007,0.000015665446],"about_ca_topic_score_codex":0.041113984,"about_ca_topic_score_gemma":0.060101897,"teacher_disagreement_score":0.041113984,"about_ca_system_score_codex":0.002936677,"about_ca_system_score_gemma":0.00085792603,"threshold_uncertainty_score":0.08174932},"labels":[],"label_agreement":null},{"id":"W1530268655","doi":"","title":"Pierre Pageau. Les Salles de cinéma au Québec, 1896-2008.","year":2013,"lang":"fr","type":"article","venue":"Material Culture Review / Revue de la culture matérielle","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Université Laval","funders":"","keywords":"Art","score_opus":0.01578599881857576,"score_gpt":0.22547594363688808,"score_spread":0.20968994481831232,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1530268655","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005028692,0.80407923,0.0009426667,0.040491275,0.0068518585,0.000048625847,0.0046376414,0.00018449346,0.13773556],"genre_scores_gemma":[0.1381694,0.29463834,0.0016135694,0.00428329,0.0016905043,0.00010054291,0.0016448641,0.00016158863,0.55769783],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991875,0.00014220166,0.000037795104,0.00010381782,0.00037278538,0.00015583073],"domain_scores_gemma":[0.9986203,0.00019932642,0.000092618255,0.000039381608,0.0008673059,0.00018106832],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007583827,0.0009243966,0.00041724535,0.004384965,0.0042829216,0.002820941,0.0007273805,0.0015959198,0.051514957],"category_scores_gemma":[0.0022401912,0.00040800346,0.00036286257,0.005022999,0.0017615745,0.0026458749,0.00083128776,0.0018829143,0.0053653824],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006992125,0.000029765257,0.0026021828,0.00062164577,0.000020869244,0.00022858681,0.004289677,0.00021198322,0.00024484945,0.030351566,0.78687644,0.17445253],"study_design_scores_gemma":[0.0000050163944,0.000005753195,0.011045488,0.00049588433,0.000006781714,0.000079182035,0.001145082,0.00006278538,0.00014748538,0.0008107845,0.9861811,0.000014707307],"about_ca_topic_score_codex":0.96032536,"about_ca_topic_score_gemma":0.9780343,"teacher_disagreement_score":0.051514957,"about_ca_system_score_codex":0.030165443,"about_ca_system_score_gemma":0.01710979,"threshold_uncertainty_score":0.21886665},"labels":[],"label_agreement":null},{"id":"W1530566364","doi":"10.3366/film.2006.0028","title":"Intrusion of the Real: Interview with Sophie Fiennes, Director, <i>The Pervert's Guide to Cinema</i>","year":2006,"lang":"en","type":"article","venue":"Film-Philosophy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Movie theater; Intrusion; Art history; Media studies; Management; Art; Sociology; Geology; Economics","score_opus":0.022536211964087186,"score_gpt":0.21383195849905867,"score_spread":0.1912957465349715,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1530566364","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023224209,0.012975561,0.0006468663,0.90654635,0.0075850016,0.00010106736,0.0002441343,0.000080412334,0.04859638],"genre_scores_gemma":[0.2646444,0.013963424,0.00093834,0.5693962,0.004054754,0.00046396654,0.00018781355,0.00032366771,0.14602752],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975769,0.0013617694,0.00007503136,0.00021408392,0.00027040349,0.0005017666],"domain_scores_gemma":[0.99497366,0.002033775,0.00036633952,0.00007486619,0.00075920706,0.0017921432],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0040883454,0.0005209255,0.0005869312,0.0009533614,0.020580422,0.0058237268,0.001359164,0.0074728606,0.007984028],"category_scores_gemma":[0.011478776,0.0011483894,0.00036991976,0.0006978615,0.0057765073,0.00807368,0.0041009886,0.020061597,0.0016871312],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023729019,0.000037852064,0.0010681655,0.00011119114,0.0000064822125,0.0009583013,0.23433344,0.00005024109,0.00044668885,0.006042185,0.74951035,0.007411431],"study_design_scores_gemma":[0.0000037590519,0.000016087144,0.0019014529,0.0002266362,0.00000379973,0.0004766459,0.3045878,0.0000347593,0.00016793766,0.0004986781,0.69205564,0.000026769454],"about_ca_topic_score_codex":0.09237683,"about_ca_topic_score_gemma":0.16469082,"teacher_disagreement_score":0.09237683,"about_ca_system_score_codex":0.007675555,"about_ca_system_score_gemma":0.007722731,"threshold_uncertainty_score":0.18367827},"labels":[],"label_agreement":null},{"id":"W1532529471","doi":"10.7202/045143ar","title":"De l’« opéra de l’oeil » aux « films à sensation » : musique et théâtralité aux sources de l’horreur cinématographique","year":2011,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.07392584871029036,"score_gpt":0.2654634229749916,"score_spread":0.19153757426470125,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1532529471","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11291745,0.011558508,0.009728315,0.018889885,0.0014155804,0.00004870991,0.00010234841,0.00009568203,0.8452435],"genre_scores_gemma":[0.865042,0.0037745999,0.0016395513,0.0012468777,0.000746841,0.000047878963,0.000048057096,0.00015810481,0.12729624],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99881774,0.0006282197,0.00002236315,0.00014642697,0.0002228864,0.00016231187],"domain_scores_gemma":[0.9986124,0.0008293868,0.00011825182,0.0001256546,0.0001646631,0.00014974113],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015763667,0.00046346293,0.00024768303,0.001139153,0.0037734606,0.0097284345,0.00072579103,0.0012548418,0.010258144],"category_scores_gemma":[0.0029716515,0.0002525012,0.0002506834,0.00090664823,0.009846266,0.004416321,0.0030942746,0.0034183073,0.00092745514],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008433215,0.000019471529,0.000858038,0.00019232817,0.000008339715,0.00033687835,0.17109303,0.00008014059,0.0017919855,0.7868205,0.009996351,0.028718537],"study_design_scores_gemma":[0.000023570235,0.000058265177,0.0050673345,0.0005727994,0.000019052277,0.0005681999,0.06976359,0.00032345887,0.0016999136,0.039156273,0.88271785,0.000029674797],"about_ca_topic_score_codex":0.0073944204,"about_ca_topic_score_gemma":0.010843047,"teacher_disagreement_score":0.010258144,"about_ca_system_score_codex":0.0035356362,"about_ca_system_score_gemma":0.0017255939,"threshold_uncertainty_score":0.034316897},"labels":[],"label_agreement":null},{"id":"W1533277214","doi":"10.21083/csieci.v7i1.1408","title":"Improvisation and Staging in Documentary Films","year":2011,"lang":"en","type":"article","venue":"Critical Studies in Improvisation / Études critiques en improvisation","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Improvisation; Documentary film; Perspective (graphical); Movie theater; Action (physics); Art; Visual arts; Art history","score_opus":0.12414157677654215,"score_gpt":0.3380812893286008,"score_spread":0.21393971255205868,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1533277214","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36009195,0.007060453,0.01703242,0.0091203125,0.0003275025,0.0000979099,0.00007449807,0.000048404432,0.6061465],"genre_scores_gemma":[0.981871,0.00102578,0.0014609183,0.0002038016,0.00008231251,0.00003120791,0.000023462955,0.000025918596,0.015275619],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99710006,0.002007203,0.000082087434,0.00022226876,0.00032819726,0.00026008015],"domain_scores_gemma":[0.99170774,0.0061984737,0.000882933,0.0005288232,0.0004171961,0.00026475158],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024816687,0.000434743,0.00019353694,0.0012210994,0.0043392247,0.0067157936,0.00074635755,0.0015392349,0.006744408],"category_scores_gemma":[0.011450717,0.00018593036,0.00018628099,0.0012229407,0.014223401,0.004825344,0.0031443213,0.0020055338,0.00035706646],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007767153,0.00003921783,0.0018976139,0.00022938201,0.000008110897,0.00051788555,0.23848478,0.0002790405,0.0013759088,0.7243983,0.0027635894,0.029928401],"study_design_scores_gemma":[0.00005641717,0.00023339773,0.016816666,0.0021877035,0.000036559617,0.001605365,0.29636016,0.0017940749,0.005169267,0.22241509,0.45324957,0.00007569891],"about_ca_topic_score_codex":0.004367003,"about_ca_topic_score_gemma":0.006589934,"teacher_disagreement_score":0.006744408,"about_ca_system_score_codex":0.0035505753,"about_ca_system_score_gemma":0.0011609874,"threshold_uncertainty_score":0.025761366},"labels":[],"label_agreement":null},{"id":"W1533794088","doi":"10.7202/1121000ar","title":"Social Justice, Artistic Practice and New Technologies: Gender and Disability Activisms and Identities in Film and Digital Video","year":2008,"lang":"en","type":"article","venue":"Atlantis Critical Studies in Gender Culture & Social Justice","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Trilogy; Sociology; Humanities; Art; Feminism; Gender studies; Cultural studies; Economic Justice; Aesthetics; Art history; Anthropology; Political science; Law","score_opus":0.10516155824638797,"score_gpt":0.3411458093378802,"score_spread":0.23598425109149224,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1533794088","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5190026,0.0150107425,0.004004204,0.055387836,0.00060484925,0.000059691378,0.000056544097,0.000026052374,0.40584743],"genre_scores_gemma":[0.9885854,0.0021958034,0.0003173683,0.00080712605,0.00011520789,0.000022904276,0.0000063425946,0.000015849146,0.007933861],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9962872,0.002656991,0.00007603474,0.00019987718,0.00039223352,0.00038758107],"domain_scores_gemma":[0.99391925,0.004762424,0.00044816342,0.00023878604,0.00021908019,0.00041236382],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004546729,0.00047932463,0.00027213542,0.0030917577,0.012345655,0.015101224,0.00083869,0.0022185103,0.006153368],"category_scores_gemma":[0.008795132,0.00020424735,0.00018788107,0.0017754271,0.031684477,0.00935084,0.0071186544,0.0027503895,0.00030173993],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032003543,0.00005604918,0.0021648633,0.00011704144,0.00000530603,0.00046384914,0.7831675,0.000036659225,0.0004353337,0.18368867,0.0026008328,0.027231878],"study_design_scores_gemma":[0.000010334427,0.00004865229,0.0051730764,0.00054958195,0.000008427389,0.0005102438,0.84523064,0.0001477965,0.00061258255,0.030958038,0.116732,0.000018600143],"about_ca_topic_score_codex":0.0050782394,"about_ca_topic_score_gemma":0.009313615,"teacher_disagreement_score":0.015101224,"about_ca_system_score_codex":0.0032263922,"about_ca_system_score_gemma":0.0018112503,"threshold_uncertainty_score":0.024045706},"labels":[],"label_agreement":null},{"id":"W1533875788","doi":"","title":"La dépression se pare de Chanel. Blue Jasmine de Woody Allen, États-Unis, 2013, 99 minBlue Jasmine de Woody Allen, États-Unis, 2013, 99 min","year":2013,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Forestry; Geography","score_opus":0.02689253231792232,"score_gpt":0.24731466062114,"score_spread":0.22042212830321767,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1533875788","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014870325,0.13150826,0.00048945437,0.55805415,0.11150531,0.000033364966,0.0010949126,0.00026524786,0.19556232],"genre_scores_gemma":[0.012982906,0.042988487,0.0004052761,0.054563425,0.026604982,0.00005513424,0.00039921099,0.00025012737,0.8617504],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994646,0.00012752356,0.00002534601,0.0001305569,0.00016421263,0.00008773999],"domain_scores_gemma":[0.99876815,0.0002640571,0.000089495,0.000052723404,0.00040968426,0.0004158193],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009384244,0.0007418031,0.0004566161,0.0005539131,0.0027829541,0.0042273263,0.0004971481,0.003092594,0.11876624],"category_scores_gemma":[0.003630399,0.0003580606,0.000257509,0.00056502066,0.000704446,0.0032997583,0.0018515246,0.0053223106,0.043824717],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012566179,0.0000062990875,0.00008530817,0.00002513568,0.0000016077486,0.00001720152,0.00007183676,0.000005647139,0.000047996607,0.0024744456,0.9826979,0.014554022],"study_design_scores_gemma":[0.000003928111,0.0000065714,0.00073507,0.00008742635,0.000001504427,0.00004024495,0.00018543194,0.000017858249,0.000044926557,0.0006831852,0.99818915,0.0000047882827],"about_ca_topic_score_codex":0.007635353,"about_ca_topic_score_gemma":0.026059853,"teacher_disagreement_score":0.11876624,"about_ca_system_score_codex":0.0020321887,"about_ca_system_score_gemma":0.0013621451,"threshold_uncertainty_score":0.3973127},"labels":[],"label_agreement":null},{"id":"W1538356217","doi":"10.7202/029501ar","title":"Le dernier des discrets","year":2009,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.03312472829887667,"score_gpt":0.23699545496623378,"score_spread":0.20387072666735712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1538356217","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011325591,0.115499444,0.016128054,0.26030457,0.075499564,0.00007620101,0.0007284821,0.00041453977,0.5200236],"genre_scores_gemma":[0.20141074,0.05462143,0.009125855,0.048877,0.03557922,0.00019065503,0.0005863405,0.0008991305,0.6487096],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99633116,0.0015372304,0.000098962824,0.0007826682,0.0008896747,0.00036026724],"domain_scores_gemma":[0.9953243,0.0018603129,0.00025528774,0.0005650652,0.0013567244,0.0006383827],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028496156,0.00087147276,0.0005998788,0.0018118789,0.0043676435,0.008613321,0.0013665817,0.0029161286,0.040529594],"category_scores_gemma":[0.011066095,0.00036341613,0.0005766312,0.0013904573,0.007331546,0.0070331087,0.003692539,0.006748076,0.0060949763],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006714416,0.000021870002,0.00064927427,0.00022742082,0.000015946705,0.00025015528,0.0064028082,0.00014850668,0.00065216055,0.5841503,0.3499366,0.057477746],"study_design_scores_gemma":[0.0000033181868,0.000007448071,0.00032890725,0.000147429,0.0000026356176,0.00014714905,0.0008871304,0.00008001278,0.00014174754,0.00884501,0.9894009,0.000008206391],"about_ca_topic_score_codex":0.024330398,"about_ca_topic_score_gemma":0.030481521,"teacher_disagreement_score":0.040529594,"about_ca_system_score_codex":0.007906708,"about_ca_system_score_gemma":0.004007641,"threshold_uncertainty_score":0.13558495},"labels":[],"label_agreement":null},{"id":"W1540084702","doi":"","title":"Le héros en soi : pouvoir et cinéma","year":2008,"lang":"fr","type":"article","venue":"Commposite","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Art; Movie theater; Art history","score_opus":0.027946564050367984,"score_gpt":0.22281997990986213,"score_spread":0.19487341585949414,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1540084702","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18990642,0.0151632065,0.0038701314,0.02475989,0.0013773477,0.00003780274,0.0000959237,0.00010470352,0.7646845],"genre_scores_gemma":[0.9149189,0.0045142216,0.0006450442,0.00067634357,0.0003125212,0.000023881516,0.000028302993,0.000060611816,0.078820154],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9991026,0.0005724227,0.00001124744,0.00007358128,0.00011618109,0.00012416078],"domain_scores_gemma":[0.9993734,0.0002622575,0.000088107525,0.000031330645,0.000074788506,0.00017004872],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010288963,0.00043218982,0.00021083622,0.00076738675,0.0064478368,0.0066488143,0.000351168,0.0009854715,0.006252685],"category_scores_gemma":[0.0013959489,0.00013890116,0.00012512258,0.0006982633,0.008651512,0.0033953066,0.0023078553,0.0022150795,0.00044609696],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046004887,0.00001932777,0.0013746755,0.000118702104,0.000004103485,0.00039883098,0.5570316,0.00006870723,0.0009933157,0.40357426,0.018039007,0.018331481],"study_design_scores_gemma":[0.0000062812223,0.000045130062,0.002762276,0.00027478812,0.00000629639,0.00049489323,0.17925233,0.00014515934,0.0003793903,0.0097930245,0.80682635,0.000014095346],"about_ca_topic_score_codex":0.01162314,"about_ca_topic_score_gemma":0.01853397,"teacher_disagreement_score":0.01162314,"about_ca_system_score_codex":0.0034404458,"about_ca_system_score_gemma":0.0013201458,"threshold_uncertainty_score":0.024962246},"labels":[],"label_agreement":null},{"id":"W1541129569","doi":"10.1215/9780822380948","title":"The Fruit Machine: Twenty Years of Writings on Queer Cinema","year":2000,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":53,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Movie theater; Art history; Art; Hollywood; Biography; Wife; Closet; White (mutation); History; Sociology; Gender studies; Philosophy; Theology","score_opus":0.01875649619180393,"score_gpt":0.21233532564183422,"score_spread":0.1935788294500303,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1541129569","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016874699,0.3729943,0.0055409134,0.13546778,0.03092674,0.000074282,0.00051438354,0.00034539544,0.4372615],"genre_scores_gemma":[0.36078775,0.29348978,0.0046422915,0.031116486,0.049204335,0.00023325624,0.0006389022,0.0010437497,0.25884348],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979784,0.0010783573,0.000081543614,0.00020653341,0.0004891003,0.00016618137],"domain_scores_gemma":[0.9897301,0.0077226562,0.00037272414,0.00044625983,0.0011314432,0.00059682946],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031045808,0.00076219434,0.0004491891,0.0050724293,0.00794606,0.008634552,0.000852215,0.0015786137,0.013612811],"category_scores_gemma":[0.009901634,0.0003006972,0.00025930358,0.0032761558,0.010985673,0.007419722,0.0024582632,0.0040510623,0.0017042324],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000070357026,0.000036156234,0.00050408393,0.0005343581,0.000024116871,0.000454595,0.12561564,0.0001442819,0.00065198075,0.30579662,0.45280766,0.11336006],"study_design_scores_gemma":[0.0000019348308,0.00000782643,0.00036891643,0.000661025,0.0000039517627,0.00006709113,0.008496949,0.000048412214,0.00013049974,0.0049738525,0.9852293,0.000010291819],"about_ca_topic_score_codex":0.0132847605,"about_ca_topic_score_gemma":0.026799006,"teacher_disagreement_score":0.013612811,"about_ca_system_score_codex":0.005713628,"about_ca_system_score_gemma":0.0027603684,"threshold_uncertainty_score":0.04553938},"labels":[],"label_agreement":null},{"id":"W1541650458","doi":"10.5860/choice.38-2060","title":"John Grierson: life, contributions, influence","year":2000,"lang":"en","type":"article","venue":"Choice Reviews Online","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":15,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Empire; Subject (documents); History; Media studies; Movie theater; Art history; Sociology; Law; Political science","score_opus":0.038741153179487245,"score_gpt":0.28632938506017014,"score_spread":0.2475882318806829,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1541650458","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0035780028,0.11249492,0.00030915593,0.494555,0.064571,0.000035384037,0.000094738854,0.00013392429,0.32422796],"genre_scores_gemma":[0.05842386,0.03801145,0.0004209674,0.14578094,0.025202997,0.00007950882,0.00007380257,0.0002531742,0.73175335],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9946554,0.0016855451,0.00010031028,0.00058883085,0.002302828,0.0006672086],"domain_scores_gemma":[0.9913635,0.0012300104,0.00039743638,0.00032565126,0.0017084855,0.004974858],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0041351286,0.0008131074,0.00074713177,0.0015270384,0.015588755,0.013897372,0.0013891509,0.003505312,0.02764629],"category_scores_gemma":[0.014442795,0.0005005601,0.00021967715,0.0014137507,0.0077887382,0.0057977065,0.0078716595,0.00921528,0.013347555],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005629948,0.000022911236,0.00013863941,0.000028481942,0.0000019578142,0.000112220965,0.003824369,0.0000073312976,0.000043753786,0.011903158,0.97141033,0.012501283],"study_design_scores_gemma":[7.7114186e-7,0.000002149897,0.00009396353,0.000042841664,4.3242412e-7,0.00006852369,0.0012666455,0.0000036100544,0.000010384099,0.0005232861,0.9979843,0.0000031069844],"about_ca_topic_score_codex":0.02702736,"about_ca_topic_score_gemma":0.04275717,"teacher_disagreement_score":0.02764629,"about_ca_system_score_codex":0.006368291,"about_ca_system_score_gemma":0.0069532976,"threshold_uncertainty_score":0.09248608},"labels":[],"label_agreement":null},{"id":"W1541911342","doi":"","title":"Censorship and the Content of Nigerian Video Films","year":2007,"lang":"en","type":"article","venue":"Postcolonial text","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Censorship; State (computer science); Film industry; Politics; Movie theater; Statutory law; Sociology; Law; Media studies; Advertising; Political science; Literature; Art; Business; Computer science","score_opus":0.04082976450402536,"score_gpt":0.23557456385960035,"score_spread":0.19474479935557498,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1541911342","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9597887,0.0015797609,0.00037623892,0.00092687923,0.00007192049,0.000025243578,0.00009560211,0.000010195613,0.037125334],"genre_scores_gemma":[0.99765706,0.0005221613,0.00013149694,0.000047797894,0.00004030679,0.0000066976413,0.000026189462,0.000007132417,0.0015610444],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988558,0.0006066353,0.000065190456,0.00009498906,0.00027360022,0.00010377376],"domain_scores_gemma":[0.99016786,0.005973227,0.0022652664,0.00033629712,0.0009584225,0.00029889727],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012619284,0.00017771956,0.00014788457,0.0014466736,0.003155608,0.004726256,0.0002768177,0.0007319768,0.0032946686],"category_scores_gemma":[0.012119598,0.00016680334,0.00009124681,0.0013227989,0.002457375,0.0020659163,0.001394164,0.0012158423,0.00019287117],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031193273,0.000099993165,0.06364808,0.00032746655,0.000044797693,0.0027042464,0.85093516,0.00019948318,0.00588385,0.015043694,0.0030028005,0.05779861],"study_design_scores_gemma":[0.000016360318,0.000118855125,0.32557,0.0011572198,0.000059390368,0.0019567169,0.57493126,0.0006099905,0.0029307092,0.003421355,0.08916133,0.00006685862],"about_ca_topic_score_codex":0.0056421063,"about_ca_topic_score_gemma":0.008889679,"teacher_disagreement_score":0.0056421063,"about_ca_system_score_codex":0.001958942,"about_ca_system_score_gemma":0.0005514286,"threshold_uncertainty_score":0.014213145},"labels":[],"label_agreement":null},{"id":"W1546622028","doi":"","title":"Women Filmmakers: Refocusing","year":2004,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Male gaze; Feminism; White (mutation); Sociology; Media studies; Film theory; Feminist theory; Gender studies; Art history; History","score_opus":0.06413520673310114,"score_gpt":0.23605775811355503,"score_spread":0.1719225513804539,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1546622028","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021300947,0.3207244,0.0039648577,0.15423734,0.011428421,0.00016363346,0.00010815749,0.00049472105,0.48757756],"genre_scores_gemma":[0.26609212,0.21117404,0.005593345,0.019759338,0.0045524104,0.00019558443,0.00029199876,0.00071567675,0.49162546],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977696,0.0011344686,0.000058978254,0.00017346912,0.0005679264,0.0002955312],"domain_scores_gemma":[0.9976628,0.0008897643,0.00017183046,0.000109557375,0.0005790651,0.000586948],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003017159,0.0006959116,0.00040235018,0.0017589477,0.0057285056,0.009977064,0.0013071396,0.0022443177,0.017173393],"category_scores_gemma":[0.0063315104,0.00041876492,0.00026372616,0.0022251636,0.0037797599,0.008359082,0.0042497152,0.0032892115,0.003347172],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022658578,0.00005942299,0.00049454626,0.0005180893,0.000007794556,0.00038009632,0.14690287,0.00004133687,0.00045021696,0.04485866,0.45076457,0.35549977],"study_design_scores_gemma":[0.0000037741177,0.00001361721,0.0004428461,0.00045604704,0.0000038139658,0.00018719639,0.032775678,0.000022923852,0.00012731107,0.0030933393,0.962867,0.0000065247796],"about_ca_topic_score_codex":0.021706672,"about_ca_topic_score_gemma":0.024828915,"teacher_disagreement_score":0.021706672,"about_ca_system_score_codex":0.0046966714,"about_ca_system_score_gemma":0.0051922714,"threshold_uncertainty_score":0.057450652},"labels":[],"label_agreement":null},{"id":"W154664496","doi":"","title":"Un plaisant déjà vu. Dark Shadows de Tim Burton, États-Unis, 2012, 113 minDark Shadows de Tim Burton, États-Unis, 2012, 113 min","year":2012,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Art","score_opus":0.021277714418400654,"score_gpt":0.24027002799508484,"score_spread":0.2189923135766842,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W154664496","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008217482,0.20085968,0.0003839704,0.7131974,0.043811925,0.000011067341,0.00039440603,0.00007763908,0.040442206],"genre_scores_gemma":[0.035307307,0.09358345,0.00104122,0.26547563,0.05748904,0.00010247613,0.00037403256,0.00050426304,0.5461226],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974305,0.0011908546,0.00009787718,0.00037855783,0.0005863906,0.000315746],"domain_scores_gemma":[0.9958475,0.0017555553,0.00031436133,0.00024101311,0.001068381,0.0007731316],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027628317,0.0010328725,0.0009370659,0.0013235518,0.0073176506,0.010945305,0.0011048955,0.008669316,0.037770268],"category_scores_gemma":[0.010645367,0.000706384,0.000416701,0.0015924141,0.0037107542,0.011496135,0.0042475667,0.011504299,0.01428981],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015163053,0.0000067129954,0.00007373884,0.000051362276,0.0000021384647,0.000019161405,0.0006685256,0.000009304885,0.000035953548,0.012985904,0.9767879,0.009344141],"study_design_scores_gemma":[0.000004524085,0.0000035952728,0.00041178754,0.00019444065,0.000002226409,0.00003785139,0.001137766,0.000023715138,0.000036648886,0.003240378,0.9948966,0.00001046124],"about_ca_topic_score_codex":0.018343462,"about_ca_topic_score_gemma":0.04302136,"teacher_disagreement_score":0.037770268,"about_ca_system_score_codex":0.0048805494,"about_ca_system_score_gemma":0.0034923258,"threshold_uncertainty_score":0.12635416},"labels":[],"label_agreement":null},{"id":"W1546876952","doi":"10.7135/upo9780857288240.001","title":"Introduction","year":2011,"lang":"en","type":"book-chapter","venue":"Anthem Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Art; Film director; Mainstream; Visual arts; Newspaper; Entertainment; Movie theater; Criticism; Media studies; Performance art; Visitor pattern; Art history; Sociology; Literature; Political science; Law","score_opus":0.07127880519744086,"score_gpt":0.21011127274508135,"score_spread":0.1388324675476405,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1546876952","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016551246,0.0055871727,0.0044070324,0.014776851,0.013847092,0.00029152396,0.0042937095,0.0014331656,0.95370835],"genre_scores_gemma":[0.010289278,0.004375112,0.0028810368,0.007058087,0.0026347796,0.000229891,0.0048405146,0.00061423937,0.967077],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99786913,0.0002590423,0.00012675166,0.0005532158,0.0009183262,0.00027344073],"domain_scores_gemma":[0.99755126,0.00027726826,0.00010153854,0.0003257154,0.0011826487,0.0005615168],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0013844926,0.0009301525,0.0007288741,0.0015688639,0.0025119628,0.0069891363,0.002273929,0.003470435,0.5731809],"category_scores_gemma":[0.0057479595,0.0003773984,0.0007932172,0.0015142579,0.0010250567,0.004347473,0.004224495,0.0026891513,0.38989678],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000071151226,0.000065095315,0.00061826134,0.000324375,0.000007972614,0.00028866663,0.00042737176,0.0001052701,0.0004129056,0.028988075,0.814329,0.15436177],"study_design_scores_gemma":[0.000003905977,0.000012358762,0.00025704465,0.00011838998,0.0000017638406,0.00014107616,0.00012949383,0.000024318251,0.0000697925,0.0022636675,0.9969733,0.000004876106],"about_ca_topic_score_codex":0.00434891,"about_ca_topic_score_gemma":0.0047113183,"teacher_disagreement_score":0.4268191,"about_ca_system_score_codex":0.0026762902,"about_ca_system_score_gemma":0.004623962,"threshold_uncertainty_score":0.6088056},"labels":[],"label_agreement":null},{"id":"W1547297592","doi":"10.1080/14714780903512072","title":"<i>Black Britain: A Photographic History</i>by Paul Gilroy<i>The Ghosts of Songs: The Film Art of the Black Audio Film Collective</i>, edited by Kodwo Eshun and Anjalika Sagar<i>Exiles, Diasporas and Strangers</i>, edited by Kobena Mercer","year":2010,"lang":"en","type":"article","venue":"Visual Culture in Britain","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Art history; Jungle; Art; Performance art; History","score_opus":0.009156813725674617,"score_gpt":0.2055905731313145,"score_spread":0.1964337594056399,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1547297592","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0046566185,0.766131,0.000505751,0.06835969,0.020456135,0.000043939548,0.00028046785,0.000043794425,0.13952261],"genre_scores_gemma":[0.11274178,0.47189322,0.0015621396,0.016407453,0.017333187,0.00009434151,0.00040153455,0.00028808144,0.3792783],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999388,0.000275998,0.00001948099,0.00007113412,0.00017501037,0.00007033986],"domain_scores_gemma":[0.9993394,0.00022024401,0.00006852923,0.000039082843,0.00018905419,0.00014370942],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00097339303,0.0010843767,0.00038993417,0.0030427882,0.0040282896,0.0051578195,0.0006654467,0.0013544892,0.025750808],"category_scores_gemma":[0.0015109939,0.0004844779,0.00030730327,0.0031271144,0.0029210951,0.0035792412,0.0019442387,0.002673924,0.005451017],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003254159,0.000019819789,0.000248413,0.00045485198,0.000009221085,0.000110621,0.010608471,0.000028001714,0.00032796696,0.01690645,0.9157992,0.055454455],"study_design_scores_gemma":[0.0000015045779,0.0000054036263,0.0011058023,0.00045366088,0.0000021705257,0.000082904444,0.0030357116,0.000010793765,0.000082218336,0.00065301626,0.9945623,0.000004522828],"about_ca_topic_score_codex":0.038674604,"about_ca_topic_score_gemma":0.09007568,"teacher_disagreement_score":0.038674604,"about_ca_system_score_codex":0.0039024893,"about_ca_system_score_gemma":0.0017942856,"threshold_uncertainty_score":0.08614504},"labels":[],"label_agreement":null},{"id":"W1548574106","doi":"10.1002/9781444396416.ch15","title":"The Social Biograph: Newspapers as Archives of the Regional Mass Market for Movies","year":2011,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Newspaper; Typology; Modernity; Media studies; Political science; Sociology; Law; Anthropology","score_opus":0.035514314031692154,"score_gpt":0.22333704256111922,"score_spread":0.18782272852942705,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1548574106","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021665541,0.021032637,0.0021630607,0.019820066,0.0026781552,0.00009313288,0.021513596,0.0002633356,0.9107705],"genre_scores_gemma":[0.29144403,0.03822118,0.0054271244,0.0031395354,0.0070518497,0.00024198301,0.019341683,0.0011320601,0.6340005],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937755,0.0002709004,0.00003752214,0.00006346894,0.00020095066,0.00004959824],"domain_scores_gemma":[0.9961689,0.0018441255,0.0005419033,0.00033049175,0.0008294632,0.0002851374],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00086955883,0.0003812601,0.00019456197,0.010401666,0.0019455762,0.0065779607,0.0005919834,0.00076488365,0.049028695],"category_scores_gemma":[0.003928738,0.00020784386,0.00018023238,0.018768055,0.001004972,0.0057228836,0.0011343721,0.00076225935,0.0064298566],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000076973796,0.000038250062,0.012033852,0.00083520607,0.000023936824,0.00018558587,0.016987741,0.0002319226,0.00041292663,0.18933545,0.64510477,0.13473333],"study_design_scores_gemma":[0.0000036820275,0.0000053655604,0.02259055,0.00040327685,0.000017322125,0.00011764877,0.010013759,0.00014146019,0.00023081481,0.0042010536,0.9622629,0.000012144336],"about_ca_topic_score_codex":0.02785742,"about_ca_topic_score_gemma":0.056557894,"teacher_disagreement_score":0.049028695,"about_ca_system_score_codex":0.002778535,"about_ca_system_score_gemma":0.0016553568,"threshold_uncertainty_score":0.16401732},"labels":[],"label_agreement":null},{"id":"W1549127849","doi":"","title":"When and Where I Enter:: History, Film, and Memory","year":2012,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of King's College","funders":"","keywords":"History","score_opus":0.010853207282654298,"score_gpt":0.14018835787799386,"score_spread":0.12933515059533957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1549127849","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5151016,0.034822732,0.0010554314,0.090529986,0.00095691986,0.000049567214,0.0027253716,0.00007472401,0.3546836],"genre_scores_gemma":[0.95224595,0.005287702,0.00017874627,0.0013985197,0.00038087688,0.000010209925,0.00027608647,0.000048777816,0.0401732],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995697,0.0001263961,0.000012081551,0.0000611757,0.000064492386,0.00016625883],"domain_scores_gemma":[0.99650735,0.0012021248,0.00064526167,0.0001019345,0.00041884038,0.0011244585],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00096021104,0.00024375593,0.00034729167,0.0010264062,0.0025292377,0.011215434,0.0008879907,0.0016056608,0.040501956],"category_scores_gemma":[0.010140161,0.00026496567,0.00014786566,0.0020680341,0.0020366702,0.0059017963,0.0016697239,0.002024623,0.0021758396],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0014685873,0.0009364111,0.24209838,0.0008549451,0.0002863092,0.0029991197,0.13222279,0.000676766,0.0013527751,0.14723773,0.18407154,0.2857946],"study_design_scores_gemma":[0.00010135747,0.00015108458,0.47693735,0.0017771063,0.000334966,0.0008708125,0.16807494,0.0006489523,0.0010751438,0.04463744,0.30520552,0.00018532695],"about_ca_topic_score_codex":0.20310055,"about_ca_topic_score_gemma":0.29730088,"teacher_disagreement_score":0.20310055,"about_ca_system_score_codex":0.0041856235,"about_ca_system_score_gemma":0.002898634,"threshold_uncertainty_score":0.4038368},"labels":[],"label_agreement":null},{"id":"W1556767013","doi":"","title":"In the Face of Difference: Molineux, Cribb, and the Violence of the Fancy (abstract)","year":2013,"lang":"en","type":"article","venue":"Indiana Magazine of History (Indiana University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Face (sociological concept); Linguistics; Philosophy","score_opus":0.016810980611882236,"score_gpt":0.17155881809533288,"score_spread":0.15474783748345064,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1556767013","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.071779236,0.09627449,0.0013498289,0.50098026,0.026715692,0.00004650033,0.00009295858,0.00016266051,0.30259833],"genre_scores_gemma":[0.8034565,0.019118555,0.0006508794,0.03206907,0.017101975,0.0000915376,0.000034256125,0.00020709171,0.12727012],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99864334,0.00082639285,0.000022031689,0.00015767614,0.00020621899,0.00014440226],"domain_scores_gemma":[0.99782807,0.0015107209,0.00015316297,0.000061934385,0.00019753508,0.0002484824],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021583736,0.00056075805,0.00031249662,0.0012828093,0.010304239,0.015656158,0.0009011878,0.0032064281,0.0050353347],"category_scores_gemma":[0.0047260136,0.0002924906,0.00014833381,0.0009501491,0.0187714,0.006063462,0.0022024917,0.0040890696,0.0006236726],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009674966,0.000049097864,0.0013334574,0.0001736382,0.000009202044,0.00052103185,0.15376203,0.00007807205,0.00015298175,0.3615337,0.4562293,0.026060764],"study_design_scores_gemma":[0.000019146233,0.000039120572,0.0027956865,0.0006403144,0.000012925433,0.0002687665,0.10711296,0.00018476685,0.0002615499,0.03360386,0.85502464,0.00003629566],"about_ca_topic_score_codex":0.0204148,"about_ca_topic_score_gemma":0.04391591,"teacher_disagreement_score":0.0204148,"about_ca_system_score_codex":0.004482534,"about_ca_system_score_gemma":0.0019319769,"threshold_uncertainty_score":0.040591955},"labels":[],"label_agreement":null},{"id":"W1557084160","doi":"10.3366/film.2012.0030","title":"Maurice Yacowar (2010) <i>Hitchcock's British Films, 2nd edt.</i>","year":2012,"lang":"en","type":"article","venue":"Film-Philosophy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; York University","funders":"","keywords":"Art history; Art; Media studies; Sociology","score_opus":0.03726898473751714,"score_gpt":0.2099819959066893,"score_spread":0.17271301116917218,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1557084160","genre_codex":"review","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015537612,0.61978155,0.0027754263,0.13936043,0.03189606,0.000030778618,0.0011358944,0.0003752279,0.20309094],"genre_scores_gemma":[0.025159232,0.2616415,0.0024688113,0.012430994,0.009446387,0.000056083478,0.00066330156,0.00045337898,0.6876803],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99958605,0.00011119561,0.000021672304,0.0000737234,0.00016001069,0.000047320547],"domain_scores_gemma":[0.9990451,0.00032678354,0.000065017215,0.00005074979,0.0003672378,0.00014502923],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00080611545,0.0010253907,0.0003915135,0.0020848745,0.002059543,0.0049515953,0.0006256382,0.0017854967,0.047070134],"category_scores_gemma":[0.0027737038,0.00046455077,0.00023957492,0.0021111006,0.0014217691,0.004445783,0.0011959381,0.0028802182,0.024187092],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009482037,0.0000046241735,0.00011453014,0.00010107481,0.0000023209336,0.000027345493,0.0005729555,0.000028632481,0.00007086701,0.010433187,0.9502593,0.038375594],"study_design_scores_gemma":[0.0000014111566,0.0000022553788,0.0006544757,0.00019190942,0.0000019497224,0.000057003217,0.00041697483,0.000019940553,0.00007296595,0.002151764,0.99642533,0.0000039443553],"about_ca_topic_score_codex":0.047901627,"about_ca_topic_score_gemma":0.11012661,"teacher_disagreement_score":0.047901627,"about_ca_system_score_codex":0.0035670078,"about_ca_system_score_gemma":0.0020628653,"threshold_uncertainty_score":0.15746534},"labels":[],"label_agreement":null},{"id":"W1557582010","doi":"10.1109/vsmm.2014.7136673","title":"Image as a trace of action: Recording activist performance art","year":2014,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Legibility; TRACE (psycholinguistics); Context (archaeology); Representation (politics); Amateur; Documentation; Computer science; Performing arts; Multimedia; Visual arts; Fetishism; Politics; Art; Sociology; History","score_opus":0.03418856113200322,"score_gpt":0.2383550725848344,"score_spread":0.20416651145283118,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1557582010","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8193613,0.0013069334,0.014166767,0.0015252228,0.0002726002,0.00009193912,0.0015364318,0.00026188267,0.16147691],"genre_scores_gemma":[0.9820946,0.00048176953,0.005373405,0.000098830016,0.00015215675,0.000033153097,0.0004386825,0.00012056603,0.011206825],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994035,0.00016484276,0.000017750139,0.0000958561,0.00022351237,0.00009456774],"domain_scores_gemma":[0.9981427,0.0010772627,0.00023078747,0.00022152068,0.00020584413,0.00012178671],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00063296856,0.00022790831,0.00017726768,0.0019671726,0.0011078359,0.0036051716,0.00044827972,0.0007671721,0.007237052],"category_scores_gemma":[0.0052135214,0.00013916672,0.00014934457,0.0016931413,0.0021993134,0.0020209565,0.0016581495,0.00073233165,0.00095989555],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010993233,0.0002441549,0.060129754,0.0010845105,0.00011319249,0.0030517108,0.2619606,0.0018358567,0.035514843,0.14133519,0.024849469,0.46878147],"study_design_scores_gemma":[0.00006507479,0.00039932603,0.3963425,0.0017642083,0.00013327996,0.0030203199,0.23467597,0.011494121,0.020062378,0.037549604,0.2942748,0.00021838723],"about_ca_topic_score_codex":0.0034276405,"about_ca_topic_score_gemma":0.00749908,"teacher_disagreement_score":0.007237052,"about_ca_system_score_codex":0.00080759247,"about_ca_system_score_gemma":0.00029954064,"threshold_uncertainty_score":0.024210334},"labels":[],"label_agreement":null},{"id":"W1557884352","doi":"10.3366/film.2003.0048","title":"Through the Pleasure Dome, on <i>Lux: A Decade of Artists' Film and Video</i> edited by Steve Reinke and Tom Taylor","year":2003,"lang":"en","type":"article","venue":"Film-Philosophy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dome (geology); Pleasure; Art; Art history; Psychology; Geology; Neuroscience","score_opus":0.026689194150490203,"score_gpt":0.21975506252423763,"score_spread":0.19306586837374742,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1557884352","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0033968207,0.33690122,0.0046206187,0.04456363,0.013183176,0.00006126201,0.00072655285,0.00065495697,0.59589183],"genre_scores_gemma":[0.02850696,0.1618333,0.0036191926,0.005424426,0.0047388687,0.000054773813,0.00055991806,0.0006492977,0.7946132],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99969137,0.00008618567,0.000012573081,0.00004735411,0.000115317285,0.00004706996],"domain_scores_gemma":[0.9995223,0.00012415882,0.000032137876,0.000030880736,0.0001373524,0.00015313331],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00058213685,0.0006143736,0.00048547733,0.0015271024,0.001649692,0.008629284,0.0005710919,0.00088927854,0.07767499],"category_scores_gemma":[0.0015980698,0.00043323793,0.00032066004,0.0017311935,0.0016836814,0.0054356335,0.0016956442,0.002478881,0.023946889],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029006655,0.00001368469,0.00014927324,0.00023611284,0.000006065391,0.000058494108,0.0016675676,0.000032806274,0.00045569745,0.021111064,0.86466676,0.11157344],"study_design_scores_gemma":[0.0000019621668,0.000005546088,0.0004038588,0.00017286825,0.0000027199596,0.000079982914,0.00078866637,0.000018737765,0.00008883224,0.002091345,0.996342,0.0000035591224],"about_ca_topic_score_codex":0.008355127,"about_ca_topic_score_gemma":0.021509482,"teacher_disagreement_score":0.07767499,"about_ca_system_score_codex":0.0018589993,"about_ca_system_score_gemma":0.0016676609,"threshold_uncertainty_score":0.2598487},"labels":[],"label_agreement":null},{"id":"W155834098","doi":"","title":"Désir brumeux. The Woman in the Fifth de Pawel Pawlikowski, France–Pologne–Grande-Bretagne, 2011, 85 minThe Woman in the Fifth de Pawel Pawlikowski, France–Pologne–Grande-Bretagne, 2011, 85 min","year":2012,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.019424774868125452,"score_gpt":0.23101274012046538,"score_spread":0.21158796525233992,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W155834098","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0048570614,0.4220022,0.0007407855,0.3208459,0.06413882,0.000058987367,0.0014305211,0.00032562853,0.18559998],"genre_scores_gemma":[0.055617068,0.0744062,0.00042501997,0.036146354,0.015481465,0.00012066799,0.0003802479,0.00032382755,0.81709915],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994306,0.00019847974,0.000018600858,0.00013643902,0.00011609395,0.00009982207],"domain_scores_gemma":[0.99943763,0.00017580028,0.000049166614,0.000019378655,0.00014989346,0.00016805531],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00076996186,0.0010081514,0.0003961061,0.00090879045,0.004489945,0.0032165179,0.0004905307,0.002922373,0.07753665],"category_scores_gemma":[0.0024048095,0.00035285717,0.00021553802,0.0006360696,0.00089941296,0.0035445155,0.0017265682,0.0027815942,0.018150626],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031114243,0.000008679589,0.00017267327,0.00010748862,0.0000030567353,0.000054152068,0.0010856624,0.000018323855,0.00006839532,0.010353488,0.9708364,0.017260594],"study_design_scores_gemma":[0.0000029486307,0.000004256553,0.0009108701,0.00008468546,0.0000011118091,0.000049402246,0.0006428503,0.00000810621,0.000032005846,0.00042626588,0.9978331,0.0000044512803],"about_ca_topic_score_codex":0.019907445,"about_ca_topic_score_gemma":0.04929736,"teacher_disagreement_score":0.07753665,"about_ca_system_score_codex":0.0032141397,"about_ca_system_score_gemma":0.0008979719,"threshold_uncertainty_score":0.25938588},"labels":[],"label_agreement":null},{"id":"W1558663837","doi":"10.7202/1005805ar","title":"Le film-dispositif dans le documentaire brésilien contemporain","year":2011,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.03260290588740464,"score_gpt":0.23335270457441276,"score_spread":0.20074979868700812,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1558663837","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17394921,0.0075593474,0.015252239,0.014327483,0.00049398694,0.0000812761,0.0002805846,0.00011735299,0.7879385],"genre_scores_gemma":[0.9058707,0.0031130363,0.0028464901,0.00048405907,0.00019919718,0.00005024878,0.0000992304,0.00008810932,0.087248966],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9991596,0.00034056322,0.000027233225,0.00019020116,0.00017418755,0.00010830795],"domain_scores_gemma":[0.9986203,0.00081718486,0.00013284234,0.00013964335,0.00017509787,0.00011496151],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011796386,0.00041893343,0.00030534746,0.001564928,0.0052932487,0.008029203,0.0006153534,0.0013852062,0.016856337],"category_scores_gemma":[0.0038890496,0.0002965282,0.00022334949,0.0017537569,0.00805656,0.005751356,0.0024347976,0.0025192653,0.0009636516],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000384586,0.000012671008,0.0009541725,0.000077008975,0.0000051274214,0.0005012386,0.07412948,0.00012307442,0.00048305563,0.90550494,0.0034539734,0.014716868],"study_design_scores_gemma":[0.000020878126,0.00005412447,0.007156152,0.00067124475,0.00003341378,0.0010923849,0.046238083,0.00076419394,0.0012212227,0.084430695,0.8582782,0.000039242852],"about_ca_topic_score_codex":0.027908243,"about_ca_topic_score_gemma":0.030756602,"teacher_disagreement_score":0.027908243,"about_ca_system_score_codex":0.0053795213,"about_ca_system_score_gemma":0.0020002315,"threshold_uncertainty_score":0.056390107},"labels":[],"label_agreement":null},{"id":"W1559785278","doi":"10.7202/016750ar","title":"A Film Aesthetic to Discover","year":2007,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":15,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Film director; Art; Realism; Meaning (existential); Shot (pellet); Aesthetics; Visual arts; Art history; Philosophy; Epistemology","score_opus":0.03128429930225271,"score_gpt":0.24466632320216442,"score_spread":0.2133820238999117,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1559785278","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009590031,0.01211919,0.0064634844,0.07672405,0.008123309,0.000041519048,0.00014431772,0.00022421668,0.8865698],"genre_scores_gemma":[0.36666143,0.013434221,0.0071062045,0.027482878,0.009578214,0.00011347141,0.0002552211,0.0008482442,0.5745201],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979443,0.0010804301,0.000049707578,0.00027446958,0.0004273498,0.00022374502],"domain_scores_gemma":[0.9988871,0.00034734866,0.000070319555,0.00019417575,0.00030520934,0.00019577335],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015163168,0.0007783704,0.0003084492,0.0014915484,0.008334636,0.015604326,0.00072745257,0.0022741442,0.025629183],"category_scores_gemma":[0.0037345882,0.00019501944,0.00046923655,0.0007635214,0.009382976,0.009127681,0.003575884,0.004054436,0.003826846],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023783032,0.000017742139,0.00018743303,0.00008241239,0.000005090383,0.00021198473,0.020448158,0.00007021892,0.0004857046,0.85424453,0.101893246,0.022329599],"study_design_scores_gemma":[0.000003787351,0.00001131813,0.00013720109,0.00009657327,0.00000279052,0.00017757986,0.0061982414,0.000057512207,0.00012126223,0.019425092,0.9737631,0.0000055454957],"about_ca_topic_score_codex":0.011034542,"about_ca_topic_score_gemma":0.014487578,"teacher_disagreement_score":0.025629183,"about_ca_system_score_codex":0.0062592723,"about_ca_system_score_gemma":0.0021083723,"threshold_uncertainty_score":0.08573818},"labels":[],"label_agreement":null},{"id":"W1561733779","doi":"","title":"Some Small, Good Things","year":2013,"lang":"en","type":"article","venue":"UWE Research Repository (UWE Bristol)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Art; Tribute; Chose; Blues; Style (visual arts); Performance art; Visual arts; Law","score_opus":0.07208987795614497,"score_gpt":0.27161590759581733,"score_spread":0.19952602963967236,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1561733779","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0021165842,0.012005735,0.0067328825,0.06829273,0.017882463,0.0001905608,0.0007502947,0.002065566,0.88996327],"genre_scores_gemma":[0.009152336,0.0050094617,0.0037728152,0.013244163,0.0017232838,0.00012282167,0.00048659494,0.0013847529,0.9651038],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971915,0.0007546318,0.00009265126,0.00041964048,0.0010162455,0.00052542205],"domain_scores_gemma":[0.99570954,0.00038422827,0.00014263068,0.00061532273,0.0009532305,0.0021949646],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002514783,0.001261276,0.0004776967,0.0016993118,0.009191157,0.014696375,0.0017431829,0.003210265,0.2238416],"category_scores_gemma":[0.0057935356,0.00077322905,0.0007576571,0.0015091017,0.003708579,0.014689664,0.0095778145,0.005625038,0.13791572],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021997492,0.000033443244,0.00013215536,0.00010049938,0.0000033553733,0.000136796,0.002403384,0.000019685805,0.00036724162,0.02586874,0.9157341,0.055178568],"study_design_scores_gemma":[0.0000013077542,0.0000062400713,0.00008857633,0.000036344612,6.9994366e-7,0.000057889352,0.000839013,0.0000049016494,0.000051109735,0.0015803493,0.9973296,0.0000039112874],"about_ca_topic_score_codex":0.004520438,"about_ca_topic_score_gemma":0.014998995,"teacher_disagreement_score":0.2238416,"about_ca_system_score_codex":0.0029629276,"about_ca_system_score_gemma":0.0032269307,"threshold_uncertainty_score":0.7488247},"labels":[],"label_agreement":null},{"id":"W1562952171","doi":"10.3138/tric.34.2.293","title":"Solo Census: A Numerical Analysis of One-Person Productions in English Canada","year":2013,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Lethbridge","funders":"","keywords":"Expansive; Census; Geography; Terrain; Arctic; The arctic; Steppe; Population; Archaeology; Ethnology; History; Cartography; Sociology; Demography; Oceanography; Geology","score_opus":0.08793221755784546,"score_gpt":0.2747504149340217,"score_spread":0.18681819737617622,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1562952171","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78212374,0.00044977726,0.0014921604,0.00025875526,0.000019479998,0.00016143336,0.20040156,0.00022229031,0.014870714],"genre_scores_gemma":[0.84826803,0.0006018881,0.0027573048,0.0000513838,0.000011726258,0.00014399087,0.13146745,0.00011421378,0.016584028],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9990189,0.000071918614,0.00006969261,0.000115453564,0.00050084066,0.00022322254],"domain_scores_gemma":[0.9929448,0.00096199074,0.0005522101,0.00028618998,0.0046247346,0.0006301307],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006856452,0.000297706,0.00036053418,0.005859108,0.0014172373,0.0016596777,0.0009805392,0.00024753995,0.0062077637],"category_scores_gemma":[0.0069080535,0.00024184585,0.00037543484,0.015617251,0.0005234807,0.0006338363,0.00085109717,0.00034235677,0.0015333367],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034912335,0.00011967537,0.8832317,0.00030747417,0.00013429094,0.0004672947,0.008537033,0.0077114007,0.00056339556,0.0040849405,0.047287505,0.047206193],"study_design_scores_gemma":[0.000014165351,0.00002513088,0.93848574,0.000060023503,0.000022210985,0.00011156989,0.011453414,0.012382246,0.0003343028,0.00026395082,0.03680188,0.000045275854],"about_ca_topic_score_codex":0.98950493,"about_ca_topic_score_gemma":0.9881521,"teacher_disagreement_score":0.016065506,"about_ca_system_score_codex":0.016065506,"about_ca_system_score_gemma":0.014633984,"threshold_uncertainty_score":0.116563976},"labels":[],"label_agreement":null},{"id":"W1563230415","doi":"10.7202/1023110ar","title":"Sound Synthesis, Representation and Narrative Cinema in the Transition to Sound (1926-1935)","year":2014,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Sound (geography); Narrative; Rendering (computer graphics); Realism; Soundscape; Transition (genetics); Acoustics; Constitution; Art; Aesthetics; Computer science; Visual arts; Literature; History; Physics; Computer graphics (images)","score_opus":0.04154701921988923,"score_gpt":0.2597161979671407,"score_spread":0.21816917874725145,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1563230415","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35475847,0.019544158,0.023163352,0.012648673,0.0010576918,0.00010669844,0.0003752488,0.0001737074,0.588172],"genre_scores_gemma":[0.9765512,0.0019569707,0.0018880299,0.0001810918,0.00019290896,0.000019090341,0.000047056223,0.000037392547,0.019126298],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992229,0.0004569331,0.000028080807,0.00012482982,0.00009840033,0.0000688057],"domain_scores_gemma":[0.99840957,0.0011930191,0.00009204552,0.00011010357,0.00011764362,0.00007777326],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002079003,0.00031404936,0.00018671097,0.0012712744,0.002001942,0.0058716955,0.00031597627,0.0008607747,0.0057599954],"category_scores_gemma":[0.0058160042,0.00016684945,0.00019590711,0.00084330625,0.008174805,0.0025904137,0.0016270974,0.0012715039,0.00040585824],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016991646,0.000037717873,0.00096227275,0.00015341816,0.000008494744,0.0002782411,0.07721634,0.0005926997,0.0013877179,0.86063504,0.005096405,0.05346174],"study_design_scores_gemma":[0.000084001505,0.00027203202,0.011622367,0.0006701442,0.00003459343,0.0007202335,0.03286393,0.0024657967,0.00451499,0.21900934,0.7276801,0.00006251565],"about_ca_topic_score_codex":0.0039037422,"about_ca_topic_score_gemma":0.0034592885,"teacher_disagreement_score":0.0058716955,"about_ca_system_score_codex":0.003776346,"about_ca_system_score_gemma":0.00078157865,"threshold_uncertainty_score":0.02739942},"labels":[],"label_agreement":null},{"id":"W1563645383","doi":"10.3828/sfftv.2011.5","title":"Archive: <i>Femmes Futures</i> : one hundred years of female representation in sf cinema","year":2011,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Futures contract; Representation (politics); Art; Art history; Humanities; Political science; Politics; Business","score_opus":0.0848284053018434,"score_gpt":0.27092775425004967,"score_spread":0.1860993489482063,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1563645383","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016523737,0.007004856,0.00053372065,0.011110834,0.005942479,0.0000696188,0.008915001,0.00055594766,0.9493438],"genre_scores_gemma":[0.1461579,0.0064345975,0.0005875873,0.0019332891,0.004169255,0.00010861449,0.0045392266,0.00088643626,0.8351831],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99971646,0.00005139477,0.00001172374,0.0000419927,0.00010820061,0.00007028719],"domain_scores_gemma":[0.99912256,0.00028794777,0.000064401116,0.00011008284,0.00022152846,0.00019339588],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00066495256,0.00042264868,0.00022043164,0.001973192,0.004216521,0.004573862,0.00034618692,0.00070764974,0.17361814],"category_scores_gemma":[0.0027087,0.00021899829,0.00015860416,0.0022859038,0.0012393732,0.0020053124,0.0020811923,0.001431657,0.025165567],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053848828,0.000013600958,0.0007333921,0.0001571154,0.0000023994185,0.00014698016,0.019436887,0.000015808459,0.00039393513,0.0072760605,0.9301531,0.041616928],"study_design_scores_gemma":[0.0000021880571,0.000008820319,0.0041082124,0.00021292716,0.0000015690596,0.00018040606,0.0038118279,0.000010182123,0.0001437416,0.00022482514,0.99129105,0.0000043153645],"about_ca_topic_score_codex":0.0210513,"about_ca_topic_score_gemma":0.04366528,"teacher_disagreement_score":0.17361814,"about_ca_system_score_codex":0.002114218,"about_ca_system_score_gemma":0.0008131074,"threshold_uncertainty_score":0.58081055},"labels":[],"label_agreement":null},{"id":"W1565821468","doi":"","title":"Canada's Best Features: Critical Essays on Fifteen Canadian Films ed. by Gene Walz (review)","year":2003,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Art history; Genealogy; Media studies; Art; Sociology","score_opus":0.008762356210234034,"score_gpt":0.18502518539064927,"score_spread":0.17626282918041525,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1565821468","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015809494,0.8492864,0.000108726934,0.1218978,0.005446544,0.000019166713,0.0004133444,0.00001923951,0.021227945],"genre_scores_gemma":[0.04110519,0.90718687,0.00039739214,0.023061741,0.004487892,0.000043574557,0.00038371165,0.000060707764,0.023272933],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998206,0.00025449804,0.00006717827,0.00012506166,0.001022362,0.00032474336],"domain_scores_gemma":[0.99205196,0.0015866826,0.00033404073,0.00010246592,0.005152635,0.0007721279],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032736093,0.00073234976,0.00083883543,0.005575102,0.006762269,0.008096755,0.0014090871,0.002417373,0.0070596864],"category_scores_gemma":[0.010452994,0.00043875186,0.00032434895,0.011732403,0.003821046,0.0025209135,0.0013626775,0.0025973655,0.0009105952],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002751377,0.000005478317,0.00039490836,0.0010125738,0.000026610709,0.00008179176,0.0022801291,0.00006843681,0.000118941076,0.0073415623,0.92980134,0.058840815],"study_design_scores_gemma":[0.0000053988315,0.0000037735813,0.0033915287,0.0019013253,0.000030559437,0.000042555912,0.0037458348,0.000015573425,0.00008492717,0.000721568,0.9900344,0.000022441607],"about_ca_topic_score_codex":0.8989566,"about_ca_topic_score_gemma":0.95706046,"teacher_disagreement_score":0.1010434,"about_ca_system_score_codex":0.042035326,"about_ca_system_score_gemma":0.06781407,"threshold_uncertainty_score":0.30498904},"labels":[],"label_agreement":null},{"id":"W1568072714","doi":"10.25071/1496-6778.7978","title":"Quo Vadis, Film Music Studies?","year":2006,"lang":"en","type":"article","venue":"spacesofidentity net","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Status quo; Art; Political science; Law","score_opus":0.041145388459841004,"score_gpt":0.2389068487926445,"score_spread":0.1977614603328035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1568072714","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0127462,0.1051084,0.0017155008,0.5832531,0.009704025,0.000014158051,0.00058947876,0.000054569347,0.2868145],"genre_scores_gemma":[0.6404732,0.08594309,0.00180853,0.07292981,0.032357953,0.00007332829,0.00038516018,0.00017206391,0.16585688],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99867696,0.00072558026,0.0000405061,0.00021756679,0.00018265343,0.0001567133],"domain_scores_gemma":[0.99522024,0.0028026437,0.00039549102,0.00041607616,0.0005539437,0.0006115317],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026722893,0.0003211927,0.00039465667,0.002148119,0.0043103127,0.009811753,0.00095654215,0.003357555,0.05730666],"category_scores_gemma":[0.010961149,0.00017516538,0.00016008326,0.0031309102,0.008293771,0.016315635,0.0020718924,0.0028282998,0.0028429774],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000061462386,0.00003719579,0.0019298164,0.00023784846,0.000010456953,0.000074726384,0.008102794,0.000041394982,0.00014275953,0.7162051,0.20756792,0.0655886],"study_design_scores_gemma":[0.00001727109,0.000019277108,0.004310768,0.0007837143,0.000010839765,0.00012587829,0.025288925,0.00014844368,0.00016325069,0.15773396,0.8113816,0.000016084337],"about_ca_topic_score_codex":0.015380035,"about_ca_topic_score_gemma":0.021820448,"teacher_disagreement_score":0.05730666,"about_ca_system_score_codex":0.0030661165,"about_ca_system_score_gemma":0.0019778109,"threshold_uncertainty_score":0.19170988},"labels":[],"label_agreement":null},{"id":"W1570248001","doi":"10.1017/chol9781107007031.013","title":"Film and postcolonial writing","year":2012,"lang":"en","type":"article","venue":"Cambridge University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Linguistics; Computer science; History; Philosophy","score_opus":0.026905400124814075,"score_gpt":0.19458422862666877,"score_spread":0.1676788285018547,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1570248001","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12168883,0.06587855,0.00065747567,0.03138711,0.000948853,0.00002707011,0.00038904804,0.000027678647,0.7789954],"genre_scores_gemma":[0.8976509,0.016046122,0.00018239186,0.001018492,0.001261562,0.000024454313,0.00012249438,0.000027708438,0.083665945],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9986541,0.00076240394,0.000062713996,0.00013240239,0.00017990879,0.00020837766],"domain_scores_gemma":[0.9911742,0.0062694065,0.00075776334,0.0004712211,0.00082645076,0.0005008656],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014091878,0.0004088304,0.00033807172,0.0038811902,0.0028671953,0.012223754,0.0006486554,0.0024646688,0.038858075],"category_scores_gemma":[0.010833717,0.00028070644,0.00011862475,0.004981459,0.007977478,0.005828221,0.0016016542,0.0022406857,0.0017624804],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018315593,0.0002024206,0.0037656657,0.00047796188,0.000024601271,0.001067313,0.085173026,0.00013613187,0.0005765258,0.8082665,0.037049625,0.06307696],"study_design_scores_gemma":[0.00006911555,0.00010062701,0.038382616,0.0015752877,0.00003867489,0.0007255821,0.086910784,0.0003391792,0.0007393685,0.12795931,0.74311024,0.000049236543],"about_ca_topic_score_codex":0.013235259,"about_ca_topic_score_gemma":0.016744232,"teacher_disagreement_score":0.038858075,"about_ca_system_score_codex":0.0046869023,"about_ca_system_score_gemma":0.0015581398,"threshold_uncertainty_score":0.12999326},"labels":[],"label_agreement":null},{"id":"W1572189949","doi":"10.26522/br.v10i1.16","title":"Imaging the Urban Park","year":2008,"lang":"en","type":"article","venue":"The Brock Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Alberta University of the Arts","funders":"","keywords":"QUIET; Narrative; Space (punctuation); Lantern; Geography; Anticipation (artificial intelligence); Life expectancy; History; Lawn; Aesthetics; Psychology; Sociology; Art; Demography; Ecology; Astronomy; Literature; Physics","score_opus":0.0495608329203064,"score_gpt":0.23266704809233107,"score_spread":0.1831062151720247,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1572189949","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00975234,0.69756424,0.0015508508,0.041164372,0.004726108,0.000025075595,0.00040593927,0.000071027636,0.24473995],"genre_scores_gemma":[0.20295063,0.7095728,0.0024120363,0.0065878606,0.006279665,0.000025780859,0.0005028594,0.00006577643,0.07160252],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99952066,0.00021013891,0.000017007922,0.000059705722,0.00013782586,0.000054587734],"domain_scores_gemma":[0.99900836,0.00046726508,0.00013926676,0.000069076894,0.00023334607,0.00008284991],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00078278244,0.00026905249,0.00014071487,0.0013079129,0.0005629325,0.0027847597,0.00045069822,0.001245718,0.012152664],"category_scores_gemma":[0.002612885,0.00013182384,0.00016755654,0.0013721667,0.0011976451,0.0025188266,0.0008732574,0.0012237016,0.0019790856],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006875446,0.000033821787,0.0023617283,0.0030187683,0.000052976837,0.0007998078,0.0036983266,0.00033193215,0.0008460231,0.15489878,0.44546357,0.38842553],"study_design_scores_gemma":[0.000004382856,0.000015817022,0.002887309,0.0011415712,0.000012926553,0.0010935839,0.0016031363,0.0000410834,0.0001756115,0.0027477806,0.9902711,0.000005805864],"about_ca_topic_score_codex":0.0063599385,"about_ca_topic_score_gemma":0.013817498,"teacher_disagreement_score":0.012152664,"about_ca_system_score_codex":0.0013762697,"about_ca_system_score_gemma":0.000997083,"threshold_uncertainty_score":0.04065472},"labels":[],"label_agreement":null},{"id":"W1572478688","doi":"","title":"Subject Guides: Filmography - Indigenous Peoples of the Americas: U.S. / Canada","year":2011,"lang":"en","type":"libguides","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmography; Indigenous; Subject (documents); Geography; Ethnology; Political science; History; Library science; Art history; Computer science","score_opus":0.026096999755244744,"score_gpt":0.20393608963969087,"score_spread":0.17783908988444613,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1572478688","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00861339,0.029986823,0.0007707074,0.009026316,0.002357203,0.00054451695,0.13023911,0.0007320404,0.81772995],"genre_scores_gemma":[0.028608983,0.022794621,0.0011414874,0.0005019171,0.00092567987,0.0002301576,0.024991797,0.0005982187,0.9202071],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996414,0.000036141337,0.000022986682,0.00005162424,0.00015811318,0.00008964666],"domain_scores_gemma":[0.99612266,0.00054644595,0.00020509458,0.00010085336,0.002266558,0.00075848063],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007174542,0.0008610754,0.00064289686,0.007407367,0.0040209903,0.0046138056,0.0011196523,0.0008152541,0.23039904],"category_scores_gemma":[0.0026583918,0.00038485703,0.00018622169,0.01846457,0.0010649028,0.0014987605,0.0009389369,0.00096248573,0.02795436],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014267179,0.000023348766,0.0014854363,0.00048459214,0.0000027177864,0.000047966932,0.002392688,0.0000846911,0.00017016461,0.004519944,0.94665295,0.044121273],"study_design_scores_gemma":[0.0000031537002,0.000004974543,0.022617206,0.00042308305,0.0000039633483,0.000056114164,0.0040338654,0.00005016455,0.000114965755,0.000393109,0.972292,0.000007390146],"about_ca_topic_score_codex":0.90129554,"about_ca_topic_score_gemma":0.955866,"teacher_disagreement_score":0.23039904,"about_ca_system_score_codex":0.01644378,"about_ca_system_score_gemma":0.025230788,"threshold_uncertainty_score":0.7707616},"labels":[],"label_agreement":null},{"id":"W1573244767","doi":"","title":"Screen Traffic: Movies, Multiplexes, and Global Culture","year":2005,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Sociology; Media studies; Popular culture; Hegemony; Visual arts; Law; Politics; Political science; Art","score_opus":0.020789015260148327,"score_gpt":0.234910513553904,"score_spread":0.21412149829375565,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1573244767","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.054957207,0.34177423,0.0025433064,0.12531325,0.0016266974,0.000035045716,0.0004809478,0.00010932748,0.47315994],"genre_scores_gemma":[0.6069207,0.24869494,0.0010825696,0.0042457622,0.0028300062,0.00007751861,0.00030020816,0.00014623,0.13570203],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994641,0.00025308764,0.00001591825,0.000049029226,0.00013501779,0.00008281447],"domain_scores_gemma":[0.9987753,0.00075226213,0.00011853307,0.000043199496,0.00015534202,0.00015524546],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006032875,0.00066600373,0.00029010276,0.00237742,0.0029529303,0.010717428,0.0005921473,0.0014728535,0.01765422],"category_scores_gemma":[0.0025227016,0.00029074182,0.00014087919,0.0051607857,0.0053590853,0.012417187,0.0018206033,0.0015179962,0.0010869115],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006775225,0.000058490197,0.0049091624,0.0005611775,0.00002079713,0.0002925933,0.04732472,0.00029893237,0.00034630296,0.45684087,0.32018912,0.16909005],"study_design_scores_gemma":[0.000009718786,0.000038956157,0.016696975,0.0015824864,0.00002554057,0.00035280237,0.08818458,0.00042623634,0.00031710407,0.08607776,0.8062527,0.000035165773],"about_ca_topic_score_codex":0.03139988,"about_ca_topic_score_gemma":0.036736503,"teacher_disagreement_score":0.03139988,"about_ca_system_score_codex":0.0035093916,"about_ca_system_score_gemma":0.0016640177,"threshold_uncertainty_score":0.062434196},"labels":[],"label_agreement":null},{"id":"W1578376533","doi":"10.14453/ltc.538","title":"Blurred boundaries: a double-voiced dialogue on regulatory regimes and embodied space","year":2005,"lang":"en","type":"article","venue":"Law/text/culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Embodied cognition; Space (punctuation); Aesthetics; Communication; Sociology; Epistemology; Art; Linguistics; Philosophy","score_opus":0.020305772154646386,"score_gpt":0.22283244146509332,"score_spread":0.20252666931044694,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1578376533","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06733623,0.030087834,0.071477026,0.6111121,0.008770944,0.000116634605,0.00009222334,0.00017713122,0.21082985],"genre_scores_gemma":[0.9324506,0.004510012,0.0069402093,0.036849514,0.0030314762,0.0002090205,0.000029027797,0.00025852708,0.015721716],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.95789397,0.03424797,0.0005735733,0.0022530933,0.0030508575,0.0019805478],"domain_scores_gemma":[0.9638212,0.03128763,0.0010602152,0.001357075,0.0010133876,0.0014604322],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.032824434,0.0011462932,0.0015714428,0.0029023367,0.018458968,0.027248178,0.004577765,0.022176083,0.004609051],"category_scores_gemma":[0.03547383,0.00079286547,0.0011789796,0.0023854156,0.111586645,0.03989611,0.02018281,0.025058018,0.00050684],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019443823,0.0000117745085,0.00007558554,0.00004371399,0.000005007488,0.0002793804,0.26168597,0.00016098366,0.00018100103,0.7288116,0.005151956,0.0035735276],"study_design_scores_gemma":[0.000026607204,0.000046919897,0.000172106,0.00071717676,0.000009400541,0.00041760766,0.23465021,0.00080200966,0.0003915632,0.38603288,0.37667692,0.000056599547],"about_ca_topic_score_codex":0.004537742,"about_ca_topic_score_gemma":0.003594636,"teacher_disagreement_score":0.032824434,"about_ca_system_score_codex":0.011801659,"about_ca_system_score_gemma":0.00608228,"threshold_uncertainty_score":0.1735943},"labels":[],"label_agreement":null},{"id":"W1581589465","doi":"","title":"Clint Neufeld: Pipe Dreams of Madame Récamier. Clint Neufeld: Pipe Dreams of Madame Récamier, Koffler Gallery Off-Site at General Hardware Contemporary, Toronto, January 10 – March 2, 2013Clint Neufeld: Pipe Dreams of Madame Récamier, Koffler Gallery Off-Site at General Hardware Contemporary, Toronto, January 10 – March 2, 2013","year":2013,"lang":"en","type":"article","venue":"Espace Sculpture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art history; Engineering","score_opus":0.02413647798015925,"score_gpt":0.24626748725595696,"score_spread":0.2221310092757977,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1581589465","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002979793,0.05402183,0.00093922607,0.31287652,0.025294561,0.00006918263,0.0024644313,0.00080836733,0.6005461],"genre_scores_gemma":[0.018944968,0.008668173,0.00032977035,0.012159449,0.0023883006,0.000032751235,0.00044657433,0.00038259578,0.95664746],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99940145,0.000102217964,0.000013237712,0.00007014299,0.00024058124,0.00017248288],"domain_scores_gemma":[0.9988589,0.00015534302,0.000057772195,0.000056639383,0.0003500512,0.00052123313],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007945063,0.0008096845,0.0002896056,0.0009288321,0.0067155426,0.004714217,0.0007774508,0.003779336,0.21650341],"category_scores_gemma":[0.0029821172,0.00054344273,0.00028980806,0.001257095,0.0016570449,0.004129028,0.002794899,0.0041634953,0.042255733],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007754584,0.0000018397508,0.000031816875,0.000011073743,4.585467e-7,0.000032877604,0.00030821993,0.0000079713645,0.000031838576,0.0016607994,0.9952172,0.0026881227],"study_design_scores_gemma":[0.000003009987,0.0000025599275,0.00036848898,0.00004822266,8.889421e-7,0.00004147229,0.00076671486,0.000014652021,0.00004322891,0.00034858103,0.9983559,0.0000063049238],"about_ca_topic_score_codex":0.232775,"about_ca_topic_score_gemma":0.5654444,"teacher_disagreement_score":0.232775,"about_ca_system_score_codex":0.0072810976,"about_ca_system_score_gemma":0.0035901808,"threshold_uncertainty_score":0.72427607},"labels":[],"label_agreement":null},{"id":"W1585402890","doi":"","title":"The Artist as Monster: The Cinema of David Cronenberg (review)","year":2009,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Monster; Movie theater; Order (exchange); Art history; Art; Dracula; Sociology; History","score_opus":0.01778525216049897,"score_gpt":0.2555016790671187,"score_spread":0.2377164269066197,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1585402890","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000023599374,0.9954118,0.0000069882863,0.0029134306,0.001155038,0.0000015357305,0.0000034554894,0.0000010647163,0.0004831287],"genre_scores_gemma":[0.000831495,0.99168384,0.000030000063,0.0039040204,0.0025752322,0.000009847881,0.000013543653,0.0000034256718,0.00094856386],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989931,0.0003244327,0.00009188877,0.00015050673,0.00032738288,0.00011264998],"domain_scores_gemma":[0.99733305,0.0012793904,0.00036654135,0.000058680795,0.0005657398,0.00039670724],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002028944,0.0013590028,0.0013991871,0.0033616293,0.0012327043,0.005079232,0.00173865,0.003145157,0.008571126],"category_scores_gemma":[0.0061424477,0.00058751693,0.0006584652,0.004607107,0.002271989,0.004468448,0.0016481495,0.0048660063,0.0024273584],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006973706,0.000037169022,0.00022066392,0.018249143,0.00008237725,0.0001602606,0.0011739681,0.00006533334,0.00012744099,0.004297466,0.731671,0.24384542],"study_design_scores_gemma":[0.000018756084,0.00002518478,0.0012009608,0.022194406,0.00006225564,0.0006113561,0.00072312565,0.000021567088,0.000039860173,0.000742223,0.9743424,0.000017728124],"about_ca_topic_score_codex":0.019213593,"about_ca_topic_score_gemma":0.026416376,"teacher_disagreement_score":0.019213593,"about_ca_system_score_codex":0.004118821,"about_ca_system_score_gemma":0.005544185,"threshold_uncertainty_score":0.038203478},"labels":[],"label_agreement":null},{"id":"W1585867275","doi":"10.3366/film.2012.0002","title":"Haptic Aurality: Resonance, Listening and Michael Haneke","year":2012,"lang":"en","type":"article","venue":"Film-Philosophy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":68,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Active listening; Psychology; Communication","score_opus":0.04580113314771307,"score_gpt":0.22956837665835308,"score_spread":0.18376724351064,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1585867275","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20347813,0.029477363,0.023290925,0.07595741,0.001927602,0.000058788624,0.000059438844,0.00015172033,0.6655986],"genre_scores_gemma":[0.96553373,0.00397722,0.0018143551,0.002667522,0.000682631,0.000027354641,0.000010418975,0.000048818434,0.025237823],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990042,0.0006594682,0.000014318364,0.00008467657,0.0001510514,0.00008636404],"domain_scores_gemma":[0.99865687,0.0010202173,0.000091475194,0.000044444037,0.00010040503,0.00008665415],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012282243,0.00029983692,0.00020595556,0.0004741986,0.002007332,0.0040175277,0.0005288906,0.0014349937,0.003251088],"category_scores_gemma":[0.003771547,0.00013597564,0.00012992672,0.00021759588,0.008431443,0.0036787707,0.0024059366,0.0019593504,0.00032594445],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017107489,0.000030492263,0.00071370386,0.00019869785,0.000013100508,0.00087262795,0.10919268,0.00030088084,0.0028864471,0.84502995,0.011301986,0.029288262],"study_design_scores_gemma":[0.00005751419,0.00020765452,0.004817894,0.00082776294,0.000030141244,0.001984132,0.07956459,0.0016949698,0.0032590101,0.25724706,0.65020406,0.00010517189],"about_ca_topic_score_codex":0.0016744918,"about_ca_topic_score_gemma":0.00173357,"teacher_disagreement_score":0.0040175277,"about_ca_system_score_codex":0.0012932307,"about_ca_system_score_gemma":0.000357165,"threshold_uncertainty_score":0.01087594},"labels":[],"label_agreement":null},{"id":"W1587143230","doi":"","title":"The Rise of a Confident Hollywood: Risk and the Capitalization of Cinema","year":2013,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Hollywood; Box office; Movie theater; Revenue; Proxy (statistics); Earnings; Predictability; Market capitalization; Film industry; Advertising; Business; Economics; Marketing; History; Finance; Art history; Computer science; Stock market; Mathematics","score_opus":0.009426459079719023,"score_gpt":0.18237603698743635,"score_spread":0.1729495779077173,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1587143230","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9521977,0.0019100644,0.0027659163,0.002866954,0.000046100886,0.000012739774,0.00013302613,0.000019042587,0.040048566],"genre_scores_gemma":[0.9984347,0.00022767766,0.00012559007,0.000028468465,0.00003368876,0.0000010828264,0.00002227252,0.0000025810161,0.0011238893],"study_design_codex":"observational","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9996284,0.00009572984,0.000016637796,0.0000733274,0.00010841645,0.00007734789],"domain_scores_gemma":[0.9921708,0.0032800636,0.0029185817,0.00029009566,0.00057673105,0.00076373486],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012006116,0.0001914366,0.00011249447,0.00079442636,0.0007517819,0.004292402,0.00039585622,0.00052402087,0.0039301175],"category_scores_gemma":[0.012752575,0.00015330636,0.00010087124,0.00044947563,0.0017342666,0.0031660632,0.0011640614,0.0014289254,0.00027064298],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007977614,0.00030091283,0.6233047,0.00015528475,0.00009562447,0.0021195346,0.019273229,0.008956536,0.0028978148,0.18122238,0.010227866,0.15064843],"study_design_scores_gemma":[0.000013227196,0.00020067464,0.8736006,0.00023991513,0.000045458884,0.00079403643,0.009915655,0.016550593,0.0029772564,0.06306125,0.032470033,0.0001314456],"about_ca_topic_score_codex":0.007310348,"about_ca_topic_score_gemma":0.0075418,"teacher_disagreement_score":0.007310348,"about_ca_system_score_codex":0.0014551821,"about_ca_system_score_gemma":0.00030218702,"threshold_uncertainty_score":0.014535606},"labels":[],"label_agreement":null},{"id":"W1590065265","doi":"","title":"Caroline Bainbridge, Feminine Cinematics","year":2009,"lang":"en","type":"article","venue":"Thirdspace","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.0286656734645036,"score_gpt":0.23689486157356857,"score_spread":0.20822918810906496,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1590065265","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0026835268,0.17857614,0.0021195957,0.6945726,0.024136096,0.00003381862,0.0004747678,0.00016124241,0.09724223],"genre_scores_gemma":[0.06261596,0.11972297,0.003023182,0.15456027,0.031139411,0.00016685195,0.00030680097,0.0005387057,0.6279259],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991393,0.0003391523,0.000031648866,0.00014951926,0.00026815236,0.000072248265],"domain_scores_gemma":[0.99513185,0.0027404958,0.00020127092,0.00013549143,0.0011602738,0.00063052325],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001732646,0.000584988,0.00036596623,0.0020951559,0.0053363573,0.0057269684,0.0009169425,0.0048116567,0.035715695],"category_scores_gemma":[0.008576715,0.00040204517,0.00016347,0.0012761549,0.002336526,0.0059951106,0.0015248386,0.0052408674,0.008321085],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001679361,0.000018911785,0.00029811083,0.000106472326,0.0000029889366,0.00004787076,0.0015487343,0.000029847395,0.0001833017,0.025975207,0.954778,0.016993849],"study_design_scores_gemma":[0.000005094054,0.0000064515853,0.0007973744,0.00014773426,0.0000025385532,0.00009714008,0.0025523843,0.000077720964,0.00015165927,0.0049869567,0.991165,0.000010047643],"about_ca_topic_score_codex":0.023276217,"about_ca_topic_score_gemma":0.07166713,"teacher_disagreement_score":0.035715695,"about_ca_system_score_codex":0.0028174745,"about_ca_system_score_gemma":0.0018430603,"threshold_uncertainty_score":0.11948091},"labels":[],"label_agreement":null},{"id":"W1591002732","doi":"","title":"The Value of the Parochial: Film and the Commonplace","year":2011,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Value (mathematics); Aesthetics; Epistemology; Sociology; Art; Philosophy; Computer science","score_opus":0.2603518703293265,"score_gpt":0.451824048588974,"score_spread":0.19147217825964752,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1591002732","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13473704,0.019380167,0.002856986,0.09390731,0.0010530163,0.000027415123,0.00039736004,0.00004477567,0.74759585],"genre_scores_gemma":[0.98314315,0.0026468644,0.00024169646,0.0010952925,0.0006853789,0.000012546169,0.00004719106,0.000038339724,0.012089504],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9957014,0.0022662324,0.00013358663,0.00049617107,0.00079998863,0.0006026199],"domain_scores_gemma":[0.9824997,0.009567804,0.0025693735,0.0017334947,0.0015828772,0.002046796],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035083662,0.00034803644,0.0005095534,0.003294706,0.006508301,0.023142517,0.0016321501,0.0043971,0.029842172],"category_scores_gemma":[0.026265105,0.00042006533,0.00023723954,0.004206584,0.022238798,0.020855555,0.005353354,0.0050089248,0.0011703076],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013933424,0.0000529883,0.004174966,0.00012118147,0.000021886292,0.0004026686,0.031898323,0.000105620384,0.00019674496,0.90072393,0.023318605,0.038843695],"study_design_scores_gemma":[0.000043394753,0.00008282101,0.016188836,0.0012519436,0.00006175524,0.0008433696,0.10914478,0.00062049914,0.0005503309,0.531705,0.33940735,0.00009987357],"about_ca_topic_score_codex":0.013243076,"about_ca_topic_score_gemma":0.016899869,"teacher_disagreement_score":0.029842172,"about_ca_system_score_codex":0.0046911933,"about_ca_system_score_gemma":0.0022523832,"threshold_uncertainty_score":0.099832},"labels":[],"label_agreement":null},{"id":"W15919901","doi":"10.1128/jvi.79.12.7453-7465.2005","title":"Spectacular Sacrifice: Death in Images","year":2010,"lang":"en","type":"article","venue":"Journal of Virology","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Windsor","funders":"National Institute of Dental and Craniofacial Research; National Cancer Institute","keywords":"Sacrifice; History; Archaeology","score_opus":0.018742828046611697,"score_gpt":0.24071284302114515,"score_spread":0.22197001497453345,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W15919901","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13915475,0.018728465,0.085040115,0.04631214,0.036434848,0.00091929495,0.0077445963,0.013752829,0.651913],"genre_scores_gemma":[0.23806657,0.007297151,0.041787773,0.007854972,0.0022221322,0.00037665732,0.0027013265,0.0020410663,0.6976524],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998053,0.000030053736,0.00001021673,0.000042738524,0.00007525686,0.00003648271],"domain_scores_gemma":[0.999469,0.000064040585,0.00003656921,0.0001496833,0.00011075757,0.00016990125],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045119275,0.00042731606,0.00026935508,0.00055697444,0.00077920896,0.0010251636,0.00061639555,0.0010754634,0.10044969],"category_scores_gemma":[0.0010646168,0.00015883087,0.00034619038,0.00024030745,0.00084076036,0.0011211493,0.0013184733,0.0022198511,0.028323883],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0018918979,0.00055298506,0.0022249843,0.0004919535,0.00005312267,0.0026507033,0.00079449726,0.000284668,0.09585799,0.013721527,0.42077163,0.46070406],"study_design_scores_gemma":[0.000057924055,0.00044277406,0.00421926,0.000160844,0.00002999231,0.007935591,0.00047474852,0.00057720434,0.01918408,0.004128909,0.96274996,0.000038737053],"about_ca_topic_score_codex":0.00076701347,"about_ca_topic_score_gemma":0.0019026651,"teacher_disagreement_score":0.10044969,"about_ca_system_score_codex":0.00045393457,"about_ca_system_score_gemma":0.00041901533,"threshold_uncertainty_score":0.33603764},"labels":[],"label_agreement":null},{"id":"W1593622042","doi":"10.31165/nk.2012.52.267","title":"‘Strange Visitor From Another Planet’: Genre, Corporate Identity and the Arrival of American Telefantasy on British Television","year":2012,"lang":"en","type":"article","venue":"Networking Knowledge Journal of the MeCCSA Postgraduate Network","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Adventure; Entertainment; Appeal; Media studies; Broadcasting (networking); Visitor pattern; Advertising; Art; Sociology; History; Art history; Law; Political science; Visual arts; Business; Computer science","score_opus":0.041950729823401506,"score_gpt":0.23707770489619542,"score_spread":0.19512697507279392,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1593622042","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8627956,0.0011644539,0.00013875664,0.004075336,0.00011781123,0.0000049169485,0.000029769844,0.000008871997,0.13166456],"genre_scores_gemma":[0.99037826,0.00056690816,0.000052142444,0.00048079362,0.00005018293,0.0000026827129,0.000022498827,0.000022663635,0.008423812],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9983681,0.00059677527,0.000034590572,0.00015444866,0.00042049176,0.00042562533],"domain_scores_gemma":[0.997543,0.000702385,0.00045621407,0.000093689196,0.0005141477,0.000690621],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013757154,0.00012817222,0.00019520901,0.0016580928,0.012055329,0.012955017,0.00060292473,0.0012958199,0.0049862233],"category_scores_gemma":[0.0030640897,0.00022258119,0.00011246539,0.001966974,0.010372106,0.0046290765,0.0030523266,0.002918639,0.0005322032],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008920501,0.00005641784,0.021205274,0.00002587055,0.000006071508,0.00055925705,0.92578804,0.000013214959,0.0006039861,0.032638352,0.0058140196,0.013200343],"study_design_scores_gemma":[0.0000049472,0.000037445723,0.057718825,0.00008445987,0.000005936861,0.00039559035,0.8594225,0.000045256165,0.00013422302,0.0011047137,0.081018895,0.000027290944],"about_ca_topic_score_codex":0.17654373,"about_ca_topic_score_gemma":0.2882352,"teacher_disagreement_score":0.17654373,"about_ca_system_score_codex":0.006299049,"about_ca_system_score_gemma":0.0015714781,"threshold_uncertainty_score":0.35103226},"labels":[],"label_agreement":null},{"id":"W1593972605","doi":"","title":"Wanda Koop : See Everything / See Nothing","year":2000,"lang":"en","type":"book","venue":"CV Photo","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Nothing; Alienation; Painting; Art; Aesthetics; Art history; Visual arts; Philosophy; Law; Epistemology; Political science","score_opus":0.028513007235508033,"score_gpt":0.21244020036057518,"score_spread":0.18392719312506714,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1593972605","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015099649,0.0043547936,0.0022868256,0.006497209,0.0011016099,0.000019433714,0.00021729917,0.00042088603,0.9835919],"genre_scores_gemma":[0.00975133,0.0018087808,0.001013724,0.0010029391,0.000065860026,0.000015532705,0.0001248266,0.00023738197,0.9859796],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9999088,0.000013062943,0.0000025834468,0.000017500535,0.000041154562,0.000016824062],"domain_scores_gemma":[0.99983287,0.000032181633,0.0000072377366,0.000013882249,0.000048615064,0.00006514404],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00017817631,0.0004958693,0.00013747846,0.0007097756,0.001685278,0.003003639,0.00050179975,0.0011160137,0.09472068],"category_scores_gemma":[0.00056695053,0.00028448048,0.00012327204,0.000647278,0.0012526356,0.00504022,0.0013947781,0.0018615633,0.040059056],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000118183825,0.000010646272,0.00011494235,0.000037904032,9.4911707e-7,0.000109041626,0.0014750547,0.000028631286,0.00032701335,0.05088468,0.8828298,0.06416946],"study_design_scores_gemma":[0.0000010924783,0.0000022268287,0.00026508028,0.000049430586,8.148085e-7,0.00020605684,0.0007355936,0.000035047353,0.00013766749,0.0038588548,0.99470466,0.0000035977275],"about_ca_topic_score_codex":0.01080755,"about_ca_topic_score_gemma":0.04428287,"teacher_disagreement_score":0.09472068,"about_ca_system_score_codex":0.0009893978,"about_ca_system_score_gemma":0.0008459195,"threshold_uncertainty_score":0.31687224},"labels":[],"label_agreement":null},{"id":"W1595116054","doi":"10.7202/1023111ar","title":"Improvisation et son direct. Entre théories du son et mutations technologiques","year":2014,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.016715571223923198,"score_gpt":0.23128574001561028,"score_spread":0.21457016879168708,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1595116054","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06533805,0.008515919,0.104434334,0.00809165,0.000786202,0.00013470418,0.00017012461,0.0003186583,0.81221044],"genre_scores_gemma":[0.7181861,0.0073353224,0.025384318,0.0012067334,0.00043472552,0.0002081343,0.00019169076,0.00017321417,0.2468797],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9981705,0.0005483059,0.000061124556,0.0005727171,0.0005095275,0.00013773842],"domain_scores_gemma":[0.99603325,0.002316046,0.00036087396,0.0004756142,0.0006002942,0.00021386196],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017793052,0.0009373659,0.00032237134,0.0013077479,0.0015000119,0.007745273,0.0012274553,0.002108667,0.03164229],"category_scores_gemma":[0.004766967,0.0004864093,0.00050156517,0.0009188294,0.0091632735,0.0076010586,0.0035387117,0.0025336635,0.003865467],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000106488435,0.000054649092,0.001798021,0.00046546696,0.000032540913,0.00024972396,0.015938671,0.000784991,0.0024175805,0.89871323,0.0030310762,0.07640764],"study_design_scores_gemma":[0.000090453075,0.00035994934,0.005149741,0.0011495323,0.00010502721,0.0014321941,0.02153487,0.0049315672,0.0073218723,0.47220725,0.48561484,0.00010277023],"about_ca_topic_score_codex":0.0024549118,"about_ca_topic_score_gemma":0.0025420624,"teacher_disagreement_score":0.03164229,"about_ca_system_score_codex":0.0024002667,"about_ca_system_score_gemma":0.001716533,"threshold_uncertainty_score":0.105853975},"labels":[],"label_agreement":null},{"id":"W1595786270","doi":"","title":"Queer Film Classics Series","year":2012,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Art history; Art; Comedy; Lesbian; Movie theater; Hogan; Patience; Literature; History; Sociology; Philosophy; Theology","score_opus":0.06137743652157378,"score_gpt":0.24055002140731743,"score_spread":0.17917258488574367,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1595786270","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00057900505,0.068616346,0.00023873677,0.0109683685,0.017080242,0.00010268665,0.0025596065,0.00042688532,0.8994281],"genre_scores_gemma":[0.0017722157,0.011615733,0.00010857152,0.00081431126,0.0012272222,0.000021722193,0.00063118956,0.00012554391,0.98368365],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991215,0.000058687605,0.000024427798,0.00009841672,0.0005398717,0.0001570442],"domain_scores_gemma":[0.9986093,0.0001385131,0.00008001346,0.00013528767,0.0007236108,0.00031322415],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006810815,0.0014493454,0.0006253401,0.003771891,0.004465441,0.0062315804,0.0012903012,0.0016896399,0.4657291],"category_scores_gemma":[0.0028462438,0.0005986257,0.0005253895,0.0047290917,0.0009315397,0.0035008243,0.002258794,0.0027389782,0.16042984],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000057890948,0.000005364019,0.000029376974,0.000051668747,0.0000010020098,0.00002218679,0.00006107577,0.000011229915,0.000039126982,0.001531827,0.97595096,0.022290275],"study_design_scores_gemma":[0.0000013440767,0.000002274519,0.0002441555,0.00007685104,9.2669643e-7,0.000027010257,0.000087684326,0.0000060109373,0.000025688341,0.00020897892,0.99931645,0.0000025152124],"about_ca_topic_score_codex":0.16333161,"about_ca_topic_score_gemma":0.36222842,"teacher_disagreement_score":0.4657291,"about_ca_system_score_codex":0.007115352,"about_ca_system_score_gemma":0.0052987197,"threshold_uncertainty_score":0.7620726},"labels":[],"label_agreement":null},{"id":"W1596011518","doi":"10.1080/01439685.2015.1062607","title":"Cinephemera: archives, ephemeral cinema, and new screen histories in Canada","year":2015,"lang":"en","type":"article","venue":"Historical Journal Of Film Radio and Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ephemeral key; Movie theater; History; Media studies; Art history; Sociology; Computer science; Computer security","score_opus":0.03810227493212664,"score_gpt":0.20039208942604922,"score_spread":0.16228981449392257,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1596011518","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7231111,0.013177007,0.00048144156,0.0128502995,0.00040081487,0.00006464997,0.0035413234,0.000098286175,0.24627504],"genre_scores_gemma":[0.9333641,0.003762088,0.00021988916,0.00032861333,0.000056924517,0.000009918996,0.0004728315,0.000062140825,0.061723426],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.999183,0.00007355591,0.00001858026,0.00009289723,0.00027981141,0.00035210198],"domain_scores_gemma":[0.99659985,0.0005103179,0.00023634064,0.00010192521,0.0013035152,0.0012481489],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00061851,0.00023096366,0.00026041997,0.004140872,0.015298752,0.01040937,0.0012245616,0.0008629971,0.027488632],"category_scores_gemma":[0.0042036287,0.0002975945,0.00018531672,0.0070917634,0.003980927,0.0025370414,0.0022715265,0.0021123004,0.00066853064],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00051382324,0.00018815315,0.094399415,0.0004997585,0.000052177737,0.0018675876,0.37687314,0.0005407581,0.0015694728,0.1807272,0.116698295,0.22607018],"study_design_scores_gemma":[0.000012871794,0.00002439213,0.18262665,0.00047553048,0.000034451925,0.0003481991,0.19991267,0.000335663,0.00045236718,0.001762032,0.6139473,0.00006801935],"about_ca_topic_score_codex":0.99378526,"about_ca_topic_score_gemma":0.9980654,"teacher_disagreement_score":0.0785421,"about_ca_system_score_codex":0.0785421,"about_ca_system_score_gemma":0.0776791,"threshold_uncertainty_score":0.56986547},"labels":[],"label_agreement":null},{"id":"W1602880196","doi":"10.1002/9780470671153","title":"The Wiley‐Blackwell History of American Film","year":2011,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":22,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Graduate Center; Australian Academy of the Humanities; US-UK Fulbright Commission; Bard College; Colgate University; Flinders University; Syracuse University; City University of New York; National Endowment for the Arts; Harvard University; National Endowment for the Humanities","keywords":"History; Computer science","score_opus":0.03439855934389478,"score_gpt":0.18870456462551313,"score_spread":0.15430600528161836,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1602880196","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00084103673,0.08347933,0.0004871511,0.014603804,0.007508965,0.000013405236,0.00025967145,0.00006653542,0.8927401],"genre_scores_gemma":[0.022042012,0.055304274,0.00051588676,0.0027705147,0.0031058819,0.000024970717,0.00015617048,0.00013852415,0.9159417],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99950266,0.000093925555,0.00002279563,0.00007408732,0.00023371459,0.00007275815],"domain_scores_gemma":[0.9994863,0.00009270485,0.000031932825,0.000047806272,0.00024463545,0.00009661988],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000428285,0.00069852854,0.00031877507,0.003124091,0.00403594,0.009201585,0.00058146124,0.0015856669,0.05937066],"category_scores_gemma":[0.0015117243,0.000351383,0.00018331587,0.0057590697,0.003536451,0.003465717,0.0016105897,0.0030579315,0.010969293],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011011649,0.000013276427,0.00013809944,0.0001242611,0.0000028498905,0.000050318286,0.0013439674,0.000050447394,0.000114532566,0.20424612,0.70203054,0.09187459],"study_design_scores_gemma":[2.6309783e-7,6.5922706e-7,0.0001253343,0.000063455256,6.7170487e-7,0.000011099236,0.00014299044,0.000009161111,0.000017079108,0.002138734,0.9974892,0.0000013452822],"about_ca_topic_score_codex":0.07189181,"about_ca_topic_score_gemma":0.15140185,"teacher_disagreement_score":0.07189181,"about_ca_system_score_codex":0.0069750356,"about_ca_system_score_gemma":0.007127675,"threshold_uncertainty_score":0.19861466},"labels":[],"label_agreement":null},{"id":"W1603878467","doi":"","title":"Using Up Words in Paul Monette's AIDS Elegy","year":2011,"lang":"en","type":"article","venue":"Canadian review of comparative literature","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Elegy; Art; Linguistics; Literature; History; Philosophy; Poetry","score_opus":0.11018874919062566,"score_gpt":0.2877686199125689,"score_spread":0.17757987072194326,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1603878467","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031945482,0.16611098,0.014233875,0.4498334,0.07069654,0.00011137262,0.00079352985,0.00030500197,0.2947207],"genre_scores_gemma":[0.1500224,0.13250074,0.024535783,0.20131944,0.04012583,0.0003076586,0.00052880944,0.0010457714,0.4496137],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99694985,0.0013884394,0.00019103073,0.000261606,0.00094247673,0.00026672275],"domain_scores_gemma":[0.9911656,0.0053467886,0.00034681702,0.00039644516,0.0022051341,0.0005392351],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037665875,0.00089283887,0.000939034,0.007343077,0.007412442,0.010757985,0.0015824038,0.0030650643,0.013132638],"category_scores_gemma":[0.01962454,0.00039964548,0.0003597929,0.0055702366,0.01383474,0.01100229,0.0035558206,0.0076456354,0.0032796361],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036382156,0.0000106639145,0.00018655272,0.00023197629,0.000008802232,0.00008129822,0.0045128497,0.00006895184,0.000078846235,0.50999737,0.4493722,0.03541417],"study_design_scores_gemma":[0.0000041367184,0.0000047597896,0.00013753882,0.00024316729,0.000005188014,0.000048572365,0.0011957362,0.000043160595,0.000055403023,0.02616427,0.97208744,0.000010582457],"about_ca_topic_score_codex":0.1570436,"about_ca_topic_score_gemma":0.26523203,"teacher_disagreement_score":0.1570436,"about_ca_system_score_codex":0.010837913,"about_ca_system_score_gemma":0.008973306,"threshold_uncertainty_score":0.31225902},"labels":[],"label_agreement":null},{"id":"W1604327450","doi":"","title":"Through the Camera’s Lens: Scenes from Aboard the Frigate HMCS Dunver , 1943-1945","year":2001,"lang":"en","type":"article","venue":"Canadian military history","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Lens (geology); Computer graphics (images); Art; Computer vision; Computer science; Artificial intelligence; Optics; Physics","score_opus":0.04084813905819522,"score_gpt":0.18779003648188428,"score_spread":0.14694189742368907,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1604327450","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41245738,0.032520246,0.00082600024,0.027022826,0.0016649311,0.00008068979,0.009530281,0.00009120691,0.5158064],"genre_scores_gemma":[0.8103688,0.009299512,0.00050874526,0.0013793297,0.0002835827,0.000014262419,0.0012576103,0.00016556589,0.1767225],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995222,0.00006435822,0.000006973746,0.00006437871,0.00011663107,0.0002253706],"domain_scores_gemma":[0.9993487,0.00013378984,0.00005531752,0.000033326472,0.00025780554,0.00017113207],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004223247,0.00043893672,0.0002335942,0.00219369,0.011806493,0.0048402734,0.0006894039,0.00097285945,0.022710508],"category_scores_gemma":[0.0017203195,0.0003128648,0.00020045506,0.003903099,0.003989647,0.0016264755,0.0016596429,0.0021575398,0.001308701],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038364707,0.00006515593,0.016194524,0.0005844577,0.00007287765,0.0030151443,0.32749957,0.00032135093,0.0014422607,0.0409852,0.48256508,0.12687074],"study_design_scores_gemma":[0.000004218841,0.000013298366,0.072501056,0.00033278464,0.00001814981,0.00027462578,0.11051235,0.000030201303,0.0004128208,0.00057563727,0.8152985,0.000026277688],"about_ca_topic_score_codex":0.9039979,"about_ca_topic_score_gemma":0.98695695,"teacher_disagreement_score":0.0960021,"about_ca_system_score_codex":0.02616705,"about_ca_system_score_gemma":0.007882056,"threshold_uncertainty_score":0.1931349},"labels":[],"label_agreement":null},{"id":"W1615312088","doi":"10.29173/cons18906","title":"Canoeing as a Counter-Hegemonic Practice: I Can, Can You?","year":2013,"lang":"en","type":"article","venue":"Constellations","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hegemony; Power (physics); Automotive industry; Sociology; Political science; Media studies; Aesthetics; Engineering; Law; Art; Aerospace engineering; Physics; Politics","score_opus":0.025693693508176883,"score_gpt":0.23908542185118398,"score_spread":0.2133917283430071,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1615312088","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21375546,0.0065630325,0.0164984,0.048633534,0.0013139433,0.000056143308,0.000046621557,0.000040185347,0.7130926],"genre_scores_gemma":[0.98053694,0.0023075978,0.00088657386,0.0008927331,0.00022890186,0.000018578123,0.000014926972,0.000031401523,0.015082454],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976762,0.0015242869,0.000029434095,0.00017915608,0.0003189973,0.00027197087],"domain_scores_gemma":[0.99722254,0.0019437486,0.00023088916,0.0002147574,0.00022756051,0.00016053906],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024776775,0.0006288886,0.00025462086,0.0012713427,0.0060840473,0.010660856,0.0006888293,0.0026159713,0.005141396],"category_scores_gemma":[0.006426017,0.00022771065,0.0002466546,0.0013516298,0.02532622,0.009896745,0.0030585553,0.0037270412,0.0004690145],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023417957,0.000013944282,0.000640291,0.00006704244,0.0000065043214,0.00019049317,0.08272384,0.00013432503,0.0002265524,0.9043048,0.00388411,0.007784717],"study_design_scores_gemma":[0.000020182668,0.000060392045,0.0015951897,0.00054115406,0.000027704076,0.00037709658,0.24011281,0.00096836674,0.00089707464,0.2776118,0.47775415,0.00003415429],"about_ca_topic_score_codex":0.0070036263,"about_ca_topic_score_gemma":0.011370314,"teacher_disagreement_score":0.010660856,"about_ca_system_score_codex":0.0038542722,"about_ca_system_score_gemma":0.0018185896,"threshold_uncertainty_score":0.02796483},"labels":[],"label_agreement":null},{"id":"W1623802809","doi":"10.22230/cjc.2003v28n2a1365","title":"Canadian National Cinema","year":2003,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Movie theater; Political science; Art; Art history","score_opus":0.03983266780912431,"score_gpt":0.22427411718917253,"score_spread":0.18444144938004822,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1623802809","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014007454,0.0035473346,0.00022673026,0.0060662976,0.0023713238,0.000051353876,0.008316818,0.00020395365,0.9778155],"genre_scores_gemma":[0.013846103,0.0029591187,0.000538184,0.00072395266,0.0002640625,0.000024077526,0.0029501554,0.00009707129,0.9785972],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990706,0.000041290845,0.000022623424,0.0001228608,0.00054904557,0.00019363384],"domain_scores_gemma":[0.9975708,0.00007814564,0.000042370193,0.000099945406,0.0017001637,0.00050856615],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005525398,0.00078472093,0.00045350505,0.0035565305,0.007996588,0.0066374303,0.0009712359,0.0013429559,0.36979726],"category_scores_gemma":[0.0026713135,0.00037096842,0.00039128796,0.003664142,0.0008875136,0.001462048,0.0012732295,0.0017351179,0.057553306],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014466716,0.000009016102,0.0003000947,0.0000774051,0.0000023079647,0.000050122882,0.00018491012,0.00004059013,0.00012305977,0.013122082,0.9583732,0.027702644],"study_design_scores_gemma":[0.0000010126698,0.0000012763386,0.0009716339,0.000025499643,0.0000017105444,0.000015887117,0.00016369253,0.000020512982,0.000044017517,0.00020768495,0.998543,0.0000039731694],"about_ca_topic_score_codex":0.89265037,"about_ca_topic_score_gemma":0.9647611,"teacher_disagreement_score":0.36979726,"about_ca_system_score_codex":0.02488544,"about_ca_system_score_gemma":0.047637947,"threshold_uncertainty_score":0.8989077},"labels":[],"label_agreement":null},{"id":"W1624865144","doi":"10.22230/cjc.2006v31n4a1681","title":"“Very Little Wrist Movement”: Rock Hudson Acts Out Sexual Heterodoxy","year":2006,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":19,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Virginity test; Human sexuality; Hollywood; Style (visual arts); Comics; Trope (literature); Movement (music); Art; History; Gender studies; Aesthetics; Psychology; Literature; Psychoanalysis; Sociology; Art history","score_opus":0.03434034510675846,"score_gpt":0.21947264311314593,"score_spread":0.18513229800638747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1624865144","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.115358785,0.0065784347,0.003459885,0.16607933,0.0031577826,0.000050256574,0.000102352744,0.00022702731,0.70498616],"genre_scores_gemma":[0.77547354,0.0019154622,0.00088175567,0.0125726545,0.00087916653,0.000030449115,0.000026539605,0.0002085327,0.20801196],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9975737,0.0016385553,0.000026384809,0.0001673169,0.00026287299,0.00033116684],"domain_scores_gemma":[0.9983479,0.00085458334,0.00017365075,0.00012676629,0.000163392,0.00033375988],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017470531,0.0006696439,0.00023668807,0.0008160146,0.0075144847,0.007463331,0.0005966591,0.0029383292,0.009046843],"category_scores_gemma":[0.005260254,0.00030970154,0.00019945718,0.0005840893,0.009682595,0.004291198,0.0025740184,0.0037331814,0.0015291702],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013235076,0.0000369625,0.0017728141,0.000092237606,0.000019452807,0.0013543448,0.19239551,0.00015222479,0.0008767642,0.40642363,0.36091667,0.035827134],"study_design_scores_gemma":[0.000017054628,0.00004813937,0.0017898104,0.00022223018,0.000011552269,0.00071202626,0.10167966,0.00025055665,0.0007467189,0.011468241,0.8830179,0.000036054615],"about_ca_topic_score_codex":0.03019631,"about_ca_topic_score_gemma":0.053168055,"teacher_disagreement_score":0.03019631,"about_ca_system_score_codex":0.0035832056,"about_ca_system_score_gemma":0.0017310731,"threshold_uncertainty_score":0.06004107},"labels":[],"label_agreement":null},{"id":"W1633889299","doi":"10.2752/174589312x13173255802085","title":"Transitory Formations and the Education of the Senses","year":2012,"lang":"en","type":"article","venue":"The Senses and Society","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Centre de réadaptation Lethbridge-Layton-Mackay","funders":"","keywords":"Depiction; Aesthetics; Ambivalence; Panorama; Novelty; Appeal; Realism; Normative; Psychology; Deception; Painting; Art; Sociology; Epistemology; Visual arts; Social psychology; Philosophy","score_opus":0.016609980430214954,"score_gpt":0.2039806256713239,"score_spread":0.18737064524110897,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1633889299","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3412074,0.005096663,0.022597026,0.009625134,0.00029117143,0.00003574681,0.000089675355,0.00009308634,0.6209641],"genre_scores_gemma":[0.99177915,0.0005542476,0.0008158334,0.000092052825,0.000041019724,0.0000060332677,0.0000102129925,0.000009876444,0.0066915373],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9991906,0.00043615093,0.00003425633,0.0001226365,0.000115241506,0.00010108441],"domain_scores_gemma":[0.99842393,0.00083563593,0.00023463754,0.0002047238,0.00013430262,0.00016693174],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00128913,0.00023727847,0.00011325068,0.0011977182,0.00177177,0.004790091,0.00035713948,0.0005578827,0.007398145],"category_scores_gemma":[0.0037787594,0.00015425596,0.00015096807,0.0005919924,0.015920453,0.0053740744,0.0035328467,0.0015134268,0.00027561132],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002426078,0.000014039027,0.000795848,0.000049651495,0.0000027818423,0.000100448204,0.027856337,0.00009456973,0.0008494937,0.9557061,0.0005737564,0.013932771],"study_design_scores_gemma":[0.000028887891,0.00011087746,0.007404086,0.00023672206,0.000013755269,0.00058050116,0.049105536,0.00064179616,0.0019290037,0.7313125,0.20860972,0.000026543907],"about_ca_topic_score_codex":0.0014186787,"about_ca_topic_score_gemma":0.0017308762,"teacher_disagreement_score":0.007398145,"about_ca_system_score_codex":0.0016381143,"about_ca_system_score_gemma":0.0007682348,"threshold_uncertainty_score":0.024749279},"labels":[],"label_agreement":null},{"id":"W165158368","doi":"","title":"From Playboy Penthouse to High-Rise Playboy: The Bachelor’s Evolution","year":2015,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Bachelor; History; Political science; Law","score_opus":0.13616689936130724,"score_gpt":0.28162926310209185,"score_spread":0.1454623637407846,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W165158368","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5440704,0.0064801895,0.0015395997,0.046471536,0.0015796096,0.000120960336,0.0006656026,0.00013904696,0.3989331],"genre_scores_gemma":[0.8953513,0.0011389194,0.00036324924,0.002757376,0.00041124236,0.000031714313,0.00021284238,0.00011893191,0.09961447],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9981275,0.00038632308,0.00004282596,0.00034802567,0.00034762066,0.0007475817],"domain_scores_gemma":[0.99502426,0.0004367141,0.00023048521,0.00013713888,0.00063596177,0.0035353473],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023305626,0.0002560357,0.0004362254,0.002045289,0.00716918,0.0087840725,0.0009243957,0.0015866947,0.037342004],"category_scores_gemma":[0.0062006605,0.0003265279,0.0002188046,0.0020004543,0.004068497,0.0033790667,0.0042111245,0.0036980442,0.004112362],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00072482775,0.0006630803,0.049375862,0.00021503674,0.00003122591,0.0004448231,0.064051725,0.00027118486,0.0011944989,0.4370125,0.13645704,0.30955815],"study_design_scores_gemma":[0.00007498743,0.00031701347,0.266494,0.00070545595,0.000013531821,0.00033898215,0.064125106,0.00054313365,0.0007287017,0.02033358,0.6462664,0.000059090646],"about_ca_topic_score_codex":0.04653915,"about_ca_topic_score_gemma":0.10340738,"teacher_disagreement_score":0.04653915,"about_ca_system_score_codex":0.0075037736,"about_ca_system_score_gemma":0.0055819233,"threshold_uncertainty_score":0.1249215},"labels":[],"label_agreement":null},{"id":"W1652610363","doi":"","title":"Les Rendez-vous du cinéma québécois 2004 : Splendeurs et misères du 7e art québécois","year":2004,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science; Art","score_opus":0.009855049936063016,"score_gpt":0.16276843699108604,"score_spread":0.15291338705502303,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1652610363","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5787299,0.03427041,0.0030077843,0.029432693,0.0018441561,0.000075147895,0.004200986,0.00019757941,0.34824133],"genre_scores_gemma":[0.857003,0.0060326066,0.00089561485,0.0006549535,0.00028158358,0.00003084363,0.00067623804,0.00008807346,0.13433711],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99859303,0.0003452126,0.000035508332,0.00017255322,0.0005648772,0.00028887883],"domain_scores_gemma":[0.99701214,0.00071733946,0.0003060155,0.00010173882,0.0012724565,0.00059027615],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014604792,0.00075142557,0.00035130075,0.0034656033,0.006612235,0.009118896,0.00064644724,0.0013588993,0.026629094],"category_scores_gemma":[0.0051103337,0.00039862687,0.00039005035,0.003910462,0.0031801928,0.0022802383,0.0013934041,0.0036777663,0.0010875236],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00088806543,0.0002536832,0.09870242,0.0009867849,0.00034638305,0.0025337276,0.20838705,0.0025904116,0.006050818,0.1790152,0.17653337,0.3237121],"study_design_scores_gemma":[0.000018079762,0.000038315324,0.1942411,0.00054976495,0.000057518882,0.00035627148,0.049418367,0.00077946525,0.0012687881,0.0009706618,0.75221807,0.000083620864],"about_ca_topic_score_codex":0.9553033,"about_ca_topic_score_gemma":0.97201604,"teacher_disagreement_score":0.04469669,"about_ca_system_score_codex":0.042190585,"about_ca_system_score_gemma":0.013757983,"threshold_uncertainty_score":0.3061155},"labels":[],"label_agreement":null},{"id":"W165526756","doi":"","title":"Looking Beneath the Skin: Reconfiguring Trauma and Sexuality","year":2008,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Human sexuality; Queer; Movie theater; Style (visual arts); Gender studies; Aesthetics; Sociology; Art; History; Psychoanalysis; Psychology; Literature","score_opus":0.0552908397201431,"score_gpt":0.22803045424483318,"score_spread":0.17273961452469008,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W165526756","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6547597,0.016523173,0.0078609,0.060289595,0.0006984029,0.000052611256,0.00017417596,0.0000643854,0.25957704],"genre_scores_gemma":[0.98886454,0.0037045567,0.0005861524,0.0019770726,0.0001287305,0.000010441636,0.000022821074,0.000020672684,0.00468502],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99846256,0.0010560865,0.00002327159,0.00008590128,0.00012849532,0.00024353707],"domain_scores_gemma":[0.9976053,0.0011396714,0.00049615855,0.0002079858,0.00012605595,0.00042479098],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017285477,0.0002934327,0.000236168,0.0010693423,0.003990439,0.008308405,0.0006221238,0.0014916827,0.0047953287],"category_scores_gemma":[0.005389289,0.0002737329,0.00025727833,0.00092077546,0.021828813,0.0058050854,0.005117809,0.0030244212,0.00033618498],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000123038,0.00010197388,0.02175752,0.00019238298,0.000051498962,0.0032284213,0.4971641,0.00028757364,0.0013453425,0.4160626,0.011029525,0.048656043],"study_design_scores_gemma":[0.000031661235,0.00013491379,0.032389157,0.0007748239,0.00005410586,0.005991333,0.5872269,0.00047857533,0.0009969207,0.184569,0.18728065,0.00007198463],"about_ca_topic_score_codex":0.0037187855,"about_ca_topic_score_gemma":0.0049586184,"teacher_disagreement_score":0.008308405,"about_ca_system_score_codex":0.0021795202,"about_ca_system_score_gemma":0.0010330264,"threshold_uncertainty_score":0.016041994},"labels":[],"label_agreement":null},{"id":"W1659821181","doi":"10.22230/cjc.2008v33n4a2090","title":"Live from the Met: Digital Broadcast Cinema, Medium Theory, and Opera for the Masses","year":2008,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":38,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Opera; Movie theater; Art; The arts; Broadcasting (networking); Media studies; Phenomenon; Visual arts; Advertising; Art history; Sociology; Aesthetics; Computer science; Philosophy; Business; Epistemology","score_opus":0.04320325368994478,"score_gpt":0.22194427820999085,"score_spread":0.1787410245200461,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1659821181","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31546336,0.06937005,0.015488589,0.053392027,0.0010915096,0.00006617452,0.00021179582,0.00006592093,0.5448505],"genre_scores_gemma":[0.98251224,0.0071686464,0.001030858,0.00045174223,0.00039232796,0.00003213296,0.000031994987,0.000016481612,0.008363503],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943906,0.0002962714,0.0000094279385,0.000048396585,0.000103574246,0.00010327292],"domain_scores_gemma":[0.9978594,0.0013793597,0.00026743114,0.00006931005,0.000122000754,0.00030242858],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010117457,0.00029581043,0.00024271233,0.0014391554,0.0022258435,0.007183527,0.00057986536,0.0012162756,0.0071344785],"category_scores_gemma":[0.0039740754,0.00015733932,0.0001519975,0.0015018422,0.0064388677,0.0066229966,0.0023190184,0.0021580327,0.0002367332],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000092452436,0.00006602075,0.0031861966,0.00012392782,0.0000113635115,0.00019386376,0.006423043,0.00048748616,0.00013817397,0.95274293,0.006477792,0.030056726],"study_design_scores_gemma":[0.000063167456,0.00024496773,0.02483226,0.001208968,0.000059288242,0.000548637,0.06472281,0.0057174847,0.0005565757,0.6296785,0.27228028,0.000087166096],"about_ca_topic_score_codex":0.013051768,"about_ca_topic_score_gemma":0.016516406,"teacher_disagreement_score":0.013051768,"about_ca_system_score_codex":0.0043067285,"about_ca_system_score_gemma":0.0017720145,"threshold_uncertainty_score":0.031247675},"labels":[],"label_agreement":null},{"id":"W166369904","doi":"","title":"The Proprietary Rights Initiatives in Canadian Film Distribution Policy","year":2000,"lang":"en","type":"article","venue":"Carleton University's Institutional Repository (MacOdrum Library, Carleton University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"Commission; Distribution (mathematics); Investment (military); Business; Government (linguistics); Commerce; Industrial organization; Politics; Finance; Law; Political science","score_opus":0.00713370037333466,"score_gpt":0.1622698989843561,"score_spread":0.15513619861102143,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W166369904","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0756612,0.008477629,0.00541444,0.060931012,0.00025126743,0.00013257201,0.0007685125,0.00012891593,0.8482345],"genre_scores_gemma":[0.90519893,0.0043901317,0.0031581724,0.0046228208,0.00011233089,0.000048762748,0.00020278439,0.00005679367,0.08220926],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9936021,0.0007850692,0.00013263087,0.00055268296,0.0032399972,0.0016875493],"domain_scores_gemma":[0.99032086,0.0027584962,0.00067392236,0.00055703573,0.004523681,0.001165972],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037478122,0.00039144407,0.00023380431,0.0030660946,0.012141278,0.01052184,0.0017686809,0.0029450813,0.019300694],"category_scores_gemma":[0.013599532,0.00043472106,0.00044242802,0.0057067,0.010737244,0.004067027,0.0024223353,0.002813287,0.0004654191],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022568098,0.000015735883,0.0022884386,0.000074492666,0.00000877854,0.00011911695,0.0033776946,0.0015956569,0.00020397885,0.94553894,0.023257669,0.023496874],"study_design_scores_gemma":[0.000032467746,0.000024880974,0.022989096,0.00046990495,0.00004222873,0.00015089383,0.005881791,0.004394298,0.00068695005,0.08882552,0.87637025,0.00013191604],"about_ca_topic_score_codex":0.98383373,"about_ca_topic_score_gemma":0.9810173,"teacher_disagreement_score":0.21656281,"about_ca_system_score_codex":0.21656281,"about_ca_system_score_gemma":0.14336589,"threshold_uncertainty_score":0.9086761},"labels":[],"label_agreement":null},{"id":"W1667795664","doi":"10.5204/mcj.882","title":"Cirque du Soleil and Its Roots in Illegitimate Circus","year":2014,"lang":"en","type":"article","venue":"M/C Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cirque; Art; Geography","score_opus":0.018213617202363124,"score_gpt":0.19673195982218714,"score_spread":0.17851834261982402,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1667795664","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07762425,0.013786178,0.0011079973,0.015103709,0.0010652132,0.000030680087,0.00006895532,0.000067303,0.89114577],"genre_scores_gemma":[0.93181294,0.0025281056,0.00033840162,0.0013754506,0.00048654398,0.000023984509,0.00004403713,0.00005494849,0.06333555],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998543,0.00059745053,0.000037541828,0.00022105333,0.0002639772,0.00033697172],"domain_scores_gemma":[0.99822277,0.0008016718,0.00022755902,0.00011453501,0.0002900748,0.00034334182],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012341794,0.00042986422,0.0002494762,0.0015524036,0.0081997905,0.008753532,0.00076214387,0.0017674993,0.016684256],"category_scores_gemma":[0.0034696485,0.000202914,0.0001662666,0.000952317,0.020834848,0.0038494347,0.004745966,0.003644603,0.0014352908],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005156285,0.000035357236,0.0012354766,0.00010682379,0.00000291032,0.0005648462,0.05716304,0.000062774576,0.00015461075,0.900229,0.02011174,0.020281931],"study_design_scores_gemma":[0.000009457523,0.000039899387,0.0027822284,0.0004961615,0.0000033588894,0.0009993408,0.029201346,0.00022914135,0.00025373604,0.040815268,0.9251442,0.000025877962],"about_ca_topic_score_codex":0.013337335,"about_ca_topic_score_gemma":0.019784646,"teacher_disagreement_score":0.016684256,"about_ca_system_score_codex":0.0073073558,"about_ca_system_score_gemma":0.002581092,"threshold_uncertainty_score":0.055814445},"labels":[],"label_agreement":null},{"id":"W167222296","doi":"","title":"Rogue Vehicles: David Cronenberg's Fast Company and the Tax Shelter Period","year":2012,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Monster; Passion; Period (music); Filmography; Film director; Art; HERO; Art history; Movie theater; Vampire; Deviance (statistics); Literature; Aesthetics; Psychology","score_opus":0.02595421600726058,"score_gpt":0.21907203290744906,"score_spread":0.19311781690018848,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W167222296","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08052217,0.10300266,0.00038442732,0.31556833,0.014853189,0.000050907147,0.0001797878,0.00006430126,0.4853742],"genre_scores_gemma":[0.48569706,0.048445906,0.0005063261,0.035532452,0.003684175,0.00005206794,0.00011701195,0.00020714641,0.42575783],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985826,0.00041787184,0.000021189997,0.00014285452,0.00034459718,0.000490926],"domain_scores_gemma":[0.99843925,0.0003826915,0.00011577081,0.00004418841,0.00027734047,0.00074074743],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013697546,0.0004259256,0.00026383984,0.0015826086,0.020012852,0.01058603,0.0010632914,0.0032808306,0.011182575],"category_scores_gemma":[0.0026959775,0.00033661455,0.00013787349,0.0012408237,0.007876025,0.0053817313,0.0035654064,0.005241024,0.0014232635],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038726663,0.000088659915,0.0009546262,0.000077942255,0.0000044316425,0.0007123474,0.07824949,0.00004045026,0.00020451832,0.16110656,0.73373216,0.024790064],"study_design_scores_gemma":[0.0000029245311,0.000008189077,0.0006146475,0.0001291391,0.0000010743421,0.00013960524,0.02863996,0.000014067341,0.00005967265,0.001119509,0.9692629,0.000008211592],"about_ca_topic_score_codex":0.15324321,"about_ca_topic_score_gemma":0.32839388,"teacher_disagreement_score":0.15324321,"about_ca_system_score_codex":0.013722927,"about_ca_system_score_gemma":0.007362218,"threshold_uncertainty_score":0.30470246},"labels":[],"label_agreement":null},{"id":"W1676116893","doi":"10.1080/17411548.2015.1037572","title":"Onscreen and off-screen flesh and blood: performance, affect and ethics in Catherine Breillat’s films","year":2015,"lang":"en","type":"article","venue":"Studies in European Cinema","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Performative utterance; Movie theater; Affect (linguistics); Reflexivity; Comedy; Patriarchy; Aesthetics; Situational ethics; Film studies; Art; Flesh; Sociology; Literature; Psychoanalysis; Psychology; Gender studies; Social psychology","score_opus":0.12578412568979863,"score_gpt":0.293303221438022,"score_spread":0.16751909574822338,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1676116893","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76905745,0.00601611,0.0021323592,0.027596818,0.0007076795,0.0000605433,0.0001007612,0.000099998724,0.19422828],"genre_scores_gemma":[0.9821352,0.0008195178,0.0006250872,0.0019011623,0.00019394212,0.000028695704,0.000025147703,0.00008072236,0.014190659],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9951892,0.003509176,0.000048683713,0.00029095242,0.00056971685,0.00039229888],"domain_scores_gemma":[0.99681634,0.0019889264,0.0003903378,0.00017038631,0.00026709939,0.00036686906],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024909568,0.00063173973,0.00036266385,0.0010080127,0.011686266,0.009605482,0.0007998522,0.0031789066,0.0031972467],"category_scores_gemma":[0.010282418,0.00040978403,0.00026855478,0.0005873921,0.01577466,0.0036588,0.004163703,0.0057924343,0.00047126578],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000894193,0.00003910477,0.0016092565,0.000097805976,0.000018384613,0.0015580814,0.9528073,0.000094479925,0.0035442866,0.02620897,0.00738616,0.0065467404],"study_design_scores_gemma":[0.000015502685,0.00012538704,0.013453251,0.0004200487,0.000019772984,0.0026297474,0.69006217,0.00019227233,0.0018441244,0.003641563,0.28748867,0.000107568514],"about_ca_topic_score_codex":0.021358835,"about_ca_topic_score_gemma":0.029491207,"teacher_disagreement_score":0.021358835,"about_ca_system_score_codex":0.004129528,"about_ca_system_score_gemma":0.00077214994,"threshold_uncertainty_score":0.042469025},"labels":[],"label_agreement":null},{"id":"W1711838749","doi":"10.22230/cjc.2009v34n1a2169","title":"Wild Bodies and True Lies: Carnival, Spectacle, and the Curious Case of <i>Trailer Park Boys</i>","year":2009,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Athabasca University","funders":"","keywords":"Spectacle; Trailer; Construct (python library); Aesthetics; Sociology; Art; Advertising; Political science; Computer science; Law; Business","score_opus":0.018014008060681205,"score_gpt":0.21303595624341734,"score_spread":0.19502194818273613,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1711838749","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2988615,0.0055908803,0.0020023643,0.064290255,0.0003187399,0.000027144924,0.000102299964,0.0000268647,0.6287799],"genre_scores_gemma":[0.9836908,0.0008692998,0.00017959677,0.0011216633,0.00005126964,0.0000092844275,0.000013723823,0.00001527009,0.014049055],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.998086,0.0009329512,0.000019245219,0.00013792813,0.00017340583,0.0006504905],"domain_scores_gemma":[0.9983644,0.00078522856,0.00019043405,0.00013177226,0.00015862318,0.00036955348],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016317485,0.00043461163,0.0003214439,0.0011093983,0.020020574,0.010711545,0.0011011631,0.00424199,0.008998486],"category_scores_gemma":[0.0032383467,0.00029835783,0.00024607044,0.0011162907,0.04909625,0.0067858784,0.0064190184,0.005412226,0.00034914256],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019856912,0.000012121422,0.0010406243,0.000028432867,0.000005284837,0.0011291057,0.18563242,0.000081782666,0.000062747415,0.8018105,0.0068866103,0.003290419],"study_design_scores_gemma":[0.000016965272,0.000024998197,0.0030632901,0.00034781097,0.000017380284,0.0016567897,0.614231,0.00024168781,0.00025909432,0.10258451,0.27751106,0.000045428886],"about_ca_topic_score_codex":0.17450337,"about_ca_topic_score_gemma":0.26753592,"teacher_disagreement_score":0.8254966,"about_ca_system_score_codex":0.009407069,"about_ca_system_score_gemma":0.0043425118,"threshold_uncertainty_score":0.34697533},"labels":[],"label_agreement":null},{"id":"W1719720057","doi":"","title":"Longs métrages documentaires québécois : Les rêves des hommes","year":2008,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.014806055235146526,"score_gpt":0.16563186689221768,"score_spread":0.15082581165707115,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1719720057","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6087972,0.041963987,0.0028452878,0.086387254,0.003121372,0.00012915142,0.005405379,0.0001536503,0.25119677],"genre_scores_gemma":[0.84876263,0.007611404,0.0013510521,0.0020225013,0.0005394828,0.00009018071,0.00064647954,0.00007425282,0.13890205],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99806803,0.0006565723,0.00004514348,0.00018307136,0.0005038762,0.0005433767],"domain_scores_gemma":[0.9966139,0.0011910768,0.0003735919,0.0001349733,0.0009406589,0.00074564695],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019649765,0.000886722,0.00052616355,0.0023597707,0.012783451,0.0063380837,0.00081578526,0.0029627357,0.028400825],"category_scores_gemma":[0.008420886,0.00043609735,0.00043732254,0.002925296,0.0039537563,0.0027758821,0.001993698,0.005549804,0.0013175231],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009226315,0.00032482448,0.07681999,0.0010105514,0.0003365194,0.008179399,0.278823,0.0012948893,0.004584741,0.19359623,0.23354629,0.20056105],"study_design_scores_gemma":[0.00003793427,0.000065683016,0.11266119,0.0005917476,0.000054769946,0.0011807219,0.08651002,0.00031545578,0.0007921615,0.002500641,0.79518247,0.000107234344],"about_ca_topic_score_codex":0.9098612,"about_ca_topic_score_gemma":0.9569876,"teacher_disagreement_score":0.09013879,"about_ca_system_score_codex":0.028636932,"about_ca_system_score_gemma":0.02118315,"threshold_uncertainty_score":0.20777649},"labels":[],"label_agreement":null},{"id":"W1738574168","doi":"10.5117/9789053569443","title":"The Cinema of Attractions Reloaded","year":2006,"lang":"en","type":"book","venue":"Amsterdam University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":76,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Université de Paris; Université de Montréal; Universiteit van Amsterdam; University of Notre Dame; Academy of Motion Picture Arts and Sciences","keywords":"Movie theater; Art; Art history","score_opus":0.03275237983299199,"score_gpt":0.19290719416616472,"score_spread":0.16015481433317275,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1738574168","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07138381,0.04283547,0.0020962877,0.019945728,0.004662686,0.00006237292,0.00026625482,0.00014468849,0.85860264],"genre_scores_gemma":[0.7425812,0.019181505,0.0011145097,0.0035453704,0.0029706853,0.000067353925,0.00020812976,0.00014976764,0.23018144],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992669,0.00037414566,0.000015456095,0.00011306051,0.000120598845,0.000109783046],"domain_scores_gemma":[0.9992316,0.0003072465,0.000090352434,0.00005907639,0.0001413805,0.00017024622],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00070096325,0.00032362586,0.00027126062,0.0012844856,0.0025929615,0.005034484,0.0005624796,0.00072786835,0.008755845],"category_scores_gemma":[0.00250586,0.00018279505,0.00021025845,0.0011508617,0.0039798897,0.0033850153,0.0028894877,0.0025606551,0.00071304955],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011834507,0.000050174393,0.001578988,0.00043067872,0.000015412654,0.00095417607,0.1235968,0.00023100468,0.0013759286,0.61825377,0.16116934,0.09222549],"study_design_scores_gemma":[0.0000064562737,0.0000289325,0.0028775902,0.00044750338,0.0000078451585,0.00043758433,0.012895462,0.00010580001,0.00021342168,0.006283341,0.97668546,0.0000105685],"about_ca_topic_score_codex":0.0066028605,"about_ca_topic_score_gemma":0.00802509,"teacher_disagreement_score":0.008755845,"about_ca_system_score_codex":0.0029860653,"about_ca_system_score_gemma":0.0010718722,"threshold_uncertainty_score":0.029291153},"labels":[],"label_agreement":null},{"id":"W1739291354","doi":"10.22230/cjc.2001v26n3a1240","title":"Spectacular Passions: Cinema, Fantasy, Gay Spectatorships","year":2001,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Passions; Fantasy; Movie theater; Art; Psychoanalysis; Gender studies; Aesthetics; Psychology; Sociology; Art history; Literature","score_opus":0.05352972952742433,"score_gpt":0.24089033032008272,"score_spread":0.1873606007926584,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1739291354","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66584504,0.019391121,0.00084157,0.040069994,0.0008458135,0.000038306916,0.0005107416,0.0000643611,0.27239302],"genre_scores_gemma":[0.9830474,0.0028545489,0.00015293359,0.00074769784,0.00034728294,0.000011189164,0.00009892769,0.00002511974,0.0127149485],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992322,0.0004321025,0.000013548538,0.00006393974,0.000114486385,0.00014368028],"domain_scores_gemma":[0.99565864,0.0020314192,0.00058800826,0.00015342608,0.0003442822,0.0012242751],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015544987,0.00048763744,0.0003229207,0.0017930347,0.0045099403,0.007949869,0.0005906502,0.0022066925,0.019068109],"category_scores_gemma":[0.007991245,0.0003040562,0.00022159824,0.0014671938,0.0042371266,0.004944088,0.0027008988,0.002762463,0.0008780563],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005653086,0.00037281684,0.059746005,0.0005042586,0.00009947875,0.0024314364,0.61102676,0.00022456399,0.0010856788,0.09432317,0.11160421,0.11801628],"study_design_scores_gemma":[0.000045652472,0.00018902494,0.1252246,0.0008279176,0.000105494066,0.0034717526,0.58524215,0.0007335363,0.0004707894,0.014374279,0.26921347,0.000101299316],"about_ca_topic_score_codex":0.014203646,"about_ca_topic_score_gemma":0.032300282,"teacher_disagreement_score":0.019068109,"about_ca_system_score_codex":0.0015348333,"about_ca_system_score_gemma":0.0007851555,"threshold_uncertainty_score":0.06378925},"labels":[],"label_agreement":null},{"id":"W1748850516","doi":"","title":"Interview with Robert A. Rosenstone","year":2011,"lang":"en","type":"article","venue":"The Caltech Institute Archives (California Institute of Technology)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Art history; Officer; Art; Media studies; History; Library science; Sociology; Political science; Law","score_opus":0.041633807788556416,"score_gpt":0.2144898430350404,"score_spread":0.172856035246484,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1748850516","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005982129,0.01931215,0.00047327028,0.8813428,0.0175729,0.00024932955,0.0008240679,0.00013417355,0.07410917],"genre_scores_gemma":[0.046393316,0.017064225,0.0013514686,0.6567976,0.0035513807,0.001166651,0.00045522567,0.00011436773,0.27310574],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979634,0.0009169767,0.000095916635,0.00023422667,0.00043854598,0.00035094382],"domain_scores_gemma":[0.9954171,0.0013861111,0.0003211661,0.00010077828,0.0016348073,0.0011400061],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004179145,0.00088842644,0.0009570874,0.0016305457,0.008333926,0.0033435186,0.0013307375,0.0065897442,0.045374904],"category_scores_gemma":[0.014466563,0.0008410032,0.0004356262,0.0019770006,0.001413472,0.0038749676,0.002658814,0.009137874,0.016744468],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013074441,0.000021392416,0.00023339351,0.00004286118,0.0000012121859,0.000184187,0.0020418658,0.000012930797,0.000067353874,0.0014246957,0.99002963,0.005927351],"study_design_scores_gemma":[0.000011229915,0.000023535733,0.0007412239,0.00022114239,0.0000020360546,0.00028036928,0.01402814,0.00003119459,0.000045768633,0.00048683857,0.9841111,0.000017407336],"about_ca_topic_score_codex":0.02601183,"about_ca_topic_score_gemma":0.04376875,"teacher_disagreement_score":0.045374904,"about_ca_system_score_codex":0.004355038,"about_ca_system_score_gemma":0.006444282,"threshold_uncertainty_score":0.15179414},"labels":[],"label_agreement":null},{"id":"W1750750367","doi":"","title":"Les Nouveaux Cinémas : photos de Jacques Dufresne, Introduction de Daniel Langlois, préface de Wim Wenders, Montréal : Festival international du nouveau Cinéma et des nouveaux Médias / Les 400 Coups, 2001, 109 pages Les Nouveaux Cinémas : photos de Jacques Dufresne, Introduction de Daniel Langlois, préface de Wim Wenders, Montréal : Festival international du nouveau Cinéma et des nouveaux Médias / Les 400 Coups, 2001, 109 pages","year":2002,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.03548655498213489,"score_gpt":0.253914118962926,"score_spread":0.2184275639807911,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1750750367","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015966018,0.5440795,0.0031413254,0.06065059,0.0589816,0.00015745516,0.0027156107,0.00043220608,0.32824504],"genre_scores_gemma":[0.01903091,0.19977267,0.0025068638,0.009348483,0.046772756,0.00015844312,0.0016748788,0.0005240572,0.7202109],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996487,0.00007225953,0.000014833317,0.00008028434,0.00014651609,0.000037476344],"domain_scores_gemma":[0.9992193,0.00023203134,0.00004159728,0.000030288129,0.0003212055,0.0001554855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005594544,0.0014920833,0.0006811364,0.0028470194,0.0020788456,0.003090034,0.00083417096,0.0015992784,0.10365469],"category_scores_gemma":[0.0018504366,0.000617957,0.00050280784,0.0027862831,0.0010623346,0.00302574,0.0010758297,0.0031388917,0.025381321],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001622335,0.0000111849395,0.00006234932,0.00015799211,0.0000018180859,0.000030884847,0.00028026852,0.00006701569,0.00023921227,0.0039054526,0.97189856,0.023329064],"study_design_scores_gemma":[0.0000031393618,0.000004085326,0.0007038053,0.0001941932,0.0000017137864,0.000053060467,0.00020708401,0.00003082027,0.000054247368,0.0008430173,0.99789906,0.000005719987],"about_ca_topic_score_codex":0.07383122,"about_ca_topic_score_gemma":0.10097009,"teacher_disagreement_score":0.9261688,"about_ca_system_score_codex":0.0039511565,"about_ca_system_score_gemma":0.0021512315,"threshold_uncertainty_score":0.34675944},"labels":[],"label_agreement":null},{"id":"W175439269","doi":"10.1007/978-94-6091-774-5_20","title":"The Take-Down","year":2012,"lang":"en","type":"book-chapter","venue":"SensePublishers eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Shot (pellet); Video production; Computer graphics (images); Computer science; Fantasy; Video camera; Cinematography; Crew; Art; Visual arts; Artificial intelligence; Computer vision","score_opus":0.03694234802110877,"score_gpt":0.19778840066390885,"score_spread":0.16084605264280008,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W175439269","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000822823,0.00066759577,0.0019158219,0.0012379036,0.0028696728,0.00014234011,0.004265923,0.00229526,0.9857826],"genre_scores_gemma":[0.0029023448,0.00050439785,0.001103631,0.00041559976,0.00046451093,0.000051651517,0.0022315923,0.0007715793,0.9915547],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99980265,0.000015842996,0.0000051133793,0.000030070401,0.00010800343,0.00003830097],"domain_scores_gemma":[0.9993673,0.00008134038,0.000015686674,0.00008292585,0.00024481845,0.00020785381],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00021855255,0.00080046104,0.00038704934,0.0013992931,0.0011726448,0.0030055344,0.00089081685,0.00089814723,0.7398688],"category_scores_gemma":[0.0014577578,0.000293036,0.00036565817,0.0009423802,0.00029020177,0.0020968115,0.0016868856,0.0016463475,0.5181645],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027736707,0.000023151008,0.0000478247,0.000071295566,8.287753e-7,0.00010388245,0.00011908818,0.000020658654,0.000828107,0.0032464059,0.9376733,0.057837773],"study_design_scores_gemma":[0.0000038129724,0.000010166113,0.00031533482,0.00003678902,9.543219e-7,0.00009931823,0.00009917806,0.000030146717,0.0002815129,0.00052688015,0.9985923,0.0000036210213],"about_ca_topic_score_codex":0.0036717586,"about_ca_topic_score_gemma":0.0078392085,"teacher_disagreement_score":0.7398688,"about_ca_system_score_codex":0.00080423994,"about_ca_system_score_gemma":0.0005999474,"threshold_uncertainty_score":0.37104553},"labels":[],"label_agreement":null},{"id":"W1755112971","doi":"","title":"Donigan Cumming, Moving Pictures, April 9-May 22, 2005, Museum of Contemporary Canadian ArtDonigan Cumming, Moving Pictures, April 9-May 22, 2005, Museum of Contemporary Canadian Art","year":2005,"lang":"en","type":"article","venue":"Ciel variable : Art, photo, médias, culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Art history","score_opus":0.026573166362904087,"score_gpt":0.22419508805190888,"score_spread":0.1976219216890048,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1755112971","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004395793,0.019121537,0.00082820456,0.033117253,0.015019102,0.00046812528,0.023033053,0.0011113766,0.9029055],"genre_scores_gemma":[0.0035026579,0.0015372033,0.00029480178,0.0005132738,0.00027976884,0.000024021254,0.0011440576,0.00007511472,0.99262905],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990909,0.000035719135,0.000023274379,0.000112838,0.00050154404,0.0002357229],"domain_scores_gemma":[0.9985857,0.00006976338,0.000038176502,0.000050450737,0.00093029725,0.00032559637],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001020707,0.0013370864,0.00068401196,0.0032124324,0.013313148,0.005137951,0.001886234,0.0023099445,0.44360608],"category_scores_gemma":[0.002197162,0.0007216866,0.00069292425,0.002872946,0.0007089029,0.0015248299,0.0017090987,0.0021664277,0.086814426],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026955433,0.000009157194,0.00023774014,0.000022755581,0.0000018009498,0.000033451153,0.00006267523,0.00003120022,0.000054099495,0.000588102,0.9889177,0.010014256],"study_design_scores_gemma":[0.0000055491664,0.000006570797,0.0034909856,0.00003947519,0.000005712357,0.000017694803,0.00031341283,0.000054189743,0.00009138438,0.000110295594,0.99585176,0.00001303948],"about_ca_topic_score_codex":0.84620476,"about_ca_topic_score_gemma":0.9816554,"teacher_disagreement_score":0.44360608,"about_ca_system_score_codex":0.017422784,"about_ca_system_score_gemma":0.014868189,"threshold_uncertainty_score":0.7936284},"labels":[],"label_agreement":null},{"id":"W1767072189","doi":"10.22230/cjc.2006v31n2a1729","title":"Report: <i>Life After Wartime</i>: A Suite of Multimedia Artworks","year":2006,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Suite; Multimedia; Art; Visual arts; Computer science; Advertising; History; Business; Archaeology","score_opus":0.017201309948391075,"score_gpt":0.20346776827396587,"score_spread":0.18626645832557479,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1767072189","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022407357,0.0017917292,0.0016897599,0.013809391,0.009695668,0.0015196408,0.3470192,0.0026140024,0.5994532],"genre_scores_gemma":[0.046984512,0.0022009758,0.0023145024,0.0018731145,0.0047241207,0.0013395696,0.14124475,0.0010780777,0.7982404],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996068,0.000020032017,0.000010001114,0.000032130232,0.00025608213,0.00007503519],"domain_scores_gemma":[0.9979207,0.00020197785,0.00013276598,0.00012285206,0.0010869645,0.0005347852],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00065276894,0.00084516447,0.00022174894,0.002422871,0.0016115921,0.0017624804,0.0007354961,0.0015115581,0.15140714],"category_scores_gemma":[0.001869469,0.00024060755,0.00033730472,0.0020306886,0.00023197864,0.0008939442,0.0011642211,0.0009397916,0.05872533],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000073348,0.00004632618,0.001083453,0.000073240204,0.000004934498,0.00007950058,0.00009706861,0.000091733884,0.0005396706,0.00032638476,0.98110616,0.016478013],"study_design_scores_gemma":[0.000030951473,0.00009184491,0.022317864,0.00007292701,0.000014895941,0.0000689549,0.0006691987,0.00018209137,0.0014457732,0.0002070683,0.97487986,0.00001866651],"about_ca_topic_score_codex":0.020759495,"about_ca_topic_score_gemma":0.05053858,"teacher_disagreement_score":0.15140714,"about_ca_system_score_codex":0.00070360897,"about_ca_system_score_gemma":0.0017936092,"threshold_uncertainty_score":0.50650734},"labels":[],"label_agreement":null},{"id":"W1767477471","doi":"","title":"It Couldn't Happen to Me . (Film)","year":2012,"lang":"en","type":"article","venue":"Canadian Journal of Counselling and Psychotherapy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Psychology","score_opus":0.03999457971455513,"score_gpt":0.25545075436551967,"score_spread":0.21545617465096453,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1767477471","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011858565,0.007844285,0.0018076119,0.15637599,0.02635845,0.00018036367,0.0018654524,0.00059133495,0.79311794],"genre_scores_gemma":[0.0880077,0.0042872354,0.0017734299,0.047864225,0.005122126,0.00012881364,0.0006169646,0.000432461,0.851767],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99974996,0.00006351452,0.0000075693233,0.000027896498,0.00007611442,0.00007480991],"domain_scores_gemma":[0.9993672,0.00013504756,0.000043571177,0.000040624076,0.0001889504,0.00022460832],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00048622827,0.00050106825,0.00022864138,0.0003473748,0.0041914685,0.0031464864,0.00057625625,0.0027026976,0.14905693],"category_scores_gemma":[0.0036600449,0.00025238612,0.00041890593,0.0002665353,0.0012635539,0.0029890593,0.0017793111,0.0057399096,0.030497815],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004423515,0.000014489969,0.00015519596,0.000071311515,0.0000062117233,0.00039083723,0.0028544064,0.000019304367,0.00026110178,0.0058054365,0.97657394,0.013803561],"study_design_scores_gemma":[0.000008926575,0.000014444657,0.0009262574,0.00012957549,0.0000066627686,0.00065470237,0.004064242,0.000030568695,0.00018414565,0.0012084447,0.9927608,0.000011210087],"about_ca_topic_score_codex":0.017096957,"about_ca_topic_score_gemma":0.038214274,"teacher_disagreement_score":0.14905693,"about_ca_system_score_codex":0.0012288422,"about_ca_system_score_gemma":0.00061802473,"threshold_uncertainty_score":0.49864507},"labels":[],"label_agreement":null},{"id":"W1772603088","doi":"10.22230/cjc.2006v31n4a1638","title":"Touch: Sensuous Theory and Multisensory Media","year":2006,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":34,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Advertising; Media theory; Communication; Aesthetics; Psychology; Sociology; Art; Media studies; Business","score_opus":0.025106559758116143,"score_gpt":0.20298275709412197,"score_spread":0.17787619733600582,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1772603088","genre_codex":"methods","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10855903,0.028997136,0.45190454,0.024149911,0.0012649099,0.00009482976,0.00042601523,0.00026024794,0.38434348],"genre_scores_gemma":[0.9498752,0.0062733046,0.027399488,0.001121317,0.00076284574,0.00010167897,0.00010460021,0.000073305506,0.014288348],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9988563,0.00038436666,0.00005767389,0.0002778477,0.0002799895,0.00014393819],"domain_scores_gemma":[0.9966433,0.002214394,0.0002699879,0.00042007727,0.0002823834,0.0001698911],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001281646,0.0006450533,0.00069691974,0.001977392,0.0016086885,0.009527699,0.0015344255,0.0031533376,0.011937959],"category_scores_gemma":[0.006336729,0.000514338,0.00096626347,0.0017954268,0.010151823,0.013538669,0.0031121136,0.002650493,0.0008271013],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023906816,0.000016686019,0.00042216876,0.000072259354,0.000012716797,0.000094023395,0.0010303196,0.001017451,0.0006020869,0.98460823,0.0007015626,0.011398585],"study_design_scores_gemma":[0.000009392186,0.000021379037,0.0006129907,0.00006316199,0.000012920109,0.0001641801,0.00066727604,0.0041588503,0.0003032953,0.98786885,0.006096463,0.000021253689],"about_ca_topic_score_codex":0.0018163164,"about_ca_topic_score_gemma":0.00082105485,"teacher_disagreement_score":0.011937959,"about_ca_system_score_codex":0.0012919884,"about_ca_system_score_gemma":0.0006786447,"threshold_uncertainty_score":0.039936423},"labels":[],"label_agreement":null},{"id":"W1774546487","doi":"","title":"27e Festival international du film de Toronto : Cinéma canadien de grand cru","year":2002,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cru; Art; Geography; Meteorology","score_opus":0.0082290454847837,"score_gpt":0.14775744246561004,"score_spread":0.13952839698082634,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1774546487","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.039762486,0.052686367,0.00083952735,0.042865723,0.008059955,0.00019294476,0.051855706,0.0005320719,0.80320525],"genre_scores_gemma":[0.20419016,0.013094924,0.0007215456,0.0009891163,0.0012853951,0.00009805661,0.010365529,0.00023095988,0.7690244],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912995,0.00008247024,0.000027133414,0.00009396129,0.0002922193,0.0003742778],"domain_scores_gemma":[0.9988267,0.0001716761,0.00010082841,0.00007300939,0.00044903686,0.0003787206],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005493284,0.0012217136,0.0003871765,0.003421481,0.0059451116,0.0067228717,0.00074541924,0.001931767,0.16026624],"category_scores_gemma":[0.0022240935,0.00037240968,0.0003669747,0.005062594,0.0010911257,0.0015274042,0.0016403534,0.0017300327,0.009208235],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012908205,0.00004462654,0.0044643716,0.000545658,0.000025911,0.00076134194,0.007925169,0.00021726197,0.0007167366,0.027629092,0.91530716,0.042233523],"study_design_scores_gemma":[0.0000064367105,0.000009927797,0.023196286,0.00009571541,0.000009177387,0.00007220474,0.002462245,0.000035596637,0.00028630337,0.00023694267,0.9735764,0.000012812945],"about_ca_topic_score_codex":0.742442,"about_ca_topic_score_gemma":0.89229435,"teacher_disagreement_score":0.257558,"about_ca_system_score_codex":0.020186873,"about_ca_system_score_gemma":0.01046997,"threshold_uncertainty_score":0.53614396},"labels":[],"label_agreement":null},{"id":"W1775616333","doi":"","title":"Bad Girl, Canada [Québec] 2001, 58 minutes Bad Girl, Canada [Québec] 2001, 58 minutes","year":2001,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Girl; Psychology; Developmental psychology","score_opus":0.018022399650240842,"score_gpt":0.20713199443729494,"score_spread":0.18910959478705408,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1775616333","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0036169263,0.014085016,0.0005439419,0.017724622,0.019249396,0.00054348767,0.07266527,0.0018400413,0.8697313],"genre_scores_gemma":[0.004010963,0.0018114861,0.0001982855,0.0007442851,0.00053250004,0.00007630246,0.0057563335,0.00029333864,0.98657644],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999446,0.000040358464,0.00001978743,0.00009293427,0.00023640294,0.00016451538],"domain_scores_gemma":[0.9977634,0.00009393055,0.00007008333,0.00006408049,0.0013310133,0.00067761884],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006511134,0.0016753082,0.0010314883,0.0013508662,0.007560922,0.00569847,0.001137119,0.0034133596,0.6630759],"category_scores_gemma":[0.0026196563,0.00066274195,0.00053021737,0.0030521296,0.0007408589,0.0015293915,0.0013061066,0.0024002837,0.3082451],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029099223,0.0000102134445,0.00016949722,0.00003789121,0.0000018061855,0.000027881864,0.000029316992,0.000056338493,0.000042105174,0.00016406033,0.9936009,0.005830812],"study_design_scores_gemma":[0.000021959684,0.0000101911,0.005128037,0.00013000183,0.000004490719,0.000017928274,0.00022532376,0.000090257105,0.00005151565,0.00010034274,0.99420893,0.000011007107],"about_ca_topic_score_codex":0.881199,"about_ca_topic_score_gemma":0.97407013,"teacher_disagreement_score":0.6630759,"about_ca_system_score_codex":0.015527996,"about_ca_system_score_gemma":0.016022207,"threshold_uncertainty_score":0.48058128},"labels":[],"label_agreement":null},{"id":"W1782895423","doi":"10.16995/dscn.53","title":"The House of the Future: Mediating Open Enclosures","year":2014,"lang":"en","type":"article","venue":"Digital Studies / Le champ numérique","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Fantasy; Object (grammar); Humanities; Art; Space (punctuation); Art history; Aesthetics; Philosophy; Literature; Linguistics","score_opus":0.027037823894052074,"score_gpt":0.2360196143536275,"score_spread":0.20898179045957543,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1782895423","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30601305,0.0022262055,0.031397123,0.008007312,0.00032823684,0.000049562866,0.00009638279,0.00010939824,0.6517727],"genre_scores_gemma":[0.9874719,0.00023811018,0.0010782157,0.00014023042,0.000030983814,0.000015131791,0.000016261763,0.000028359178,0.010980832],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9975448,0.0015408733,0.000047959624,0.00027953947,0.0002721673,0.00031464378],"domain_scores_gemma":[0.9976991,0.001017979,0.00025563678,0.0004093287,0.00020949185,0.00040859295],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025405043,0.00030354818,0.00030846626,0.00092910917,0.0062847366,0.008363491,0.00083388167,0.000963121,0.011624142],"category_scores_gemma":[0.0050225845,0.00027241008,0.00035506627,0.00077650085,0.024623128,0.010608738,0.0088764,0.0011606296,0.00063590053],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004501795,0.000017711045,0.00094788556,0.00004435341,0.000007164158,0.00043679622,0.13972807,0.00020629884,0.00048486216,0.8488884,0.0019728558,0.007220558],"study_design_scores_gemma":[0.00004009543,0.00008642454,0.003906607,0.00033617503,0.000028960687,0.00074037653,0.30467358,0.0011632849,0.0011478622,0.34511665,0.3427068,0.000053225824],"about_ca_topic_score_codex":0.004319804,"about_ca_topic_score_gemma":0.005452325,"teacher_disagreement_score":0.011624142,"about_ca_system_score_codex":0.0025958586,"about_ca_system_score_gemma":0.001801762,"threshold_uncertainty_score":0.038886607},"labels":[],"label_agreement":null},{"id":"W178399052","doi":"","title":"On the Street (Pantoum)","year":2011,"lang":"en","type":"article","venue":"Canadian women's studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Geography","score_opus":0.06885901653836582,"score_gpt":0.21522542463718053,"score_spread":0.1463664080988147,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W178399052","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0075163087,0.02425306,0.00019912276,0.016985215,0.0039868183,0.000048510843,0.0016854288,0.00015821976,0.94516736],"genre_scores_gemma":[0.01803073,0.004282896,0.00021968184,0.0011377023,0.00021720778,0.000013962502,0.0002250264,0.000070319074,0.9758026],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999744,0.00003706765,0.0000061379897,0.000042676238,0.00007896039,0.00009099177],"domain_scores_gemma":[0.9997781,0.000022894998,0.000016071908,0.000016021011,0.00008786181,0.00007912424],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020976286,0.0004486059,0.00027103082,0.0012073083,0.008020916,0.0034023912,0.0005199713,0.0018205079,0.2713683],"category_scores_gemma":[0.00069891143,0.00026409907,0.00019048541,0.002325759,0.00081149663,0.0018316767,0.001597678,0.0013729505,0.040761583],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049862425,0.000016330754,0.0008992188,0.00021489341,0.0000033090948,0.00057021657,0.0040989127,0.000035318524,0.00038346107,0.040310558,0.84891206,0.10450577],"study_design_scores_gemma":[0.0000010289723,0.0000029489531,0.001515527,0.00006294308,0.0000012337038,0.00008057524,0.0011134952,0.000007141536,0.000040556482,0.0003257368,0.9968465,0.0000024111523],"about_ca_topic_score_codex":0.25230244,"about_ca_topic_score_gemma":0.6775376,"teacher_disagreement_score":0.2713683,"about_ca_system_score_codex":0.004116864,"about_ca_system_score_gemma":0.0047902726,"threshold_uncertainty_score":0.90781736},"labels":[],"label_agreement":null},{"id":"W1786205013","doi":"","title":"Opérascope — Le film-opéra en Amérique Réal La Rochelle Montréal : Éditions Tryptique, 2003 428 pages Opérascope — Le film-opéra en Amérique Réal La Rochelle Montréal : Éditions Tryptique, 2003 428 pages","year":2004,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.010024469137778717,"score_gpt":0.21392511913420276,"score_spread":0.20390064999642404,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1786205013","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0044916673,0.0946744,0.0037152667,0.011480435,0.011783234,0.00013917676,0.011098096,0.0021263156,0.8604914],"genre_scores_gemma":[0.01579686,0.021811804,0.0020224308,0.00038069882,0.0016291327,0.000049182363,0.0045429547,0.00067906396,0.9530879],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996642,0.00002036608,0.000011752299,0.000038306145,0.00022483648,0.000040484596],"domain_scores_gemma":[0.99911267,0.00013788488,0.000044450164,0.000047650326,0.00045139625,0.00020597914],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039106698,0.0011716071,0.0005019617,0.0034129298,0.0013017128,0.00560216,0.0008688875,0.0008547755,0.2773703],"category_scores_gemma":[0.0013689884,0.00038679244,0.0002886857,0.004213113,0.0007931061,0.0024684644,0.00085886335,0.0013232726,0.041256744],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028331175,0.00001511388,0.00018541762,0.00013718347,0.0000030705914,0.00004652997,0.00019134612,0.00014611978,0.00075997587,0.0065402556,0.9220769,0.069869705],"study_design_scores_gemma":[0.000004418263,0.00000517054,0.00149008,0.00011427041,0.0000026158277,0.00007694341,0.00018405807,0.00009635224,0.00017152351,0.0006809327,0.9971674,0.000006291103],"about_ca_topic_score_codex":0.24106902,"about_ca_topic_score_gemma":0.25327924,"teacher_disagreement_score":0.2773703,"about_ca_system_score_codex":0.005969927,"about_ca_system_score_gemma":0.0045048976,"threshold_uncertainty_score":0.9278961},"labels":[],"label_agreement":null},{"id":"W1789350276","doi":"10.3917/telev.004.0135","title":"Performance des fictions françaises dans une économie de la télécommande","year":2013,"lang":"fr","type":"article","venue":"Télévision","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Musée de la Civilisation","funders":"","keywords":"Humanities; Art","score_opus":0.018417956922806206,"score_gpt":0.22030288270246595,"score_spread":0.20188492577965975,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1789350276","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93271726,0.0015946997,0.00081699755,0.0020558562,0.000040816853,0.000023986777,0.0006053978,0.000024289577,0.06212067],"genre_scores_gemma":[0.9820971,0.00065933954,0.00030233152,0.00005294005,0.000028849841,0.000011141778,0.00025765673,0.000010943743,0.016579669],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9983637,0.00058027887,0.00006377849,0.0001746392,0.0004808575,0.00033681307],"domain_scores_gemma":[0.9900822,0.005665037,0.0014852277,0.00038617585,0.0016057235,0.0007755343],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002505126,0.00031905208,0.0002861657,0.0025117956,0.002013177,0.0049812365,0.00035378092,0.0010518704,0.014491725],"category_scores_gemma":[0.01410326,0.00018658602,0.0003027049,0.0039791013,0.0014275258,0.0019404811,0.001037989,0.00075210474,0.0013765476],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0017707974,0.00059065066,0.4493316,0.0007878861,0.00047156928,0.0028167565,0.06980395,0.019341743,0.007368366,0.11830885,0.02226755,0.30714023],"study_design_scores_gemma":[0.000056324618,0.0005025746,0.8195373,0.000348382,0.00016558768,0.00048413346,0.032350883,0.005898442,0.0031078975,0.008455065,0.12897253,0.00012094452],"about_ca_topic_score_codex":0.11322609,"about_ca_topic_score_gemma":0.1266515,"teacher_disagreement_score":0.11322609,"about_ca_system_score_codex":0.006222814,"about_ca_system_score_gemma":0.0018884309,"threshold_uncertainty_score":0.22513407},"labels":[],"label_agreement":null},{"id":"W1791739087","doi":"10.3138/topia.14.57","title":"“Malibu’s Most Undercover Guru”: Deconstructing Race thru a Comical Pedagogy of Whiteness","year":2005,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dialectic; Race (biology); Sociology; Norm (philosophy); Aesthetics; Dominance (genetics); Gender studies; Brother; Art; Epistemology; Philosophy; Anthropology","score_opus":0.063571060210465,"score_gpt":0.29420532840204694,"score_spread":0.23063426819158195,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1791739087","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19430245,0.0108467005,0.013645526,0.12442878,0.0015695819,0.00003535387,0.000060275386,0.00006891548,0.65504247],"genre_scores_gemma":[0.9645305,0.0025958065,0.002499314,0.0077013113,0.00028660873,0.000035279485,0.00002140642,0.00007528882,0.022254305],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998968,0.0007296024,0.000012316933,0.0000680141,0.00012672954,0.00009536245],"domain_scores_gemma":[0.9988625,0.0006154376,0.00012769211,0.000088537854,0.00013832957,0.00016749729],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016887875,0.00036379846,0.00017647604,0.00096491625,0.006310967,0.0071757813,0.00054491294,0.001384047,0.0032199472],"category_scores_gemma":[0.0036424757,0.00015340946,0.00012859507,0.00064249965,0.014141341,0.0061009703,0.0030766053,0.0029556116,0.000285905],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032269916,0.000019016914,0.001167517,0.0000476637,0.0000033297592,0.000121301346,0.111451745,0.00005301771,0.00046833293,0.8552192,0.01269387,0.018722622],"study_design_scores_gemma":[0.000019388539,0.000045321663,0.004904242,0.00066963234,0.000019127438,0.0002519249,0.15987948,0.0006544017,0.0012650557,0.23407815,0.5981868,0.000026564681],"about_ca_topic_score_codex":0.013959072,"about_ca_topic_score_gemma":0.028419236,"teacher_disagreement_score":0.013959072,"about_ca_system_score_codex":0.003972202,"about_ca_system_score_gemma":0.0019870016,"threshold_uncertainty_score":0.028820455},"labels":[],"label_agreement":null},{"id":"W1808674665","doi":"10.33178/alpha.1.12","title":"The Society of Cinema and Media Studies Annual Conference 2011","year":2011,"lang":"en","type":"article","venue":"Alphaville Journal of Film and Screen Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Theme (computing); Movie theater; Media studies; Media event; Event (particle physics); Quarter (Canadian coin); Citizenship; Subjectivity; Photo-essay; History; Sociology; Cover (algebra); Visual arts; Political science; Art; Art history; Law; Engineering","score_opus":0.08645328284165739,"score_gpt":0.2489963982532494,"score_spread":0.162543115411592,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1808674665","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0056372955,0.08112675,0.0018175646,0.06575171,0.053237747,0.00017518473,0.0020529686,0.00051272364,0.7896881],"genre_scores_gemma":[0.04150597,0.03564505,0.0013765129,0.0031269006,0.012390714,0.0002728131,0.0015623809,0.00031692328,0.90380275],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99867874,0.00034431103,0.00007402774,0.00015252068,0.000527516,0.00022285391],"domain_scores_gemma":[0.99649435,0.0005020002,0.00018442757,0.00030375057,0.0013825647,0.001132821],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00243044,0.0009961905,0.0005066748,0.0028257617,0.0034915658,0.013653053,0.0010709265,0.0021862753,0.18602486],"category_scores_gemma":[0.0063972073,0.00039613387,0.0003567014,0.002388569,0.0012020591,0.004214885,0.0041568554,0.002619574,0.04433197],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004641481,0.000035526093,0.00038197753,0.00022719197,0.000006888144,0.000103618935,0.0013295307,0.0000367474,0.0003469342,0.01277649,0.90327567,0.08143311],"study_design_scores_gemma":[0.0000018327734,0.000006541368,0.0003975663,0.0001604195,0.000002037321,0.00004367494,0.0004460868,0.00001903466,0.000058703277,0.0004191591,0.9984414,0.0000035594658],"about_ca_topic_score_codex":0.00514285,"about_ca_topic_score_gemma":0.012403419,"teacher_disagreement_score":0.18602486,"about_ca_system_score_codex":0.0032319513,"about_ca_system_score_gemma":0.00440792,"threshold_uncertainty_score":0.62231517},"labels":[],"label_agreement":null},{"id":"W1818044995","doi":"","title":"The Point, Canada [Québec] 2006 (DVD 2007), v.o. anglaise, s.t.a. pour malentendants, 85 minutes The Point, Canada [Québec] 2006 (DVD 2007), v.o. anglaise, s.t.a. pour malentendants, 85 minutes","year":2009,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Point (geometry); Geography; Mathematics; Geometry","score_opus":0.011626359846544261,"score_gpt":0.1996756240875098,"score_spread":0.18804926424096555,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1818044995","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017351398,0.025049333,0.0009307897,0.009703886,0.0072101876,0.00017695235,0.018754913,0.0008975833,0.9355412],"genre_scores_gemma":[0.003244273,0.0034384753,0.0003185611,0.00045773463,0.00029478525,0.000017177732,0.0022271387,0.0002189054,0.989783],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99966955,0.000023948674,0.000007780455,0.00004063796,0.00018955056,0.00006852677],"domain_scores_gemma":[0.99914336,0.00005936671,0.000024300025,0.000025151641,0.00051297876,0.0002347775],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003896661,0.0011113045,0.00048396367,0.0011060359,0.0024093438,0.0036753383,0.00086605485,0.0016701682,0.5888622],"category_scores_gemma":[0.0013268712,0.0004623089,0.0003573733,0.001599743,0.000552241,0.0010657939,0.00067021506,0.0018382636,0.24850202],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002768619,0.0000066133794,0.00009022335,0.000045620654,0.0000017146366,0.000019451878,0.000024859051,0.000050016883,0.00020964417,0.0005545945,0.98411787,0.014851638],"study_design_scores_gemma":[0.0000063960024,0.00000599848,0.0011336342,0.000057299858,0.0000019166625,0.000023464088,0.000051978182,0.00005191334,0.00007799627,0.000110072455,0.9984749,0.0000044405033],"about_ca_topic_score_codex":0.65992844,"about_ca_topic_score_gemma":0.909011,"teacher_disagreement_score":0.5888622,"about_ca_system_score_codex":0.009619005,"about_ca_system_score_gemma":0.0066116676,"threshold_uncertainty_score":0.6841486},"labels":[],"label_agreement":null},{"id":"W1820508287","doi":"10.21083/surg.v4i1.1105","title":"Film as a reflection of society: interracial marriage and Stanley Kramer’s Guess Who’s Coming to Dinner in late 1960s America","year":2010,"lang":"en","type":"article","venue":"SURG Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hollywood; Opposition (politics); White (mutation); Sociology; Gray (unit); Politics; Reflection (computer programming); Gender studies; Media studies; Political science; Art history; History; Law","score_opus":0.025079470539322964,"score_gpt":0.26915805745440113,"score_spread":0.24407858691507817,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1820508287","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.470853,0.028340455,0.0010999687,0.18104671,0.0053852843,0.000029737923,0.00012489104,0.00003090592,0.31308904],"genre_scores_gemma":[0.9540136,0.010206384,0.00021238503,0.0062734843,0.0012218198,0.000013016129,0.000025700294,0.000036830123,0.027996873],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99880624,0.0008130356,0.000027003342,0.00007591721,0.00013212107,0.00014567675],"domain_scores_gemma":[0.9975078,0.0015105279,0.0002883473,0.00006548838,0.00022636396,0.00040132715],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016984951,0.0003775425,0.00018123328,0.0010743283,0.008033374,0.006294944,0.00052450283,0.0015286636,0.0035200263],"category_scores_gemma":[0.0043920632,0.00024327623,0.00015273411,0.0010471591,0.008124997,0.005057289,0.002451381,0.004265639,0.0003096974],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005302322,0.00007662859,0.0038700548,0.00012384311,0.000011685684,0.0010552763,0.81812704,0.000061320934,0.00062890863,0.11098727,0.050595194,0.014409756],"study_design_scores_gemma":[0.000008472665,0.000045551056,0.006748559,0.00031151544,0.000012554549,0.0004703415,0.47179282,0.00007465903,0.0003877079,0.0052072294,0.5149217,0.000018937524],"about_ca_topic_score_codex":0.0263194,"about_ca_topic_score_gemma":0.05667743,"teacher_disagreement_score":0.0263194,"about_ca_system_score_codex":0.0040310915,"about_ca_system_score_gemma":0.0011088358,"threshold_uncertainty_score":0.0523324},"labels":[],"label_agreement":null},{"id":"W1820508677","doi":"10.22230/cjc.2005v30n3a1609","title":"One Hundred Years of Canadian Cinema","year":2005,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":24,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Art history","score_opus":0.05084787951710076,"score_gpt":0.21627139123198527,"score_spread":0.1654235117148845,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1820508677","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31446066,0.20552033,0.0011918418,0.04148527,0.0070550484,0.00023968947,0.044410218,0.00023542464,0.38540152],"genre_scores_gemma":[0.7537929,0.0971919,0.0008139452,0.003915873,0.0018692907,0.000067123685,0.012625976,0.00016303583,0.12956001],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99820566,0.00010748102,0.000060478895,0.00019547417,0.0010275736,0.00040339574],"domain_scores_gemma":[0.9943298,0.0005203673,0.0004016679,0.00015770202,0.0033515447,0.0012387969],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012189251,0.0007201092,0.00047171343,0.009803784,0.0066988072,0.005472917,0.0010024065,0.0013499986,0.02627352],"category_scores_gemma":[0.0066421665,0.0003513202,0.0004159097,0.015154565,0.0021284998,0.0015113761,0.001928251,0.0017555434,0.0024105567],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00057443633,0.00017404072,0.059301086,0.003244338,0.00023478261,0.0018537673,0.062000085,0.00055377086,0.0017802998,0.03722814,0.4582797,0.37477565],"study_design_scores_gemma":[0.000005244038,0.000022708766,0.14893155,0.00089178624,0.000056736273,0.0002701638,0.019596051,0.000071071605,0.00022276303,0.0004638189,0.8294103,0.000057840785],"about_ca_topic_score_codex":0.9559179,"about_ca_topic_score_gemma":0.9836732,"teacher_disagreement_score":0.044082105,"about_ca_system_score_codex":0.041604836,"about_ca_system_score_gemma":0.03394706,"threshold_uncertainty_score":0.30186558},"labels":[],"label_agreement":null},{"id":"W1821927809","doi":"10.1353/sex.2010.0004","title":"Paying for Love: Women's Work and Love in Popular Film in Interwar Britain","year":2010,"lang":"en","type":"article","venue":"Journal of the History of Sexuality","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Movie theater; Interwar period; Period (music); World War II; Media studies; History; Sociology; Gender studies; Art history; Art; Aesthetics; Archaeology","score_opus":0.032660938281112516,"score_gpt":0.2366125468001601,"score_spread":0.2039516085190476,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1821927809","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8236425,0.013579547,0.00026300762,0.011700883,0.0005855783,0.000019107323,0.000118475844,0.000018625211,0.15007222],"genre_scores_gemma":[0.97993064,0.0039984724,0.000041380245,0.0004428532,0.00019719283,0.000007834587,0.00003234841,0.000022250786,0.015327046],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99863964,0.000742078,0.00002692653,0.00007386264,0.00023797176,0.00027956994],"domain_scores_gemma":[0.99795735,0.0012201559,0.00024329175,0.00007662849,0.00017768213,0.0003248012],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014573046,0.00039560214,0.00039921864,0.00188597,0.008204834,0.008279593,0.000546824,0.001782735,0.0070184255],"category_scores_gemma":[0.0040596942,0.00041811832,0.00014765053,0.0026169752,0.006385927,0.002655564,0.0033840276,0.0023514,0.00059891987],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018757141,0.00005737241,0.00700963,0.0002058317,0.000019521005,0.001129677,0.95365846,0.00003979084,0.00078160496,0.012803036,0.0082020825,0.015905404],"study_design_scores_gemma":[0.000021209016,0.00009258278,0.065438576,0.00054601626,0.000020541826,0.0005739264,0.7067281,0.00008131783,0.00031753874,0.0017884737,0.22436151,0.00003026138],"about_ca_topic_score_codex":0.02228987,"about_ca_topic_score_gemma":0.055137385,"teacher_disagreement_score":0.02228987,"about_ca_system_score_codex":0.004216693,"about_ca_system_score_gemma":0.00070668134,"threshold_uncertainty_score":0.044320285},"labels":[],"label_agreement":null},{"id":"W1824063246","doi":"10.3138/cjfs.20.1.100","title":"“Vicious Womanhood”: Genre, <i>The Femme Fatale</i> and Postwar America","year":2011,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.06511087878230327,"score_gpt":0.22308563831786893,"score_spread":0.15797475953556567,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1824063246","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.48877394,0.017530054,0.000660536,0.056997593,0.00176331,0.000034957153,0.00010214063,0.00003107701,0.43410644],"genre_scores_gemma":[0.95488346,0.0031162186,0.00009766508,0.0023034492,0.00026809803,0.000027125709,0.000025540148,0.000022571154,0.03925597],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99897444,0.00046334628,0.000020480455,0.00008948472,0.00008405695,0.0003681326],"domain_scores_gemma":[0.999062,0.0004172909,0.00015746524,0.000051275187,0.00010665265,0.00020528077],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013261227,0.0003937114,0.00024948787,0.0012410549,0.019737978,0.0058706985,0.00080893416,0.0019568447,0.0052408297],"category_scores_gemma":[0.002062193,0.00017445948,0.00014726499,0.0010758794,0.017405307,0.003345855,0.004481012,0.003883816,0.00030665912],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020076533,0.00001585745,0.0018960863,0.00005444424,0.000002564129,0.00040344917,0.8449218,0.000016802207,0.0002267591,0.13476405,0.010633612,0.0070445132],"study_design_scores_gemma":[0.0000033654776,0.000019248462,0.0061607882,0.00027329236,0.00000415192,0.00024166095,0.5820066,0.000022686481,0.00017818112,0.0057869377,0.40529057,0.000012483177],"about_ca_topic_score_codex":0.107470974,"about_ca_topic_score_gemma":0.15660657,"teacher_disagreement_score":0.107470974,"about_ca_system_score_codex":0.008709531,"about_ca_system_score_gemma":0.0037233974,"threshold_uncertainty_score":0.21369088},"labels":[],"label_agreement":null},{"id":"W1832507961","doi":"","title":"Cinema, an Art More Photographic than Autographic","year":2012,"lang":"fr","type":"article","venue":"Riviste UNIMI (Università degli studi di Milano)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Movie theater; Performative utterance; Visual arts; Art; Computer science; Aesthetics","score_opus":0.027290792599081716,"score_gpt":0.22048698131621086,"score_spread":0.19319618871712915,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1832507961","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017950952,0.061909214,0.023108972,0.05348092,0.009150037,0.00008663307,0.00081824913,0.00026300858,0.83323205],"genre_scores_gemma":[0.699293,0.040879324,0.021019772,0.017684119,0.015050296,0.00014839141,0.0007640863,0.0003975616,0.20476338],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99848926,0.00071153947,0.0000681458,0.00030485538,0.00033933378,0.00008672459],"domain_scores_gemma":[0.9975107,0.0013394462,0.00023032722,0.000395747,0.0002885324,0.00023526637],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001466638,0.00051826175,0.00029941843,0.0018020339,0.0024170498,0.01008731,0.0006629539,0.0015938036,0.013985979],"category_scores_gemma":[0.0043008984,0.00023770757,0.00020023558,0.0020796778,0.009339817,0.0068299165,0.0017584565,0.0029758206,0.0017130091],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000286329,0.000016635247,0.0007518386,0.00031705326,0.000012118325,0.000083058054,0.0066125244,0.00011838311,0.0005718882,0.90753996,0.054458413,0.029489415],"study_design_scores_gemma":[0.0000067790393,0.00001930064,0.001569214,0.00030366643,0.0000063497064,0.00034569245,0.0030725508,0.00007976946,0.00016974531,0.045909118,0.9485037,0.00001425154],"about_ca_topic_score_codex":0.0053804168,"about_ca_topic_score_gemma":0.008003452,"teacher_disagreement_score":0.013985979,"about_ca_system_score_codex":0.002423601,"about_ca_system_score_gemma":0.0014198155,"threshold_uncertainty_score":0.0467878},"labels":[],"label_agreement":null},{"id":"W1832517763","doi":"10.7202/018559ar","title":"A Madison for Outcasts: Dance and Critical Displacements in Jean-Luc Godard’s Band of Outsiders","year":2008,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dance; Mainstream; Movie theater; Art; Filmmaking; Cult; Visual arts; Literature; Aesthetics; Sociology; History; Philosophy; Theology","score_opus":0.06025578838401006,"score_gpt":0.27236565744053315,"score_spread":0.2121098690565231,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1832517763","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.51129615,0.008783361,0.0038172414,0.040512487,0.0039125136,0.0001439189,0.00011041257,0.0002693158,0.4311546],"genre_scores_gemma":[0.91063863,0.0017567242,0.0012165102,0.0043082745,0.0011093456,0.00007671343,0.00005868869,0.00037077148,0.08046429],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99726546,0.0018398123,0.000027646585,0.00021393893,0.0002893001,0.00036381517],"domain_scores_gemma":[0.9982162,0.0008695281,0.00010824192,0.00010841837,0.00017144703,0.0005260497],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002160808,0.00073581684,0.00038092153,0.0015253164,0.021273896,0.011432762,0.0011760723,0.0025133924,0.004541813],"category_scores_gemma":[0.0045275227,0.00045040983,0.0003428699,0.00065139146,0.014114575,0.0032861396,0.006814689,0.005992389,0.0006502459],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000086352644,0.00006020263,0.00073052436,0.000071921226,0.00000964815,0.0012363815,0.9126524,0.00005338919,0.0009307472,0.04443676,0.029412685,0.010319045],"study_design_scores_gemma":[0.000028278077,0.00007353559,0.0034920583,0.0003174533,0.000013189299,0.0007130078,0.55193305,0.00015262948,0.0007470798,0.004097694,0.43838882,0.00004317253],"about_ca_topic_score_codex":0.02637026,"about_ca_topic_score_gemma":0.07054427,"teacher_disagreement_score":0.02637026,"about_ca_system_score_codex":0.0043483833,"about_ca_system_score_gemma":0.0015270334,"threshold_uncertainty_score":0.05243355},"labels":[],"label_agreement":null},{"id":"W1843560156","doi":"10.61490/eial.v24i1.321","title":"Armando Bó and Isabel Sarli beyond the Nation: co-productions with Paraguay","year":2013,"lang":"en","type":"article","venue":"EIAL - Estudios Interdisciplinarios de América Latina y el Caribe","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"University of Illinois at Urbana-Champaign; Svenska Forskningsrådet Formas; Temple University","keywords":"Symbol (formal); Movie theater; Politics; State (computer science); Political science; Humanities; Media studies; Sociology; Political economy; Art; Art history; Law","score_opus":0.023573666103294113,"score_gpt":0.2493855086498007,"score_spread":0.22581184254650657,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1843560156","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50999534,0.01449356,0.002179636,0.04251119,0.00087707245,0.000052050003,0.00026009794,0.000067799694,0.42956337],"genre_scores_gemma":[0.969779,0.004138623,0.0007717879,0.00088692614,0.0001381397,0.000030173678,0.000086493535,0.000053439235,0.024115471],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989693,0.0006754691,0.000014141207,0.0001122458,0.00007198585,0.00015682078],"domain_scores_gemma":[0.99832004,0.00091040286,0.00026429357,0.00012043781,0.00013957289,0.0002452025],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014861121,0.0004574631,0.0003259963,0.0012394849,0.0048231212,0.0055131135,0.00061567023,0.00090991426,0.009889917],"category_scores_gemma":[0.0031443466,0.00023223135,0.000170922,0.001844689,0.0033943113,0.0042514526,0.0036317224,0.0020296287,0.00044382008],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00036594304,0.00012429307,0.021208094,0.000474354,0.00006193617,0.0046697864,0.66943884,0.00022420149,0.0019492167,0.17422675,0.0439022,0.08335449],"study_design_scores_gemma":[0.000015836322,0.000079833466,0.04374359,0.0006660169,0.00004764915,0.0015486715,0.46014804,0.000513739,0.00075247604,0.009517725,0.48292378,0.000042686894],"about_ca_topic_score_codex":0.027856922,"about_ca_topic_score_gemma":0.06954142,"teacher_disagreement_score":0.027856922,"about_ca_system_score_codex":0.0027302476,"about_ca_system_score_gemma":0.00084479735,"threshold_uncertainty_score":0.055389524},"labels":[{"model":"gemma","categories":[],"domain":null,"study_design":"not_applicable","genre":"empirical","about_ca_system":false,"about_ca_topic":false,"confidence":"low"},{"model":"gpt","categories":[],"domain":null,"study_design":"qualitative","genre":"empirical","about_ca_system":false,"about_ca_topic":false,"confidence":"low"}],"label_agreement":"split"},{"id":"W1844031411","doi":"","title":"Relativity: short fiction film","year":2002,"lang":"en","type":"article","venue":"SHURA (Sheffield Hallam University Research Archive) (Sheffield Hallam University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Film studies; Media studies; Drama; Narrative; Visual arts; Film industry; History; National cinema; Art; Art history; Sociology; Literature","score_opus":0.08593556157305861,"score_gpt":0.2363927603502956,"score_spread":0.150457198777237,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1844031411","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0040320517,0.022262162,0.0039010558,0.022855463,0.031004677,0.00007178695,0.00067079556,0.00029040241,0.91491157],"genre_scores_gemma":[0.20362148,0.022230113,0.004343188,0.010852871,0.025155274,0.00021225214,0.0014747219,0.0008498867,0.7312602],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994148,0.00024423705,0.000031777494,0.00009185674,0.0001630323,0.00005437979],"domain_scores_gemma":[0.9992797,0.00044003472,0.00004803016,0.000074158874,0.00009506644,0.00006303314],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00059457426,0.00069294276,0.00020502391,0.0017099312,0.0034038818,0.0033452034,0.0005810955,0.001282543,0.039674923],"category_scores_gemma":[0.0034064162,0.00021511549,0.0002675586,0.0013330455,0.0026515862,0.0030770074,0.0017613432,0.0022734466,0.0057570604],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052362553,0.000010836645,0.00009590254,0.0002689458,0.000006331529,0.00026045192,0.0070346673,0.00008801602,0.00046185227,0.34081239,0.6120298,0.038878392],"study_design_scores_gemma":[0.0000016945528,0.0000076017914,0.00015275685,0.00008314772,0.0000011711837,0.000112304086,0.0005452225,0.000028922725,0.00010364779,0.0041423296,0.9948179,0.0000034282589],"about_ca_topic_score_codex":0.0052683936,"about_ca_topic_score_gemma":0.006495804,"teacher_disagreement_score":0.039674923,"about_ca_system_score_codex":0.0021936358,"about_ca_system_score_gemma":0.00058721355,"threshold_uncertainty_score":0.13272578},"labels":[],"label_agreement":null},{"id":"W1855436876","doi":"10.3366/film.2015.0047","title":"Douglas Keesey (2012) <i>Contemporary Erotic Cinema</i>","year":2015,"lang":"en","type":"article","venue":"Film-Philosophy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Movie theater; Art; Aesthetics; Art history; Visual arts","score_opus":0.10611475247478479,"score_gpt":0.2364318967871835,"score_spread":0.13031714431239871,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1855436876","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004614533,0.29637957,0.003665917,0.3182874,0.04156181,0.000042675376,0.00057105365,0.00013795079,0.33473906],"genre_scores_gemma":[0.11031347,0.13269079,0.0019352466,0.041190736,0.020445308,0.00008154143,0.0004902645,0.00040013876,0.69245255],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936646,0.00023596968,0.000022798307,0.00010262658,0.00017567263,0.00009652734],"domain_scores_gemma":[0.99882776,0.00040831152,0.000075285236,0.000052187464,0.0004269945,0.00020947159],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00089976355,0.0007454853,0.00030791858,0.001995814,0.0034487396,0.00867412,0.0005475891,0.0022979227,0.025729261],"category_scores_gemma":[0.0038832333,0.00021237262,0.00019359196,0.0022604032,0.0022224148,0.006383429,0.0018573639,0.0029922542,0.006740146],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017581078,0.000013924381,0.0002742098,0.00014313607,0.0000031525435,0.000040747233,0.0029310365,0.00003047438,0.00013659103,0.094376616,0.86664885,0.035383593],"study_design_scores_gemma":[0.0000015346502,0.0000035712937,0.00050438417,0.00023734676,0.0000024647109,0.000051282568,0.002139752,0.000022625862,0.000119359785,0.006778828,0.9901336,0.0000052922082],"about_ca_topic_score_codex":0.016469311,"about_ca_topic_score_gemma":0.031712767,"teacher_disagreement_score":0.025729261,"about_ca_system_score_codex":0.0034177469,"about_ca_system_score_gemma":0.0021656877,"threshold_uncertainty_score":0.08607298},"labels":[],"label_agreement":null},{"id":"W1855606427","doi":"10.26522/vp.v11i1.937","title":"Vanderschelden, Isabelle. Studying French Cinema","year":2014,"lang":"fr","type":"article","venue":"Voix Plurielles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Art history; Visual arts","score_opus":0.030239309866349966,"score_gpt":0.22576180055441408,"score_spread":0.19552249068806413,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1855606427","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01990033,0.63729846,0.0052484265,0.070605226,0.007572625,0.00010169634,0.0067704073,0.00035436728,0.25214845],"genre_scores_gemma":[0.29410428,0.33295456,0.006737644,0.004873672,0.002570645,0.00018762317,0.003481021,0.0005871335,0.3545035],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99957377,0.00010546964,0.000021994476,0.00004980114,0.0001852429,0.00006358453],"domain_scores_gemma":[0.99781907,0.0009642091,0.00012969271,0.00006281257,0.0007952063,0.000229088],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00081714324,0.00083641184,0.000425362,0.006299748,0.0036493489,0.0032201097,0.00075523613,0.001472142,0.039955035],"category_scores_gemma":[0.0039862986,0.00039703402,0.0002951214,0.00569016,0.00072787947,0.0030744665,0.00071715616,0.0012789872,0.0067719417],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007576754,0.00005109517,0.004649589,0.0007045698,0.00004376608,0.00033489813,0.014509536,0.00027567957,0.0007499431,0.036442026,0.57832754,0.36383554],"study_design_scores_gemma":[0.000006753175,0.000018003126,0.012597807,0.00071054377,0.000035490226,0.00018790844,0.008149711,0.00011171272,0.00047483225,0.004708822,0.9729839,0.000014563104],"about_ca_topic_score_codex":0.24207948,"about_ca_topic_score_gemma":0.33673233,"teacher_disagreement_score":0.24207948,"about_ca_system_score_codex":0.0031685084,"about_ca_system_score_gemma":0.0022927239,"threshold_uncertainty_score":0.4813409},"labels":[],"label_agreement":null},{"id":"W1863853733","doi":"10.1002/9780470671153.wbhaf015","title":"The Star System","year":2011,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Empire; Negotiation; Star (game theory); Studio; Period (music); Law; Quarter (Canadian coin); Engineering; Political science; Sociology; Art history; History; Art; Aesthetics; Physics; Telecommunications; Archaeology","score_opus":0.03275462892177306,"score_gpt":0.18864060146686934,"score_spread":0.15588597254509629,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1863853733","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08316917,0.0015306798,0.013704101,0.007585364,0.00026826691,0.000109097324,0.0009491334,0.00017473301,0.8925095],"genre_scores_gemma":[0.8875953,0.00092268497,0.0020527802,0.0006049263,0.00014043975,0.00007300086,0.00047755818,0.000059650927,0.10807373],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99874157,0.00044855732,0.000033926386,0.00027703526,0.00025795968,0.00024091128],"domain_scores_gemma":[0.9991321,0.000159933,0.000114144714,0.00012876446,0.0002617562,0.00020330184],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00080488244,0.0002008919,0.00022340231,0.0007014133,0.0015387264,0.004629213,0.00039048825,0.0009330715,0.05010189],"category_scores_gemma":[0.0026273045,0.00019735751,0.00028324345,0.0009950475,0.0020839155,0.0030475017,0.0018510012,0.0013995636,0.0054625897],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025818095,0.000025305839,0.001104021,0.000013428862,0.000003046884,0.00002649779,0.00017247976,0.00057297957,0.00006863585,0.97843415,0.010772488,0.008781196],"study_design_scores_gemma":[0.00008175386,0.00018753218,0.008245519,0.00008657555,0.000014843372,0.0002955863,0.0012033639,0.010458587,0.000363918,0.4806367,0.4983978,0.000027770768],"about_ca_topic_score_codex":0.007848823,"about_ca_topic_score_gemma":0.004425803,"teacher_disagreement_score":0.05010189,"about_ca_system_score_codex":0.0033629828,"about_ca_system_score_gemma":0.0027705415,"threshold_uncertainty_score":0.16760755},"labels":[],"label_agreement":null},{"id":"W1865370538","doi":"","title":"Les Rendez-vous du cinéma québécois — documentaires : Des images et des mots","year":2014,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Political science","score_opus":0.011424009462529191,"score_gpt":0.17793641663947946,"score_spread":0.16651240717695026,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1865370538","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66097325,0.025966866,0.0064957617,0.025112048,0.0012711518,0.000101897895,0.0077322586,0.00025507403,0.27209166],"genre_scores_gemma":[0.933142,0.0044463207,0.0019733326,0.00029957885,0.00020852376,0.000032929755,0.0009503924,0.0000858452,0.058861025],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99865556,0.00040379565,0.000034716115,0.00017119876,0.0005395705,0.00019510253],"domain_scores_gemma":[0.9962196,0.001138965,0.00037793748,0.00014157404,0.0017339737,0.00038799187],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014909825,0.0007303147,0.00026001508,0.0034822559,0.0038464097,0.0076374016,0.00059922395,0.0012851965,0.016897747],"category_scores_gemma":[0.008924983,0.00034157414,0.0003354454,0.004494322,0.002412579,0.0028783507,0.00081213634,0.0023836698,0.0010877019],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000956456,0.00026689586,0.13747868,0.001168352,0.00036672677,0.0030438562,0.15388893,0.0041215415,0.011594107,0.13584371,0.15301524,0.39825556],"study_design_scores_gemma":[0.000029171993,0.000070692935,0.38914993,0.00090158725,0.00009719242,0.0009965296,0.06930506,0.0030936121,0.003376364,0.0024205777,0.53037745,0.00018179367],"about_ca_topic_score_codex":0.93407595,"about_ca_topic_score_gemma":0.9357372,"teacher_disagreement_score":0.06592405,"about_ca_system_score_codex":0.020933952,"about_ca_system_score_gemma":0.008134779,"threshold_uncertainty_score":0.15188718},"labels":[],"label_agreement":null},{"id":"W1869159776","doi":"10.7202/029498ar","title":"Cinema as dispositif: Between Cinema and Contemporary Art","year":2009,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":32,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Exhibition; Representation (politics); Art; Film studies; Architecture; Film theory; Mode (computer interface); Aesthetics; Visual arts; Computer science; Political science; Politics","score_opus":0.040163234283329616,"score_gpt":0.24690302241954298,"score_spread":0.20673978813621335,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1869159776","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17254055,0.099089704,0.02341134,0.036454093,0.0011528081,0.000058266316,0.0001230665,0.00009708733,0.6670731],"genre_scores_gemma":[0.9825851,0.008856567,0.0015146633,0.0007676064,0.000842513,0.00003096727,0.000028367072,0.000038178696,0.0053360197],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99789906,0.0012230746,0.00006208196,0.00031369645,0.00029336987,0.00020875935],"domain_scores_gemma":[0.99390477,0.0046228333,0.00046731695,0.00044043825,0.00023924164,0.0003254515],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030479017,0.00042744234,0.00039338446,0.0028446717,0.0041683638,0.017945072,0.00094882736,0.0020618995,0.006024878],"category_scores_gemma":[0.007210617,0.0003373866,0.00024139292,0.0030697214,0.04218805,0.014294317,0.0035603633,0.0036058794,0.00028727748],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023640501,0.000016141528,0.000844041,0.00007604461,0.000004866528,0.00008740294,0.028425388,0.00008849591,0.000081094644,0.95896846,0.0012197462,0.010164668],"study_design_scores_gemma":[0.000025209185,0.00007541153,0.015648125,0.0010027153,0.0000231737,0.0010205092,0.056047644,0.0009794493,0.00035280822,0.67237073,0.2524014,0.000052819178],"about_ca_topic_score_codex":0.0045453673,"about_ca_topic_score_gemma":0.0037524072,"teacher_disagreement_score":0.017945072,"about_ca_system_score_codex":0.0052034683,"about_ca_system_score_gemma":0.0011351656,"threshold_uncertainty_score":0.037754},"labels":[],"label_agreement":null},{"id":"W1870727029","doi":"","title":"Les Yeux noirs — Canada [Québec] 2011, 14 minutesLes Yeux noirs — Canada [Québec] 2011, 14 minutes","year":2011,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Art","score_opus":0.02659179547229626,"score_gpt":0.2000091630248891,"score_spread":0.17341736755259285,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1870727029","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.035559252,0.108832024,0.0015345949,0.06127991,0.03573598,0.00038239203,0.16205221,0.0008551198,0.5937685],"genre_scores_gemma":[0.056803595,0.014693461,0.00083594833,0.0014141011,0.0017280153,0.000098768236,0.01815515,0.00022846216,0.9060425],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995067,0.000039815983,0.000021078455,0.000089332825,0.00019929645,0.0001437147],"domain_scores_gemma":[0.9988024,0.000078799254,0.0000648329,0.00003559424,0.0006730413,0.000345151],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005664053,0.001162183,0.00061849965,0.0011539183,0.0062460518,0.0045346697,0.00063633034,0.0020360781,0.15138288],"category_scores_gemma":[0.0019069258,0.00044465644,0.00040881892,0.0029092375,0.0007983069,0.0011867576,0.00084434747,0.0021357464,0.017214479],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007633587,0.000018902634,0.0014997239,0.00012719704,0.00001180512,0.00009955239,0.0002669529,0.00023360625,0.0001993108,0.0016492772,0.98166335,0.014153999],"study_design_scores_gemma":[0.000015467385,0.000008257049,0.023002699,0.00018702167,0.000008883477,0.000036209844,0.00072905107,0.00014840077,0.00013669388,0.00019177252,0.97551835,0.000017186336],"about_ca_topic_score_codex":0.9571595,"about_ca_topic_score_gemma":0.9894555,"teacher_disagreement_score":0.9571595,"about_ca_system_score_codex":0.024187772,"about_ca_system_score_gemma":0.024682583,"threshold_uncertainty_score":0.5064262},"labels":[],"label_agreement":null},{"id":"W1873591185","doi":"","title":"Les Chasseurs d’ombre. Canada (Québec), 2000, 58 minutesCanada (Québec), 2000, 58 minutes","year":2001,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.022122772866371685,"score_gpt":0.212159812179155,"score_spread":0.19003703931278332,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1873591185","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02392632,0.076816306,0.0016190817,0.02407109,0.012118072,0.00031978686,0.30908832,0.0012141491,0.5508268],"genre_scores_gemma":[0.026676187,0.008972632,0.0006525301,0.00050251035,0.00028661577,0.00007224341,0.021697672,0.00019901025,0.9409406],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999466,0.00003014735,0.00002495366,0.00011636654,0.00021472531,0.00014790993],"domain_scores_gemma":[0.9987784,0.00006834135,0.000069805734,0.0000354141,0.0007930136,0.0002551107],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005471444,0.0014211627,0.00054006255,0.0017459249,0.0039861905,0.004038816,0.0009019957,0.0014186449,0.23757315],"category_scores_gemma":[0.0018148248,0.0006516808,0.0004099012,0.0049272333,0.0005636273,0.0012410146,0.00072038645,0.001692019,0.039181147],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000089571025,0.000023533568,0.0023643414,0.0001573291,0.000010942863,0.00006781777,0.00018851945,0.00035032176,0.00023814575,0.0013752554,0.966831,0.028303154],"study_design_scores_gemma":[0.000020153839,0.000008233507,0.04076646,0.00016908333,0.000008665132,0.000025936866,0.00040000616,0.00024076365,0.00018889701,0.00017175813,0.957986,0.000014018938],"about_ca_topic_score_codex":0.9827231,"about_ca_topic_score_gemma":0.99369144,"teacher_disagreement_score":0.23757315,"about_ca_system_score_codex":0.033357177,"about_ca_system_score_gemma":0.025904622,"threshold_uncertainty_score":0.79476136},"labels":[],"label_agreement":null},{"id":"W1874063718","doi":"10.7202/1025151ar","title":"Discovering Union Films and Its Archives","year":2014,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Filmmaking; Blacklist; Narrative; Documentary film; Media studies; Political science; Visual arts; History; Art; Sociology; Literature; Movie theater; World Wide Web","score_opus":0.02591719367828567,"score_gpt":0.2160954966001918,"score_spread":0.19017830292190613,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1874063718","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13460994,0.025083913,0.00681501,0.04966416,0.0012169774,0.00008789864,0.001046567,0.00019249889,0.7812831],"genre_scores_gemma":[0.9066994,0.017450038,0.003661037,0.0018995954,0.0012499026,0.000093284834,0.00054257835,0.00021269803,0.06819143],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9956715,0.0025481237,0.00017528002,0.00050088204,0.0007518833,0.00035223947],"domain_scores_gemma":[0.9925875,0.0043783877,0.0009429826,0.0009404388,0.0006370641,0.0005136433],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0047990484,0.0003154363,0.0003714515,0.0047289524,0.008520776,0.020510346,0.0012931875,0.001979015,0.017403457],"category_scores_gemma":[0.0183602,0.0003775742,0.00025111783,0.00580215,0.010825406,0.014850158,0.0055024256,0.0030872168,0.0011284767],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006773289,0.00004108819,0.003277638,0.00017284526,0.000011903459,0.00049252657,0.06532522,0.00017444677,0.00015001082,0.8556577,0.029339455,0.045289326],"study_design_scores_gemma":[0.00001328709,0.000025755931,0.0034456928,0.00094168563,0.000019851817,0.00037186305,0.0633463,0.00028331915,0.0005048914,0.064351,0.86667776,0.000018554148],"about_ca_topic_score_codex":0.010620066,"about_ca_topic_score_gemma":0.010374348,"teacher_disagreement_score":0.020510346,"about_ca_system_score_codex":0.006173206,"about_ca_system_score_gemma":0.0035827854,"threshold_uncertainty_score":0.058220327},"labels":[],"label_agreement":null},{"id":"W1877343413","doi":"10.7202/1030230ar","title":"Pantomime, danse et stylisation (Cary Grant, James Cagney, Fred Astaire)","year":2015,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.07502813411961226,"score_gpt":0.26316471416266257,"score_spread":0.1881365800430503,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1877343413","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026321728,0.09305516,0.0035184412,0.102027,0.0123131545,0.000109429435,0.00029908257,0.00018641398,0.76216954],"genre_scores_gemma":[0.2958637,0.03499569,0.0023586103,0.009580663,0.004546648,0.00018448904,0.00015983013,0.00028356316,0.65202683],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99904686,0.00034488397,0.000021622058,0.00021545356,0.0002566808,0.00011448579],"domain_scores_gemma":[0.99949265,0.00020910209,0.00005911871,0.000031856798,0.00010894272,0.000098328004],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00080256216,0.0007103528,0.00020948105,0.0011057146,0.005124283,0.00428531,0.00050660595,0.0014103109,0.01366211],"category_scores_gemma":[0.0019191223,0.0002118086,0.00012572846,0.0011223957,0.0063525746,0.0032354065,0.0026779976,0.0027112232,0.0018411758],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046451485,0.000028724895,0.001157153,0.00023042515,0.0000074399454,0.00026768536,0.03368722,0.00006931304,0.0010547137,0.30743963,0.58055454,0.07545667],"study_design_scores_gemma":[0.0000038739886,0.000011323274,0.0019314054,0.00012759499,0.0000027700332,0.00017287722,0.007473636,0.00004364106,0.00016980934,0.0052016126,0.984852,0.000009363451],"about_ca_topic_score_codex":0.066004366,"about_ca_topic_score_gemma":0.12328256,"teacher_disagreement_score":0.066004366,"about_ca_system_score_codex":0.0042016474,"about_ca_system_score_gemma":0.0033829617,"threshold_uncertainty_score":0.13124037},"labels":[],"label_agreement":null},{"id":"W1885307461","doi":"10.3138/topia.17.87","title":"Animating Exclusions: Ali Kazimi’s <i>Continuous Journey</i> and the Virtualities of Racialized Exclusion","year":2007,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Racialization; Immigration; Repatriation; Deportation; Racism; Refugee; Sociology; Denial; Political science; History; Media studies; Gender studies; Law; Race (biology)","score_opus":0.053915995439559085,"score_gpt":0.27864296206955685,"score_spread":0.22472696662999778,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1885307461","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25040472,0.0059747533,0.013182487,0.053154763,0.001428319,0.000054638305,0.0001761648,0.00032916688,0.675295],"genre_scores_gemma":[0.9622859,0.0015394392,0.0024790638,0.0016769961,0.0001457745,0.000028662906,0.000036957812,0.00010432292,0.031702835],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99927586,0.00034583762,0.000008305189,0.00005065266,0.00014359273,0.00017578625],"domain_scores_gemma":[0.9992399,0.0003139329,0.00007148848,0.000088825414,0.000112112284,0.00017379416],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010988603,0.0005106873,0.00016755158,0.0012313783,0.014970919,0.008675309,0.0007842088,0.0010600984,0.0056585455],"category_scores_gemma":[0.002113692,0.00018643524,0.00022223004,0.0010400119,0.01859694,0.0039095464,0.0047587645,0.0027050131,0.00043805185],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009993291,0.00003844913,0.0017980216,0.00010002006,0.000011055,0.0004650298,0.4199354,0.000426729,0.0012835171,0.49884835,0.046901446,0.030091897],"study_design_scores_gemma":[0.000015114741,0.000025350839,0.002595634,0.00016711716,0.000017579116,0.0003325156,0.17788573,0.0006272566,0.0011631636,0.023332305,0.79379416,0.00004401769],"about_ca_topic_score_codex":0.15056983,"about_ca_topic_score_gemma":0.26441494,"teacher_disagreement_score":0.8494302,"about_ca_system_score_codex":0.009053887,"about_ca_system_score_gemma":0.004247581,"threshold_uncertainty_score":0.2993868},"labels":[],"label_agreement":null},{"id":"W1890256285","doi":"10.21083/surg.v7i2.2949","title":"Dr. Wonderful and the big bad asylum: Dissecting simplicty in The Snake Pit","year":2014,"lang":"en","type":"article","venue":"SURG Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Praise; Movie theater; Hollywood; Blame; Psychoanalysis; Sociology; Aesthetics; History; Art; Art history; Literature; Psychology; Social psychology","score_opus":0.02871843323440993,"score_gpt":0.2275702620002872,"score_spread":0.1988518287658773,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1890256285","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19178855,0.05587746,0.0039235526,0.40430805,0.009713766,0.000033369233,0.00010027018,0.00014895533,0.33410594],"genre_scores_gemma":[0.9213931,0.010407025,0.0008944886,0.015483303,0.0017110944,0.000017461442,0.00002328935,0.0001148776,0.04995539],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991725,0.00059758633,0.000011566237,0.00004840172,0.000074009826,0.00009600647],"domain_scores_gemma":[0.99885356,0.0007816808,0.00010633733,0.00003663268,0.000063568776,0.00015823195],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012297637,0.00029000101,0.00016464134,0.000856599,0.0058470084,0.006442859,0.00041501477,0.0019110915,0.0040848115],"category_scores_gemma":[0.0034668434,0.00017783769,0.00014791757,0.00038350304,0.0114375595,0.0043483814,0.0023119487,0.005023702,0.00050655194],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000078919955,0.000033292054,0.0012708976,0.00013600117,0.000011198204,0.0015895775,0.23705348,0.00010272822,0.0008512396,0.42876872,0.2961119,0.033992086],"study_design_scores_gemma":[0.000013198513,0.00003169243,0.0015789656,0.00046302984,0.000009338686,0.0013565173,0.16047724,0.00018040325,0.00047317965,0.029040575,0.80635417,0.00002170709],"about_ca_topic_score_codex":0.0038096588,"about_ca_topic_score_gemma":0.010802121,"teacher_disagreement_score":0.006442859,"about_ca_system_score_codex":0.0024135376,"about_ca_system_score_gemma":0.0009386958,"threshold_uncertainty_score":0.017511547},"labels":[],"label_agreement":null},{"id":"W1890369798","doi":"10.25071/2369-7326.35860","title":"Modern Times, the ‘Pre-Digital Hum‘, and the Impossibility of Silence","year":2014,"lang":"en","type":"article","venue":"Pivot A Journal of Interdisciplinary Studies and Thought","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Silence; Depiction; Sound (geography); Impossibility; Hum; Transition (genetics); Narrative; Comics; Art; Literature; Acoustics; Visual arts; Aesthetics; Art history; Physics; Performance art; Law; Political science","score_opus":0.019707399865762854,"score_gpt":0.26901353530410166,"score_spread":0.2493061354383388,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1890369798","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12661962,0.01892614,0.011882108,0.0780243,0.0014591621,0.000027475528,0.000120057055,0.00012486875,0.7628163],"genre_scores_gemma":[0.97260815,0.0030929719,0.00081082596,0.0023884606,0.000658059,0.000028104547,0.000022551603,0.000053063155,0.020337773],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99718946,0.0019381922,0.000062013445,0.00021752717,0.00035993138,0.00023280285],"domain_scores_gemma":[0.9957153,0.0028081313,0.00048103443,0.00042882902,0.00028927415,0.00027731518],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024206236,0.0003243038,0.00020593201,0.0010858357,0.0043855,0.009603287,0.0006582036,0.0019079344,0.005058177],"category_scores_gemma":[0.0077522206,0.00022573187,0.0001521109,0.0009076068,0.032569405,0.0081126215,0.004054756,0.0025574677,0.0006100054],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027572796,0.00000785131,0.00036593695,0.000053193795,0.0000032397468,0.00010754721,0.05210033,0.00004896892,0.00015745088,0.9333116,0.004492555,0.009323715],"study_design_scores_gemma":[0.00001988173,0.000055472694,0.0019998874,0.00051988004,0.000013049855,0.00048024306,0.055650424,0.00030880727,0.0008513848,0.32664663,0.613427,0.000027332506],"about_ca_topic_score_codex":0.0024995545,"about_ca_topic_score_gemma":0.0024157946,"teacher_disagreement_score":0.009603287,"about_ca_system_score_codex":0.0034507364,"about_ca_system_score_gemma":0.0014768767,"threshold_uncertainty_score":0.02503699},"labels":[],"label_agreement":null},{"id":"W1892163794","doi":"","title":"Zoë Druick: Projecting Canada: Government Policy and Documentary Film at the National Film Board","year":2009,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); Documentary film; Political science; National government; Public administration; Media studies; Sociology; Law; Politics; Linguistics","score_opus":0.16055811434105702,"score_gpt":0.45372209339083514,"score_spread":0.2931639790497781,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1892163794","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006466298,0.028979162,0.0019244049,0.57247436,0.015851356,0.00016921008,0.005134571,0.0005975972,0.3684031],"genre_scores_gemma":[0.116519384,0.01962411,0.0033414462,0.04723391,0.0017782269,0.00007840998,0.0013760049,0.0008054225,0.8092431],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980642,0.00021455999,0.000043454238,0.00016055017,0.00091535505,0.000601907],"domain_scores_gemma":[0.9956773,0.00046226624,0.000078747864,0.000070447095,0.0026973719,0.0010139884],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015450596,0.00082386995,0.00040485914,0.0025653741,0.015815288,0.01032611,0.0017233046,0.0053965067,0.088653795],"category_scores_gemma":[0.010038807,0.0006248885,0.00034133022,0.0049238047,0.0027062292,0.0053767744,0.0018172943,0.0071034604,0.007878931],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005918603,0.000004647736,0.0003174751,0.000020954096,0.0000031225813,0.00004792092,0.0008126071,0.00006789975,0.000043763517,0.009052389,0.980098,0.00952537],"study_design_scores_gemma":[0.0000046899,0.00000247505,0.0020698288,0.00012542,0.000008007996,0.00003937992,0.0056594335,0.00015489798,0.00015410896,0.0018753867,0.9898678,0.000038485374],"about_ca_topic_score_codex":0.9838192,"about_ca_topic_score_gemma":0.99409205,"teacher_disagreement_score":0.088653795,"about_ca_system_score_codex":0.050121967,"about_ca_system_score_gemma":0.07212974,"threshold_uncertainty_score":0.363662},"labels":[],"label_agreement":null},{"id":"W1913537743","doi":"10.22230/cjc.2001v26n2a1214","title":"An Archive of the (Political) Unconscious","year":2001,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Unconscious mind; Politics; Meaning (existential); Period (music); Freedom of information; Political science; Work (physics); Political activism; Sociology; Law; Media studies; Epistemology; Aesthetics; Art; Philosophy; Engineering","score_opus":0.03004975951228983,"score_gpt":0.22816993646541314,"score_spread":0.1981201769531233,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1913537743","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.031559113,0.0057439185,0.028693862,0.0440338,0.0010884142,0.000025616293,0.0005745266,0.00024477634,0.8880361],"genre_scores_gemma":[0.9203207,0.003490329,0.00438818,0.0030340285,0.0010203938,0.000051387313,0.00031172484,0.0002448645,0.06713833],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9968657,0.0014818567,0.000117275,0.00036433095,0.00093967747,0.00023122733],"domain_scores_gemma":[0.9924092,0.003492359,0.00062086823,0.0019641176,0.0011600484,0.0003533748],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0042661475,0.00018991124,0.00027010756,0.0021648884,0.00466893,0.010375944,0.0008968462,0.0017553021,0.011464656],"category_scores_gemma":[0.013131827,0.00024639067,0.00015617658,0.0031748535,0.017802596,0.011525759,0.003282387,0.0030557937,0.0017044856],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006737632,0.0000026645728,0.00014599222,0.000012632964,0.0000012939041,0.000037166556,0.0070707053,0.00003431226,0.000058069643,0.9802428,0.006027273,0.0063604345],"study_design_scores_gemma":[0.000009337672,0.000008514169,0.0007300573,0.00015152166,0.000005722645,0.00020956245,0.0071398593,0.00029731845,0.00023235659,0.49564236,0.49555984,0.000013539177],"about_ca_topic_score_codex":0.0061973645,"about_ca_topic_score_gemma":0.0061297314,"teacher_disagreement_score":0.011464656,"about_ca_system_score_codex":0.004038346,"about_ca_system_score_gemma":0.0039704423,"threshold_uncertainty_score":0.038353086},"labels":[],"label_agreement":null},{"id":"W1914213203","doi":"10.22230/cjc.2003v28n2a1356","title":"America Under Attack 1: The War of the Worlds, Orson Welles, and 'Media Sense'","year":2003,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Media studies; Order (exchange); New media; Sociology; History; Advertising; Art; Political science; Law","score_opus":0.039816000452698216,"score_gpt":0.2158084321870376,"score_spread":0.17599243173433937,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1914213203","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18697748,0.04669108,0.0005689909,0.39605108,0.0028572935,0.000017793831,0.0001362803,0.00002374565,0.36667627],"genre_scores_gemma":[0.8935251,0.027031092,0.00019835045,0.020529756,0.0017936431,0.000022080612,0.00006751997,0.00005905338,0.05677338],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990013,0.0005002371,0.000019076855,0.000102652506,0.00015393295,0.00022271785],"domain_scores_gemma":[0.9982199,0.0009057467,0.00037564753,0.000060120343,0.00015050247,0.00028800522],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014374788,0.00029302482,0.00024392678,0.0010947739,0.006649624,0.0071163494,0.00049862807,0.0021022153,0.00627798],"category_scores_gemma":[0.0048216474,0.00018463556,0.00012682831,0.0015182674,0.008840593,0.00770442,0.0034377344,0.003935929,0.00040794158],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008267056,0.00007000425,0.00550503,0.00014711094,0.000012096451,0.00090055633,0.23041461,0.000106653686,0.0001682208,0.4827598,0.2441566,0.03567665],"study_design_scores_gemma":[0.000012914642,0.00002944416,0.014391522,0.0004718453,0.000012576986,0.0003277801,0.25037003,0.00009646222,0.000109791414,0.049891807,0.68424946,0.0000364132],"about_ca_topic_score_codex":0.05067339,"about_ca_topic_score_gemma":0.09164505,"teacher_disagreement_score":0.05067339,"about_ca_system_score_codex":0.0047932174,"about_ca_system_score_gemma":0.0022721337,"threshold_uncertainty_score":0.10075688},"labels":[],"label_agreement":null},{"id":"W1914649601","doi":"10.29173/mruhr20","title":"The Relocation of Monstrosity: An Analysis of Horror in Brian De Palma’s Carrie","year":2013,"lang":"en","type":"article","venue":"Mount Royal Undergraduate Humanities Review (MRUHR)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Mount Royal University","funders":"","keywords":"Iconography; Art; Alterity; Transformative learning; Normative; Aesthetics; Literature; Art history; Philosophy; Sociology; Theology; Epistemology","score_opus":0.031014291118248143,"score_gpt":0.23677090056832087,"score_spread":0.20575660945007274,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1914649601","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.74935764,0.008928133,0.000900193,0.015169086,0.00032000817,0.000071502145,0.00019989193,0.000023094815,0.22503036],"genre_scores_gemma":[0.9572662,0.00519467,0.00030619893,0.00085078063,0.00015778404,0.000032120097,0.00009027224,0.000059540456,0.036042392],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986829,0.0006634354,0.000024551386,0.00009019103,0.00028095295,0.0002579042],"domain_scores_gemma":[0.99703974,0.0017122283,0.00046604197,0.000111337744,0.00032431041,0.00034629664],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012601983,0.0003559956,0.00043366812,0.0022001266,0.0066775954,0.007585748,0.00087049394,0.0016127487,0.0075990446],"category_scores_gemma":[0.0047996608,0.0003090541,0.00016922783,0.0022590118,0.007111264,0.0024371,0.0028633235,0.0020950392,0.0006045198],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020588742,0.00009369329,0.007895942,0.00055211945,0.00003766307,0.0055384818,0.8547649,0.00014650584,0.0013898112,0.07120021,0.027204422,0.030970275],"study_design_scores_gemma":[0.000008983314,0.000045006873,0.0439738,0.0007272509,0.000018901448,0.0010691971,0.6642457,0.00015056915,0.00026048164,0.0021105444,0.28735566,0.00003384568],"about_ca_topic_score_codex":0.046193615,"about_ca_topic_score_gemma":0.120781064,"teacher_disagreement_score":0.046193615,"about_ca_system_score_codex":0.005328537,"about_ca_system_score_gemma":0.0014772346,"threshold_uncertainty_score":0.09184945},"labels":[],"label_agreement":null},{"id":"W1915191053","doi":"10.3138/topia.19.175","title":"The Representation of the Other in Canadian Cinema","year":2008,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Representation (politics); Art; Political science; Art history; Law; Politics","score_opus":0.07703678281424783,"score_gpt":0.2647638012251728,"score_spread":0.18772701841092496,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1915191053","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47955486,0.0024973995,0.0011918085,0.009324796,0.0003514484,0.000041846706,0.0005655408,0.00003811527,0.50643414],"genre_scores_gemma":[0.9887729,0.0004989927,0.0001625916,0.00019789048,0.000029449524,0.0000038586472,0.00006137328,0.000019818235,0.010253156],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99741507,0.0005906211,0.00004449753,0.00024688584,0.00090907374,0.0007937844],"domain_scores_gemma":[0.9940514,0.001054377,0.00051506213,0.00028053948,0.0025608647,0.0015376452],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017574958,0.0004049481,0.00027244643,0.0050668856,0.015198766,0.012557702,0.0013866548,0.0012126565,0.017293353],"category_scores_gemma":[0.009210706,0.0002398254,0.00025128835,0.0052412027,0.005969492,0.0024688155,0.003012806,0.002089846,0.00047305546],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004754182,0.000087337314,0.042287797,0.00026261696,0.00007283678,0.00091251085,0.5846961,0.0004671436,0.0026554326,0.22224064,0.043673567,0.102168605],"study_design_scores_gemma":[0.000019330075,0.000047349,0.14616232,0.00052130537,0.00010933055,0.00049721135,0.42825574,0.0011369857,0.00087365694,0.0076925447,0.41453427,0.00014987215],"about_ca_topic_score_codex":0.96644443,"about_ca_topic_score_gemma":0.98164636,"teacher_disagreement_score":0.052128863,"about_ca_system_score_codex":0.052128863,"about_ca_system_score_gemma":0.029091513,"threshold_uncertainty_score":0.37822318},"labels":[],"label_agreement":null},{"id":"W1916756716","doi":"10.3138/topia.29.183","title":"Flash Mobs, Spectatorship and the Collapse of Belief in the Critical Public Sphere","year":2013,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Public sphere; Sociology; Irrationality; Appropriation; Public space; Everyday life; Politics; Aesthetics; Participatory culture; Power (physics); Political economy; Social psychology; Epistemology; Media studies; Psychology; Political science; Law","score_opus":0.05711425509756053,"score_gpt":0.2517596298178554,"score_spread":0.19464537472029486,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1916756716","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77396506,0.0023468349,0.009963049,0.014884919,0.00014951751,0.000042982017,0.000049091686,0.00006417098,0.1985344],"genre_scores_gemma":[0.9979849,0.00014059874,0.00018419928,0.00011924725,0.000027575257,0.000008104297,0.000005590069,0.000010462665,0.0015193957],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99764305,0.0012975947,0.0000415812,0.00022833266,0.00038019224,0.00040913458],"domain_scores_gemma":[0.992443,0.004503214,0.0011291455,0.0006794643,0.0005744744,0.00067060586],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003933174,0.00035248903,0.00031840542,0.0028423867,0.0062664184,0.007636672,0.0010090123,0.0017306366,0.00497347],"category_scores_gemma":[0.009992642,0.00021062505,0.00020533144,0.0013157481,0.048302233,0.0095093,0.006410421,0.0024930988,0.0002350892],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000079961814,0.000031649124,0.0055614985,0.000080483056,0.0000116432275,0.0007026927,0.40595734,0.00020083964,0.00066809554,0.5708351,0.0020270648,0.013843638],"study_design_scores_gemma":[0.000040332237,0.00010753212,0.016497783,0.00043055162,0.00002510115,0.0007579056,0.54023963,0.0011760746,0.0012567854,0.32030448,0.119105116,0.00005869246],"about_ca_topic_score_codex":0.011461583,"about_ca_topic_score_gemma":0.009153118,"teacher_disagreement_score":0.011461583,"about_ca_system_score_codex":0.005861053,"about_ca_system_score_gemma":0.0021042828,"threshold_uncertainty_score":0.042525172},"labels":[],"label_agreement":null},{"id":"W1924564044","doi":"10.7202/1025152ar","title":"The Length of a Wide Highway: On the Archive, the (Electronic) Marketplace, and the End of a Collection","year":2014,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ephemera; Repetition (rhetorical device); Function (biology); Purchasing; Data collection; Computer science; Reflection (computer programming); Visual arts; World Wide Web; Media studies; Art; Sociology; Business; Social science; Philosophy; Marketing","score_opus":0.013487847040347193,"score_gpt":0.19255591819689838,"score_spread":0.17906807115655118,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1924564044","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08369077,0.015026837,0.018226672,0.07102548,0.0071399086,0.00016524689,0.001058518,0.00058526476,0.80308133],"genre_scores_gemma":[0.74183434,0.010389867,0.011467717,0.005859897,0.0074422155,0.00023665365,0.0006864955,0.0016924049,0.22039036],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9955576,0.0022354214,0.00020831163,0.00042205784,0.0011873412,0.0003892078],"domain_scores_gemma":[0.98098516,0.0092834355,0.0012711571,0.0041719545,0.0029148636,0.0013733971],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0058191293,0.0004209342,0.000491559,0.003327497,0.012237314,0.026242124,0.0010736735,0.0019200213,0.024030313],"category_scores_gemma":[0.029136179,0.0004791707,0.00035759652,0.0039688544,0.014305353,0.02593527,0.006497337,0.0056580943,0.0040743267],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000106361535,0.000055392593,0.00186217,0.0002897389,0.000015231395,0.00041741625,0.13099004,0.00015121116,0.0007470224,0.66728675,0.10650459,0.09157417],"study_design_scores_gemma":[0.000011061482,0.000038865113,0.0022612116,0.00085109664,0.000011734945,0.00032880454,0.035940398,0.000110525456,0.0004825059,0.03986229,0.920073,0.000028617684],"about_ca_topic_score_codex":0.0037773133,"about_ca_topic_score_gemma":0.0061748237,"teacher_disagreement_score":0.026242124,"about_ca_system_score_codex":0.0034182698,"about_ca_system_score_gemma":0.0037821557,"threshold_uncertainty_score":0.08038938},"labels":[],"label_agreement":null},{"id":"W1924594415","doi":"10.7202/016749ar","title":"Theory, Post-theory, Neo-theories: Changes in Discourses, Changes in Objects","year":2007,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":18,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Film theory; Phenomenon; Sign (mathematics); Film studies; Rationality; Aesthetics; Object (grammar); Epistemology; Subjectivity; Perception; Sociology; Art; Visual arts; Philosophy; Linguistics; Mathematics","score_opus":0.02109570072272099,"score_gpt":0.24765045254367407,"score_spread":0.22655475182095308,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1924594415","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.064743176,0.036518537,0.05129703,0.12639439,0.0027971575,0.00020719024,0.00027113926,0.00019942227,0.7175719],"genre_scores_gemma":[0.95563793,0.0072369254,0.007383202,0.0047573233,0.0010054124,0.00021326893,0.0001272392,0.00018058623,0.023458045],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9903502,0.0063234023,0.00023256552,0.0012037423,0.001500556,0.00038958652],"domain_scores_gemma":[0.9863961,0.009121488,0.0008369374,0.0017490806,0.0012423928,0.0006539964],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0096277585,0.0007741783,0.00059880404,0.0032700887,0.007205369,0.016052088,0.0020755383,0.003543145,0.005910822],"category_scores_gemma":[0.013482005,0.00042713643,0.00041468398,0.0037691935,0.09042517,0.024044788,0.0052779405,0.008169112,0.0010898821],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008339017,0.000014782918,0.00020273053,0.00005572655,0.000003275431,0.0000642197,0.02287792,0.0000715885,0.000049652786,0.969649,0.0021514231,0.0048513175],"study_design_scores_gemma":[0.0000091854745,0.000014405196,0.0004125194,0.00017599367,0.0000035086275,0.00010161806,0.014543593,0.00024694754,0.000108251945,0.90651876,0.07785558,0.000009745203],"about_ca_topic_score_codex":0.0035904231,"about_ca_topic_score_gemma":0.0022242144,"teacher_disagreement_score":0.016052088,"about_ca_system_score_codex":0.0113371555,"about_ca_system_score_gemma":0.005024036,"threshold_uncertainty_score":0.08225727},"labels":[],"label_agreement":null},{"id":"W1925862050","doi":"10.22230/cjc.2015v40n2a2828","title":"Producing Reality: Television Formats and Reality TV in the Canadian Context","year":2015,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"McMaster University","funders":"","keywords":"Reality television; Television industry; Politics; Context (archaeology); Reality tv; Order (exchange); Production (economics); Consumption (sociology); Political science; Advertising; Sociology; Media studies; Business; Geography; Social science; Economics; Law","score_opus":0.11799670602266892,"score_gpt":0.2737546208025125,"score_spread":0.15575791477984358,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1925862050","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5608424,0.015787315,0.0021049937,0.029913742,0.00032887375,0.00006538377,0.0022790306,0.0000533368,0.38862494],"genre_scores_gemma":[0.9825959,0.006073258,0.0007246641,0.0006005923,0.00005452117,0.000011779172,0.00027683013,0.00003923374,0.009623321],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9972644,0.0005415425,0.00005361122,0.00021639884,0.0011015835,0.00082254846],"domain_scores_gemma":[0.9967854,0.00068646594,0.0003282389,0.00012959234,0.0014505276,0.00061983214],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001453334,0.00037412363,0.0003099798,0.0038122842,0.009975749,0.012589826,0.0013048098,0.00074526976,0.009903813],"category_scores_gemma":[0.006264824,0.00029017965,0.0002859511,0.012133445,0.0094952695,0.0031915514,0.002657689,0.0016230643,0.0002570964],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028888028,0.000089961184,0.074758165,0.00052912824,0.000055055876,0.0018162437,0.22256093,0.0017393663,0.0012793924,0.5334205,0.03661896,0.1268435],"study_design_scores_gemma":[0.00002079949,0.00004444818,0.19304283,0.00095942407,0.00009123411,0.00054424244,0.37984586,0.001186072,0.00061313465,0.014678975,0.4087799,0.00019305736],"about_ca_topic_score_codex":0.99385613,"about_ca_topic_score_gemma":0.99646604,"teacher_disagreement_score":0.102316886,"about_ca_system_score_codex":0.102316886,"about_ca_system_score_gemma":0.07026912,"threshold_uncertainty_score":0.7423644},"labels":[],"label_agreement":null},{"id":"W1928346416","doi":"10.22329/jtl.v5i2.417","title":"The Girl with the Brown Crayon","year":2008,"lang":"en","type":"article","venue":"Journal of Teaching and Learning","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Girl; Art; Psychology; Developmental psychology","score_opus":0.02172663623750124,"score_gpt":0.2099377497664425,"score_spread":0.18821111352894127,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1928346416","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0061976877,0.01309079,0.00084091997,0.75194603,0.024754371,0.000022091319,0.000085086285,0.00022547698,0.20283753],"genre_scores_gemma":[0.07103806,0.004987422,0.00075245474,0.10800627,0.005254143,0.000032894844,0.000035482157,0.00051453104,0.8093788],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99830675,0.00068850187,0.00002195621,0.00028751846,0.00033000356,0.0003652756],"domain_scores_gemma":[0.9938886,0.0008685664,0.00018921563,0.00031480094,0.0011869184,0.0035518745],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026031295,0.00056528347,0.00050976715,0.000805101,0.018138139,0.008053382,0.0010008024,0.005819425,0.07379253],"category_scores_gemma":[0.008817513,0.00048585373,0.00040040663,0.00051333837,0.008919436,0.0068368907,0.0062696943,0.0171309,0.01801162],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037524114,0.000025722764,0.00037548813,0.000025138592,0.000004317407,0.00035797342,0.0072379927,0.000013098669,0.00013114,0.030457925,0.9455143,0.015819304],"study_design_scores_gemma":[0.000006146531,0.000014903907,0.0002529607,0.000115955634,0.0000025180125,0.000327972,0.009987096,0.000011624266,0.000067673805,0.0038824426,0.985319,0.000011592229],"about_ca_topic_score_codex":0.034419674,"about_ca_topic_score_gemma":0.08740649,"teacher_disagreement_score":0.07379253,"about_ca_system_score_codex":0.0039365552,"about_ca_system_score_gemma":0.0053080115,"threshold_uncertainty_score":0.24686062},"labels":[],"label_agreement":null},{"id":"W1938908596","doi":"10.1080/10509208.2011.562126","title":"A Review of “Buzz: The Life and Art of Busby Berkeley”","year":2012,"lang":"en","type":"review","venue":"Quarterly Review of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Marketing buzz; Art; Art history; Still life; Visual arts; Computer science; Painting","score_opus":0.05464687822844748,"score_gpt":0.28710040073334014,"score_spread":0.23245352250489265,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1938908596","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00003280728,0.9977314,0.000029694613,0.000993931,0.0003324144,0.000002069793,0.00003161982,0.0000035930636,0.00084257906],"genre_scores_gemma":[0.00028864638,0.9982577,0.000046792742,0.0006307834,0.00026889614,0.00000337863,0.00003955694,0.0000021226872,0.0004621785],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99952745,0.000111558504,0.000070465096,0.00006722358,0.00018928462,0.000034081357],"domain_scores_gemma":[0.99826247,0.0006945669,0.0002175692,0.000037227528,0.00064470636,0.00014342139],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010598631,0.00082387193,0.0012552417,0.0043884553,0.00050856185,0.0018898003,0.00086038484,0.0013509728,0.006495903],"category_scores_gemma":[0.0038151662,0.00045232943,0.00045344522,0.009036171,0.0007339798,0.0022782334,0.00078734854,0.0019763985,0.0030294433],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045821016,0.000025178126,0.00021908822,0.029274218,0.000105253785,0.00006852085,0.00016828396,0.00010804997,0.0002765693,0.004105253,0.42770135,0.53790236],"study_design_scores_gemma":[0.0000045602515,0.000015862803,0.0007870114,0.007897204,0.000052814426,0.0001440291,0.00006172912,0.000008347765,0.00004347235,0.00053613837,0.9904398,0.000008953027],"about_ca_topic_score_codex":0.0065838434,"about_ca_topic_score_gemma":0.018562578,"teacher_disagreement_score":0.0065838434,"about_ca_system_score_codex":0.0014306443,"about_ca_system_score_gemma":0.003911833,"threshold_uncertainty_score":0.0217309},"labels":[],"label_agreement":null},{"id":"W194290913","doi":"10.3138/cjfs.20.1.20","title":"Robert de Niro’s <i>Raging Bull</i>: The History of a Performance and a Performance of History","year":2011,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.0474317813499814,"score_gpt":0.18840212487809999,"score_spread":0.1409703435281186,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W194290913","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.053427603,0.010043298,0.0017651466,0.018300481,0.0011896471,0.000029046061,0.00006621033,0.000058878013,0.91511977],"genre_scores_gemma":[0.6103941,0.0075922,0.0010441983,0.0017672892,0.0006667101,0.00004308162,0.000058634323,0.00016254773,0.3782712],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99855477,0.0007545846,0.000029706027,0.00017948629,0.00025981333,0.00022156753],"domain_scores_gemma":[0.99915457,0.00033230463,0.00014553922,0.0000858607,0.00011370768,0.00016795422],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014972714,0.0003718823,0.00017121396,0.000964895,0.0075760367,0.00661954,0.0007083569,0.0011932475,0.013435693],"category_scores_gemma":[0.0024638379,0.00019027558,0.00014950031,0.001036299,0.008697564,0.0047187544,0.0028847447,0.002603688,0.0016250607],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058672063,0.000038709073,0.0014464924,0.00018687066,0.000005697181,0.00047954268,0.23736075,0.000121487545,0.00092131214,0.6543733,0.06467465,0.040332597],"study_design_scores_gemma":[0.0000019002555,0.000022903308,0.002536741,0.00016310129,0.000003222686,0.00018208941,0.047706675,0.000043133452,0.0003300356,0.0068021086,0.9421934,0.00001472797],"about_ca_topic_score_codex":0.028565489,"about_ca_topic_score_gemma":0.07476012,"teacher_disagreement_score":0.028565489,"about_ca_system_score_codex":0.005142431,"about_ca_system_score_gemma":0.0023582566,"threshold_uncertainty_score":0.056798458},"labels":[],"label_agreement":null},{"id":"W1943700646","doi":"","title":"Does Anna Have a Frozen Heart","year":2015,"lang":"en","type":"article","venue":"Journal of Interdisciplinary Science Topics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Block (permutation group theory); Art; Hypothermia; Art history; Medicine; Mathematics; Anesthesia; Combinatorics","score_opus":0.05314922125881726,"score_gpt":0.3064183130279671,"score_spread":0.25326909176914986,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1943700646","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4895511,0.008588136,0.0013617723,0.20835762,0.0035065834,0.00003885156,0.0008685476,0.00011040074,0.287617],"genre_scores_gemma":[0.95577294,0.0041990886,0.00035336387,0.0130910855,0.00079127186,0.000016554774,0.00019542272,0.00007644264,0.025503747],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99940443,0.00021378325,0.000017294204,0.00008949712,0.00009300816,0.00018192461],"domain_scores_gemma":[0.9970409,0.0009648737,0.0006465974,0.00021361638,0.00027710214,0.0008569374],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011145571,0.00019892328,0.0003260815,0.00031534702,0.0035414768,0.0039043413,0.0005047678,0.001785439,0.030312428],"category_scores_gemma":[0.012475857,0.00029463277,0.00031474867,0.00025172767,0.0034234442,0.0042942003,0.0014387786,0.0025034249,0.005718379],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010822158,0.00048483955,0.1703639,0.0008214093,0.00027013553,0.00803573,0.14374475,0.00041046247,0.0014844864,0.13927038,0.33300856,0.20102319],"study_design_scores_gemma":[0.00007001241,0.00045012878,0.13036357,0.002235807,0.00017072672,0.011813506,0.21132423,0.0006900172,0.0007918792,0.0626912,0.5792245,0.00017432825],"about_ca_topic_score_codex":0.006214362,"about_ca_topic_score_gemma":0.008059148,"teacher_disagreement_score":0.030312428,"about_ca_system_score_codex":0.0011756255,"about_ca_system_score_gemma":0.0008949434,"threshold_uncertainty_score":0.101405144},"labels":[],"label_agreement":null},{"id":"W1946493493","doi":"10.1111/j.1540-5931.2011.00862.x","title":"Collective Screams: William Castle and the Gimmick Film","year":2011,"lang":"en","type":"article","venue":"The Journal of Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":25,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Citation; History; Library science; Computer science","score_opus":0.03814933363329458,"score_gpt":0.2128380205810867,"score_spread":0.1746886869477921,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1946493493","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.060246922,0.061142016,0.0004067335,0.51112974,0.011222741,0.00002719056,0.00015218544,0.00004744664,0.35562503],"genre_scores_gemma":[0.67342025,0.026550423,0.0002921323,0.0424262,0.01154944,0.000042406708,0.00007967708,0.00022405609,0.24541537],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998514,0.0007217985,0.00002162438,0.00013742194,0.00023732042,0.00036777102],"domain_scores_gemma":[0.9970059,0.0014936663,0.00026744104,0.00014547701,0.00034190607,0.0007455842],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021186783,0.0007595345,0.00044474273,0.0018474392,0.022163194,0.011711374,0.0010483069,0.0075466554,0.013126175],"category_scores_gemma":[0.00845219,0.0004241865,0.00028660503,0.0014349184,0.011905347,0.0060159806,0.004520524,0.011319003,0.001240064],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007846103,0.00006867467,0.0010895963,0.00010008796,0.000022000671,0.0010139436,0.20587368,0.00006682898,0.00022502361,0.11411848,0.6522533,0.025089877],"study_design_scores_gemma":[0.000013367457,0.000018029064,0.0021425434,0.00043018415,0.000009595731,0.00029123612,0.10863117,0.000030868236,0.000106369596,0.007286964,0.88101304,0.000026698543],"about_ca_topic_score_codex":0.05700073,"about_ca_topic_score_gemma":0.1939045,"teacher_disagreement_score":0.05700073,"about_ca_system_score_codex":0.006496426,"about_ca_system_score_gemma":0.0023564545,"threshold_uncertainty_score":0.113337874},"labels":[],"label_agreement":null},{"id":"W1950812213","doi":"10.3968/j.css.1923669720060202.012","title":"An Aesthetic Analysis of the Artistic Conception in Zhang Yiqing’s Documentary","year":2009,"lang":"en","type":"article","venue":"Canadian social science","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Zhàng; Theme (computing); Art; Narrative; Humanities; Literature; History; China; Computer science","score_opus":0.01747895536608868,"score_gpt":0.24523919955725157,"score_spread":0.2277602441911629,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1950812213","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.56706196,0.0036752024,0.021083375,0.006909005,0.00040708878,0.00016221707,0.00017496242,0.00013900643,0.40038723],"genre_scores_gemma":[0.96071625,0.00050898606,0.0028895265,0.0001384784,0.000055937424,0.00004930198,0.000048394155,0.00004089017,0.03555226],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910825,0.00035582925,0.000037982016,0.00009802864,0.00028074495,0.00011919661],"domain_scores_gemma":[0.99934095,0.00027462235,0.00007446476,0.00010135777,0.0001481519,0.000060391743],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015044428,0.00044451043,0.00016791144,0.0018727508,0.0046934756,0.0040038344,0.0005832946,0.00069313496,0.0041963374],"category_scores_gemma":[0.001736277,0.00021773721,0.00025695353,0.0020834317,0.008448175,0.0024517647,0.0019817322,0.0016100951,0.00018471868],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000108470624,0.000021088155,0.0035449106,0.00030088288,0.000014655354,0.0014567804,0.38863537,0.00057972583,0.006805842,0.54786134,0.0061794245,0.04449148],"study_design_scores_gemma":[0.000044032142,0.00010591896,0.024323927,0.0004778567,0.00007238354,0.0019650413,0.2291764,0.0033657697,0.0086742705,0.052536685,0.6791549,0.000102805854],"about_ca_topic_score_codex":0.008856015,"about_ca_topic_score_gemma":0.010616524,"teacher_disagreement_score":0.008856015,"about_ca_system_score_codex":0.0072868103,"about_ca_system_score_gemma":0.0025834206,"threshold_uncertainty_score":0.052869797},"labels":[],"label_agreement":null},{"id":"W1953142956","doi":"10.7202/014618ar","title":"Is a Schizoanalysis of Cinema Possible?","year":2007,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Fantasy; Deleuze and Guattari; Dream; Aesthetics; Entertainment; Assemblage (archaeology); Epistemology; Literature; Sociology; Art; Philosophy; History; Visual arts; Psychology","score_opus":0.03923671924490996,"score_gpt":0.25632695749387674,"score_spread":0.21709023824896678,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1953142956","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1032226,0.030232035,0.041923307,0.1432114,0.0070971204,0.00013939996,0.00022622597,0.0004396883,0.6735083],"genre_scores_gemma":[0.9768461,0.003322418,0.0042193444,0.0036510006,0.000632074,0.000064246364,0.000070927985,0.0000758969,0.011118099],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9930515,0.004259454,0.00026196524,0.0007111415,0.0009534524,0.0007624827],"domain_scores_gemma":[0.9960503,0.00096234615,0.00058481016,0.0009251775,0.0007432627,0.00073405233],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0047221305,0.0008483297,0.00063183333,0.0019074451,0.008374139,0.013997399,0.0012159478,0.0023767608,0.0044685495],"category_scores_gemma":[0.009318091,0.0004401095,0.0007554369,0.0010041576,0.05794177,0.020508958,0.0077735046,0.00676928,0.0009638737],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018441397,0.0000090569865,0.00034955933,0.000046499466,0.0000061778956,0.00010702524,0.03548498,0.000054078828,0.00014507717,0.9560583,0.0028492527,0.0048715645],"study_design_scores_gemma":[0.000027116776,0.000052297833,0.0014548381,0.00035530387,0.00001616395,0.0006218602,0.05454142,0.000566228,0.00031708486,0.76827407,0.17370412,0.000069509704],"about_ca_topic_score_codex":0.008636115,"about_ca_topic_score_gemma":0.006259343,"teacher_disagreement_score":0.013997399,"about_ca_system_score_codex":0.004565123,"about_ca_system_score_gemma":0.0040104515,"threshold_uncertainty_score":0.03312242},"labels":[],"label_agreement":null},{"id":"W1956925326","doi":"","title":"Les Rendez-vous du cinéma québécois : la vie privée du cinéma québécois | Mémoires vivantes","year":2011,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.01281650365544672,"score_gpt":0.1593034936677179,"score_spread":0.14648699001227117,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1956925326","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.64718056,0.035760716,0.002662951,0.05794858,0.0010307741,0.00005438586,0.0031543944,0.000090614965,0.252117],"genre_scores_gemma":[0.9118409,0.0049835835,0.00054202846,0.00079418055,0.00013478086,0.000025801752,0.00029571433,0.000040770086,0.08134224],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99916804,0.00021756503,0.000017527173,0.00010554443,0.00023998662,0.00025139857],"domain_scores_gemma":[0.99773204,0.00069073145,0.00021983296,0.000074252835,0.0007945938,0.00048850273],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001035474,0.00046102607,0.0002847448,0.00152501,0.007024104,0.006627424,0.00063094334,0.0014572934,0.021279695],"category_scores_gemma":[0.00397157,0.00033073427,0.00027792444,0.002405734,0.0029648594,0.002169704,0.0011017176,0.0036158639,0.0005774001],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00056191516,0.00028276985,0.11297426,0.000792302,0.00032044912,0.002236364,0.22180352,0.002521113,0.0052518304,0.2585354,0.18282391,0.2118962],"study_design_scores_gemma":[0.000020188028,0.000042499065,0.28487742,0.00065220206,0.00006356915,0.00035936528,0.07485499,0.0013092788,0.0009263072,0.0021279897,0.63463944,0.00012669693],"about_ca_topic_score_codex":0.98731774,"about_ca_topic_score_gemma":0.99191755,"teacher_disagreement_score":0.048212152,"about_ca_system_score_codex":0.048212152,"about_ca_system_score_gemma":0.024241172,"threshold_uncertainty_score":0.3498053},"labels":[],"label_agreement":null},{"id":"W196044231","doi":"","title":"'Subbed-Titles': Hollywood, the Art House Market and the Best Foreign Language Film Category at the Oscars","year":2013,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Hollywood; Studio; Movie theater; Period (music); Box office; Visual arts; Film industry; Advertising; Art; Aesthetics; Art history; Business","score_opus":0.049944728113240675,"score_gpt":0.24059391889209084,"score_spread":0.19064919077885017,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W196044231","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4284413,0.004655566,0.0011085012,0.00536719,0.00061478117,0.000031881125,0.00013794565,0.000039520695,0.55960333],"genre_scores_gemma":[0.9526489,0.0005588267,0.00023848344,0.0003813721,0.00018032292,0.000010325407,0.000048335703,0.00004237015,0.045891043],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99901855,0.00033924522,0.00001948007,0.00014006977,0.00016771209,0.00031493042],"domain_scores_gemma":[0.9984407,0.0005486091,0.00020111738,0.00010702002,0.00019720935,0.0005052861],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013945696,0.00023565404,0.00018333424,0.0017038439,0.006089199,0.009688834,0.00065099087,0.0008880025,0.013106609],"category_scores_gemma":[0.0027836545,0.00017378673,0.00015837295,0.0013603353,0.0056473333,0.0055200746,0.0024316923,0.0017534798,0.0007062885],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024256745,0.000121214995,0.012930055,0.00017901366,0.000014010232,0.0013509652,0.17770538,0.000103800776,0.00086183596,0.6854274,0.046026874,0.07503681],"study_design_scores_gemma":[0.0000134439215,0.00019151242,0.05359107,0.0004407668,0.000014875716,0.000985241,0.21846882,0.00026166136,0.0012428606,0.012205284,0.71254003,0.00004442911],"about_ca_topic_score_codex":0.010412519,"about_ca_topic_score_gemma":0.033457413,"teacher_disagreement_score":0.013106609,"about_ca_system_score_codex":0.0042121005,"about_ca_system_score_gemma":0.0010981435,"threshold_uncertainty_score":0.04384601},"labels":[],"label_agreement":null},{"id":"W1962642357","doi":"","title":"Festival du cinéma latino-américain de Montréal : État des lieux","year":2013,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.00969904626204347,"score_gpt":0.15377381238899662,"score_spread":0.14407476612695316,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1962642357","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44503406,0.07020659,0.0049905297,0.08760839,0.008289146,0.0003389016,0.024144141,0.00058312685,0.35880518],"genre_scores_gemma":[0.82939047,0.009419364,0.0014791439,0.0011957113,0.001570788,0.00010958555,0.0023847315,0.00015303402,0.15429714],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994204,0.00013452479,0.000009720726,0.00007574427,0.00015365295,0.00020589134],"domain_scores_gemma":[0.9986084,0.000262092,0.00013190456,0.000065150576,0.00036506972,0.00056733965],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001005928,0.0007740168,0.00031242275,0.0016946614,0.005047313,0.0043200683,0.0007112026,0.000910993,0.03414844],"category_scores_gemma":[0.0033887976,0.00030026204,0.00037038376,0.0024867307,0.001423704,0.0010862583,0.0014109798,0.0015947752,0.00086186716],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008784107,0.00030142962,0.06873686,0.0010150628,0.00036629115,0.002456679,0.044863824,0.0019963451,0.0066950647,0.10671122,0.6056534,0.16032541],"study_design_scores_gemma":[0.000029089977,0.000036515128,0.22247304,0.00025939645,0.00004390893,0.00021248539,0.0147652915,0.00035552602,0.00068429747,0.0008501913,0.7602371,0.00005319313],"about_ca_topic_score_codex":0.90016925,"about_ca_topic_score_gemma":0.93838793,"teacher_disagreement_score":0.09983075,"about_ca_system_score_codex":0.020849211,"about_ca_system_score_gemma":0.011634287,"threshold_uncertainty_score":0.20083731},"labels":[],"label_agreement":null},{"id":"W1964696406","doi":"10.7202/037541ar","title":"The Suspension of History in Contemporary Media Arts","year":2008,"lang":"fr","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":15,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Suspension (topology); The arts; Media arts; Visual arts; Art; Sociology; Media studies; Mathematics","score_opus":0.0796575496382529,"score_gpt":0.27464266405738136,"score_spread":0.19498511441912847,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1964696406","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38244054,0.032457158,0.017176794,0.033529487,0.0005552428,0.000025428155,0.00009450058,0.0000882115,0.53363264],"genre_scores_gemma":[0.99002504,0.0028109108,0.0007072147,0.00037840722,0.00022407895,0.000010377701,0.000013732024,0.000021907977,0.00580829],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977545,0.0013863872,0.0000656429,0.0002080032,0.00037996648,0.0002053857],"domain_scores_gemma":[0.9958549,0.0030262852,0.00043182238,0.000307592,0.00019133369,0.00018805699],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035638872,0.000262507,0.00022705029,0.0029740555,0.0066557564,0.012080343,0.00059869786,0.0013251757,0.0048219357],"category_scores_gemma":[0.006756094,0.00021884113,0.00016057475,0.0026097293,0.034364987,0.012732936,0.0057426943,0.0021220834,0.00029602088],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019820782,0.000006556534,0.00058226305,0.000047330836,0.000002792209,0.00012283359,0.0566701,0.00010995129,0.00017407964,0.9314047,0.0006887013,0.010170965],"study_design_scores_gemma":[0.000017268389,0.000059561084,0.004188127,0.0006195949,0.000015774593,0.00054531445,0.11155,0.00066197035,0.0009400984,0.51244885,0.3689197,0.00003371494],"about_ca_topic_score_codex":0.0027397287,"about_ca_topic_score_gemma":0.00331318,"teacher_disagreement_score":0.012080343,"about_ca_system_score_codex":0.004515212,"about_ca_system_score_gemma":0.0013083209,"threshold_uncertainty_score":0.032760322},"labels":[],"label_agreement":null},{"id":"W1965181832","doi":"10.1007/s10824-014-9234-1","title":"Economics of motion pictures: the state of the art","year":2014,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":68,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Cultural economics; The arts; State (computer science); Motion (physics); Economics; Art; Social science; Visual arts; Political science; Sociology; Computer science; Computer vision","score_opus":0.02054225343124613,"score_gpt":0.20527435700532182,"score_spread":0.18473210357407568,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1965181832","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0750326,0.66975254,0.02395546,0.0902939,0.0011995146,0.00007552646,0.00070932653,0.000055138426,0.13892597],"genre_scores_gemma":[0.56839126,0.40891826,0.004682669,0.0032917643,0.0058168904,0.00006868403,0.00026779252,0.000051433522,0.008511232],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993787,0.00027680333,0.000025611635,0.000106407235,0.00015330622,0.00005911039],"domain_scores_gemma":[0.9840152,0.013557578,0.00090089155,0.0005075744,0.0008069573,0.00021174405],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022193762,0.0006510821,0.0011610499,0.0022295604,0.00060966914,0.006204402,0.0010378071,0.0030889167,0.015958035],"category_scores_gemma":[0.013155684,0.0005616816,0.00048235222,0.0033483081,0.0045573097,0.008157421,0.0009976451,0.0025668521,0.0010546377],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030286406,0.00040162346,0.005952057,0.0018750335,0.00014992122,0.00025022795,0.00047805574,0.0051556565,0.00043585958,0.6718027,0.01804487,0.2951511],"study_design_scores_gemma":[0.00006195723,0.00008353939,0.015129187,0.0024254336,0.0001251752,0.00033808668,0.0014971198,0.010576632,0.00061142485,0.8538472,0.11523691,0.00006728858],"about_ca_topic_score_codex":0.003938173,"about_ca_topic_score_gemma":0.00250959,"teacher_disagreement_score":0.015958035,"about_ca_system_score_codex":0.0025172147,"about_ca_system_score_gemma":0.001174491,"threshold_uncertainty_score":0.05338496},"labels":[],"label_agreement":null},{"id":"W1965186465","doi":"","title":"Four Cents to Sea: 16mm, the Royal Canadian Naval Film Society, and the Mobilization of Entertainment","year":2013,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Entertainment; Situated; Mobilization; World War II; Motion picture; Political science; Visual arts; Engineering; Media studies; History; Sociology; Art; Law; Computer science; Artificial intelligence","score_opus":0.01721518555057804,"score_gpt":0.1832058423520465,"score_spread":0.16599065680146846,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1965186465","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46054798,0.028974518,0.00079084694,0.0737192,0.00079706864,0.000049572223,0.0008653629,0.00005529854,0.4342002],"genre_scores_gemma":[0.9354778,0.008114587,0.0004138784,0.001138245,0.00015943298,0.000013488597,0.0001939111,0.000017486316,0.05447115],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9985273,0.0002222579,0.00002681772,0.000073715855,0.0005971221,0.00055280677],"domain_scores_gemma":[0.9980488,0.0002586133,0.0003117925,0.00004021911,0.00048512052,0.000855481],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013047782,0.00036595913,0.0001521753,0.002242135,0.006906107,0.0065532415,0.00066902494,0.0011721295,0.010859061],"category_scores_gemma":[0.0047907885,0.00014124978,0.00012005711,0.0036922689,0.0042716893,0.0019176068,0.002008423,0.0011636197,0.00040268328],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002556533,0.00008911466,0.09865886,0.0003629114,0.00005499922,0.00120334,0.047183745,0.0010590897,0.0009128118,0.3487592,0.16565126,0.33580908],"study_design_scores_gemma":[0.000008216519,0.000046915735,0.15671815,0.0004249207,0.000031181615,0.00043018383,0.079725385,0.00050703896,0.0004397621,0.0068349284,0.75473887,0.00009440679],"about_ca_topic_score_codex":0.9465982,"about_ca_topic_score_gemma":0.96977377,"teacher_disagreement_score":0.053401828,"about_ca_system_score_codex":0.039620943,"about_ca_system_score_gemma":0.042555884,"threshold_uncertainty_score":0.2874714},"labels":[],"label_agreement":null},{"id":"W1965315742","doi":"10.1353/utq.0.0035","title":"Five Films by Frederick Wiseman (review)","year":2008,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Studio; Scholarship; Filmmaking; Ideology; Art history; Sociology; Law; Art; Media studies; Political science; Visual arts; Politics","score_opus":0.013447281350441972,"score_gpt":0.18120999879482666,"score_spread":0.1677627174443847,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1965315742","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00014141649,0.922086,0.00012395353,0.028934555,0.038489696,0.000089194255,0.00034764328,0.000045405854,0.009742262],"genre_scores_gemma":[0.002065782,0.88454807,0.00037804703,0.053339116,0.022268645,0.00032651259,0.00094283407,0.000057218807,0.03607381],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987876,0.00025411285,0.00016586595,0.00016083977,0.0004966897,0.00013491187],"domain_scores_gemma":[0.9962568,0.0007464197,0.00063884136,0.000082478284,0.0017059285,0.0005695432],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016646668,0.001408336,0.001460194,0.0027234165,0.00078467344,0.0036182918,0.0018259751,0.0025075746,0.04716778],"category_scores_gemma":[0.0073457505,0.0007177298,0.00095681654,0.0034024364,0.00071221415,0.002861319,0.0017327063,0.003999387,0.021569164],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019580442,0.000005230345,0.000052234187,0.0032873985,0.000031099153,0.000054030967,0.000035499583,0.000011177794,0.00006419091,0.00014419734,0.9499024,0.046393145],"study_design_scores_gemma":[0.000022970544,0.0000136515455,0.00068051915,0.009011868,0.000063026,0.00025227063,0.000089117195,0.000010517073,0.000051264844,0.0001007532,0.9896904,0.000013741948],"about_ca_topic_score_codex":0.0074813496,"about_ca_topic_score_gemma":0.013196003,"teacher_disagreement_score":0.04716778,"about_ca_system_score_codex":0.0025943678,"about_ca_system_score_gemma":0.0044424688,"threshold_uncertainty_score":0.15779191},"labels":[],"label_agreement":null},{"id":"W1965515230","doi":"10.1386/ncin.5.1.91_4","title":"Cinema at the periphery An International Film Studies Conference, 1517 June 2006, Centre for Film Studies, University of St. Andrews","year":2007,"lang":"en","type":"article","venue":"New Cinemas Journal of Contemporary Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Schema (genetic algorithms); Media studies; History; Art history; Sociology","score_opus":0.09077299506714606,"score_gpt":0.28499136316504786,"score_spread":0.1942183680979018,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1965515230","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04402253,0.09509983,0.001800854,0.19465874,0.023621175,0.00023840836,0.0021108007,0.00028409305,0.6381637],"genre_scores_gemma":[0.22902252,0.050790753,0.0020679233,0.008286853,0.007840277,0.0001356483,0.00081592915,0.00036349456,0.70067656],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994154,0.00022140032,0.000026958578,0.00008719731,0.000121652534,0.00012750366],"domain_scores_gemma":[0.99855,0.00037118196,0.00009292767,0.000085283995,0.00034283163,0.00055770186],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016185266,0.0007684511,0.0003145657,0.00094533793,0.0052082115,0.0077000144,0.00046533122,0.0013153928,0.05341279],"category_scores_gemma":[0.0035426614,0.0003221025,0.000203242,0.001088387,0.0020922918,0.0040245764,0.002442772,0.0024161877,0.0050591533],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011977986,0.000033946555,0.00071505917,0.00028121317,0.000008277974,0.0003196898,0.01732947,0.000039346975,0.0013551436,0.013057943,0.9346481,0.032091904],"study_design_scores_gemma":[0.0000072176035,0.00002081045,0.0028779123,0.00026993503,0.0000058842165,0.00013187651,0.008588574,0.000021386051,0.00024553383,0.00047135729,0.9873537,0.0000059370445],"about_ca_topic_score_codex":0.018620498,"about_ca_topic_score_gemma":0.072538815,"teacher_disagreement_score":0.05341279,"about_ca_system_score_codex":0.0033761282,"about_ca_system_score_gemma":0.0023645454,"threshold_uncertainty_score":0.17868358},"labels":[],"label_agreement":null},{"id":"W1966244014","doi":"10.1353/ctr.2013.0006","title":"A Tyranny of Documents: The Performing Arts Historian as Film Noir Detective. Essays Dedicated to Brooks McNamara (review)","year":2013,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performance art; Art history; Art; Visual arts; The arts; History","score_opus":0.0189926140315912,"score_gpt":0.22590136819607531,"score_spread":0.20690875416448412,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1966244014","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00042305118,0.90236086,0.00007081116,0.07295424,0.008113235,0.000004569717,0.0000500205,0.000009541336,0.016013812],"genre_scores_gemma":[0.027845431,0.8966196,0.00015712346,0.030531919,0.015095576,0.000017561813,0.000085458334,0.000048689348,0.029598676],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973163,0.0009705323,0.00011069349,0.00021972752,0.0010824912,0.00030022368],"domain_scores_gemma":[0.98866314,0.0053693755,0.0010284056,0.00028360818,0.0039995243,0.0006559373],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0044553345,0.0005484821,0.00077860255,0.0033305632,0.0045628054,0.008301108,0.0015290253,0.004070221,0.0066276374],"category_scores_gemma":[0.016040703,0.00040484814,0.0002478893,0.0046140375,0.008650183,0.005455442,0.002011211,0.0042483695,0.0019357299],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021763894,0.000007740451,0.00024651905,0.0008474554,0.000020228938,0.00008674612,0.0036056016,0.00003854556,0.00007608475,0.027162174,0.88487005,0.08301718],"study_design_scores_gemma":[0.0000035877035,0.000006086504,0.0012162885,0.0019941337,0.000010931693,0.00008889324,0.003359187,0.0000093082535,0.00005505591,0.0015228894,0.99172324,0.000010403079],"about_ca_topic_score_codex":0.28340387,"about_ca_topic_score_gemma":0.44033614,"teacher_disagreement_score":0.28340387,"about_ca_system_score_codex":0.011393831,"about_ca_system_score_gemma":0.018604826,"threshold_uncertainty_score":0.56350857},"labels":[],"label_agreement":null},{"id":"W1966485564","doi":"10.3138/ctr.158.006","title":"Are You Staring at the Size of My Gimmick? Applying Burlesque Conventions to a Different Anatomy","year":2014,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Burlesque; Comedy; Performing arts; Art; Comics; Style (visual arts); Amateur; Visual arts; Aesthetics; Literature; History","score_opus":0.02872673449754243,"score_gpt":0.23543279201190678,"score_spread":0.20670605751436436,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1966485564","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10100398,0.23550527,0.005526601,0.17688861,0.004850019,0.000055536835,0.00020401072,0.000095356045,0.47587067],"genre_scores_gemma":[0.8469586,0.082698055,0.0013605605,0.008354084,0.0013008189,0.000026790245,0.00006764175,0.00008941791,0.059144065],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99797803,0.0011333596,0.000045432742,0.00014151211,0.00044119018,0.0002604857],"domain_scores_gemma":[0.9974976,0.001072557,0.00026942117,0.00016273817,0.00074350485,0.0002540634],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035574296,0.00026674403,0.00023478454,0.0012571376,0.0036327217,0.0054433704,0.00088672066,0.0012691758,0.006460125],"category_scores_gemma":[0.0056767617,0.00015128596,0.00013707882,0.0013437388,0.013729511,0.0019318766,0.0014084398,0.0021296882,0.0007419703],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009524889,0.000030712385,0.0036315692,0.0008839854,0.000034376008,0.00091711106,0.1508658,0.00021235528,0.0010222082,0.47638196,0.20037958,0.16554509],"study_design_scores_gemma":[0.000008286439,0.000024068833,0.007803016,0.00095352455,0.000015130146,0.0004901024,0.059426308,0.000049498827,0.00025794242,0.0055350503,0.9254182,0.000018810404],"about_ca_topic_score_codex":0.20578796,"about_ca_topic_score_gemma":0.32337376,"teacher_disagreement_score":0.79421204,"about_ca_system_score_codex":0.008160342,"about_ca_system_score_gemma":0.0060804863,"threshold_uncertainty_score":0.40918028},"labels":[],"label_agreement":null},{"id":"W196695357","doi":"","title":"Lux : A Decade of Artists' Film and Video","year":2000,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":22,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pleasure; Art; Dome (geology); Variety (cybernetics); Visual arts; Scripting language; Video art; Art history; Performance art; Computer science; Psychology; Artificial intelligence; Geology","score_opus":0.02032284014281376,"score_gpt":0.2088232715566146,"score_spread":0.18850043141380082,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W196695357","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011453552,0.12017506,0.001910179,0.028753424,0.0068170787,0.000067474495,0.0014630655,0.0002883023,0.82907176],"genre_scores_gemma":[0.092541285,0.05293235,0.0012717558,0.003847526,0.0032929473,0.00007460978,0.0013522692,0.00039957717,0.8442875],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993337,0.00012910426,0.000020184847,0.00006482737,0.0003521756,0.000100068864],"domain_scores_gemma":[0.99929523,0.00020357175,0.000044541335,0.00006490456,0.0002177102,0.00017397974],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007708428,0.00043749603,0.0002608812,0.002164872,0.0021675022,0.00704746,0.00063641014,0.00088020065,0.018509468],"category_scores_gemma":[0.0020899493,0.00032318095,0.00017329148,0.002840794,0.002397097,0.003164962,0.0013919014,0.001691667,0.003764024],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045716744,0.000014412834,0.00039178054,0.00027855232,0.000005992079,0.00016089548,0.009517862,0.00009895321,0.00040294268,0.12596935,0.7495792,0.11353444],"study_design_scores_gemma":[0.0000023099904,0.0000041936323,0.0007677442,0.00019252086,0.0000013990103,0.00004528108,0.0011247933,0.000024297271,0.000080661375,0.0013912894,0.99636215,0.0000033395224],"about_ca_topic_score_codex":0.06434877,"about_ca_topic_score_gemma":0.13489784,"teacher_disagreement_score":0.06434877,"about_ca_system_score_codex":0.008147882,"about_ca_system_score_gemma":0.003357909,"threshold_uncertainty_score":0.1279484},"labels":[],"label_agreement":null},{"id":"W1966980298","doi":"10.5007/2175-8026.2008n54p145","title":"Two versions of the road back home: native cinema in the USA and Canada","year":2008,"lang":"en","type":"article","venue":"Ilha do Desterro A Journal of English Language Literatures in English and Cultural Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Thriving; Movie theater; Diversity (politics); Theme (computing); Representation (politics); History; Native american; Film director; Media studies; Art history; Sociology; Ethnology; Anthropology; Social science; Political science; Law; Computer science","score_opus":0.018154489641048432,"score_gpt":0.24199681218026886,"score_spread":0.22384232253922043,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1966980298","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21124567,0.016930085,0.0015362944,0.059214897,0.008317538,0.00019716582,0.00550175,0.00033262913,0.6967239],"genre_scores_gemma":[0.7569948,0.009446258,0.0012043979,0.0050844466,0.00065219874,0.00009422405,0.0014248422,0.00033624462,0.22476263],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9990283,0.00015850947,0.000018172794,0.00009307633,0.00035743185,0.00034443714],"domain_scores_gemma":[0.997451,0.00034117288,0.000058948233,0.000090326925,0.0009737388,0.0010847416],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009009655,0.00043647666,0.0002608198,0.0021418894,0.015869785,0.009379342,0.0008771339,0.0011993605,0.01877748],"category_scores_gemma":[0.003271533,0.00028337986,0.0002274429,0.0029396762,0.003801154,0.0021485628,0.0029808031,0.0027468475,0.0009942913],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024078238,0.00012232072,0.0055635762,0.00031708102,0.000023743232,0.0013505038,0.3603819,0.00017237423,0.001796394,0.042241357,0.51928985,0.06850016],"study_design_scores_gemma":[0.000010048677,0.000019881607,0.018749949,0.00034199175,0.000016706024,0.00031676277,0.22276933,0.00013775467,0.00048520547,0.00077083654,0.7563164,0.00006515304],"about_ca_topic_score_codex":0.9544305,"about_ca_topic_score_gemma":0.98759836,"teacher_disagreement_score":0.04556948,"about_ca_system_score_codex":0.032505654,"about_ca_system_score_gemma":0.030702548,"threshold_uncertainty_score":0.2358461},"labels":[],"label_agreement":null},{"id":"W1967836424","doi":"10.1177/1746847711406374","title":"Magic Lantern, Dark Precursor of Animation","year":2011,"lang":"en","type":"article","venue":"Animation","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":29,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Movie theater; Lantern; Animation; MAGIC (telescope); Art; Anime; Computer graphics (images); Aesthetics; Visual arts; Computer science; Physics; Artificial intelligence; Astronomy","score_opus":0.05864307632137897,"score_gpt":0.22590801782653996,"score_spread":0.167264941505161,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1967836424","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.124273725,0.009919322,0.028995672,0.014655582,0.00097121566,0.000045194312,0.00014581683,0.00022267367,0.82077074],"genre_scores_gemma":[0.9605181,0.002277704,0.005330878,0.0007582494,0.0002332035,0.000037616574,0.00005577914,0.000113193506,0.03067524],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937314,0.0003201698,0.000020209798,0.000101779595,0.000116090814,0.00006863777],"domain_scores_gemma":[0.99910504,0.0004947909,0.00008716092,0.00012899106,0.00009652584,0.00008749372],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008007212,0.00027311742,0.00024616806,0.0011422667,0.0024277524,0.0042362534,0.00043852587,0.0009043959,0.00743043],"category_scores_gemma":[0.0031436651,0.00021657441,0.00013080858,0.0007213304,0.012749652,0.006493281,0.0027990458,0.002197319,0.00042842238],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018332361,0.000004998915,0.00015697084,0.000024967723,0.0000011120522,0.00005565198,0.0054346686,0.00004197876,0.00015295358,0.98774624,0.0010878602,0.0052742856],"study_design_scores_gemma":[0.00003074325,0.00008646811,0.0019549557,0.0003321356,0.000013261226,0.00072005484,0.010262408,0.0005790181,0.0013029223,0.43535188,0.54933774,0.000028523924],"about_ca_topic_score_codex":0.0020188696,"about_ca_topic_score_gemma":0.0023324469,"teacher_disagreement_score":0.00743043,"about_ca_system_score_codex":0.0018914182,"about_ca_system_score_gemma":0.0011185601,"threshold_uncertainty_score":0.024857283},"labels":[],"label_agreement":null},{"id":"W1968174984","doi":"10.1111/j.0021-8529.2006.00240.x","title":"The Substance of Cinema","year":2006,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Movie theater; Art; Art history","score_opus":0.014042782909147782,"score_gpt":0.20815640896405774,"score_spread":0.19411362605490995,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1968174984","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010871706,0.0050689857,0.018242445,0.010166757,0.001292145,0.0000702447,0.00023937318,0.00020319098,0.9538451],"genre_scores_gemma":[0.82415533,0.004290435,0.009372745,0.0044434723,0.001755347,0.00021475939,0.00030158766,0.00039046138,0.1550758],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99805886,0.0008714364,0.00007727374,0.00049033534,0.00032337193,0.00017879544],"domain_scores_gemma":[0.9981939,0.00068239536,0.00016610886,0.00050205184,0.00029069645,0.00016487185],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015204259,0.00054482854,0.00034956768,0.0013484862,0.0037016987,0.0112759145,0.0011310929,0.0017229345,0.018168284],"category_scores_gemma":[0.004804428,0.0003795003,0.00038715726,0.0010268991,0.018374866,0.009342187,0.0046160943,0.0033085947,0.0021202134],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000068363233,0.000004506467,0.00014638675,0.0000370379,0.0000031790885,0.000030689684,0.004625997,0.000025649602,0.0002653739,0.98561865,0.003522913,0.005712888],"study_design_scores_gemma":[0.000012368684,0.000027938433,0.0011866421,0.0002684896,0.000014396899,0.00021218866,0.0046456745,0.0001742328,0.0007477051,0.2396373,0.7530585,0.000014614581],"about_ca_topic_score_codex":0.0038066274,"about_ca_topic_score_gemma":0.0033850363,"teacher_disagreement_score":0.018168284,"about_ca_system_score_codex":0.0028452992,"about_ca_system_score_gemma":0.001847085,"threshold_uncertainty_score":0.060778916},"labels":[],"label_agreement":null},{"id":"W1968596411","doi":"10.5195/cinej.2013.85","title":"Festival Review: TIFF 2013, The Neoliberal Labyrinth of Cinema","year":2014,"lang":"en","type":"article","venue":"CINEJ Cinema Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; National cinema; Media studies; Political science; Art; Sociology; Art history","score_opus":0.02182577185330867,"score_gpt":0.22571060070541096,"score_spread":0.2038848288521023,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1968596411","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00021627951,0.93656063,0.000078071265,0.03210845,0.021515453,0.00001852614,0.00031961477,0.000016592921,0.009166397],"genre_scores_gemma":[0.005492889,0.92248154,0.00013490165,0.026790904,0.023195809,0.000057359946,0.0007457424,0.00005086954,0.021050021],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990742,0.00013576953,0.000080088976,0.00014183232,0.0004108727,0.0001571842],"domain_scores_gemma":[0.9926374,0.002316408,0.00058051565,0.00020043085,0.0033738723,0.00089134206],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021032598,0.0006817342,0.0012254162,0.0034418115,0.0012834008,0.00419482,0.0018463245,0.0033727202,0.024926482],"category_scores_gemma":[0.00997696,0.00033776506,0.00045889258,0.0044420087,0.001773183,0.003094038,0.0018735584,0.0037097563,0.006236857],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041803774,0.000009373518,0.00007133503,0.005643957,0.000021801232,0.000048620568,0.00016514487,0.0000365858,0.00009507542,0.0029990138,0.9123822,0.07848516],"study_design_scores_gemma":[0.0000049735117,0.000006436693,0.00045088594,0.0042098053,0.000012328839,0.00005338963,0.000106196596,0.000006240865,0.000023874474,0.00023471643,0.99488574,0.0000054991624],"about_ca_topic_score_codex":0.045285244,"about_ca_topic_score_gemma":0.0828238,"teacher_disagreement_score":0.045285244,"about_ca_system_score_codex":0.0069067352,"about_ca_system_score_gemma":0.01006718,"threshold_uncertainty_score":0.09004331},"labels":[],"label_agreement":null},{"id":"W1969493324","doi":"10.1353/mos.2014.0022","title":"Revenge and the Family Romance in Tarantino’s Kill Bill","year":2014,"lang":"en","type":"article","venue":"Mosaic","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Romance; Fantasy; Art; Wish; Literature","score_opus":0.016745834453079398,"score_gpt":0.18925677021672238,"score_spread":0.172510935763643,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1969493324","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3002435,0.00766722,0.0016451507,0.08034773,0.0012729529,0.000030165484,0.00009553814,0.000042021133,0.6086557],"genre_scores_gemma":[0.9645471,0.001407609,0.00025869836,0.0012338673,0.0002363157,0.000008032784,0.000012232329,0.00002441826,0.032271855],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991697,0.0006045729,0.00000680315,0.00003940823,0.00007643392,0.00010305238],"domain_scores_gemma":[0.9990939,0.0005186004,0.00012772012,0.00005872327,0.000056549445,0.00014452545],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000974113,0.00019984494,0.0001543491,0.00038365825,0.005754138,0.0045587295,0.0004262448,0.001426571,0.0051142727],"category_scores_gemma":[0.0025881047,0.0001606524,0.000109272005,0.00034107352,0.0073285904,0.0024035447,0.001494801,0.0021201859,0.00027799493],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013900973,0.000075317956,0.0026091274,0.000101803584,0.000009858849,0.002617288,0.28790388,0.00018265254,0.0007384223,0.60823923,0.073095,0.024288356],"study_design_scores_gemma":[0.000025823854,0.00004808051,0.007414198,0.00033593946,0.000008385034,0.0015143682,0.17356756,0.00037253049,0.00039796237,0.022384066,0.7939076,0.000023582772],"about_ca_topic_score_codex":0.014127574,"about_ca_topic_score_gemma":0.037599485,"teacher_disagreement_score":0.014127574,"about_ca_system_score_codex":0.0031859572,"about_ca_system_score_gemma":0.0007880721,"threshold_uncertainty_score":0.028090715},"labels":[],"label_agreement":null},{"id":"W19710394","doi":"10.1152/ajpregu.00140.2009","title":"Les films de sa vie. CHEVRIER, H-Paul. Le Cinéma de répertoire et ses mises en scène, Montréal, L’Instant même, 2012, 342 p.CHEVRIER, H-Paul. Le Cinéma de répertoire et ses mises en scène, Montréal, L’Instant même, 2012, 342 p.","year":2012,"lang":"en","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"National Institute on Drug Abuse","keywords":"Art; Humanities","score_opus":0.018444565956340975,"score_gpt":0.23294211225615247,"score_spread":0.2144975462998115,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W19710394","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0020820468,0.7048932,0.0025868556,0.021901216,0.025975587,0.00013813026,0.0028521433,0.0013139448,0.23825687],"genre_scores_gemma":[0.011974313,0.21985841,0.0026922645,0.0022421656,0.007941215,0.00007057847,0.0016585384,0.0007063336,0.75285625],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99971753,0.00003033634,0.000008969773,0.000069195514,0.00014061751,0.000033326407],"domain_scores_gemma":[0.9993291,0.00008443909,0.000036539277,0.000026550002,0.00036001427,0.00016337114],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004990144,0.0018921421,0.0007445762,0.0021227156,0.0017545836,0.0030212898,0.0008416794,0.0012546015,0.25123808],"category_scores_gemma":[0.0011311658,0.0007588783,0.00048352702,0.0019752015,0.0009249146,0.0023782924,0.001016354,0.0028762822,0.07141937],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007195898,0.000017725339,0.00018275702,0.0004671116,0.00002146528,0.00015134842,0.00028466954,0.00008214683,0.0024223393,0.0016229064,0.85827816,0.13639753],"study_design_scores_gemma":[0.000006367196,0.000019612027,0.0015266233,0.00020514973,0.000008572461,0.00022375722,0.00014928491,0.00006252067,0.00026814808,0.00024884034,0.9972709,0.000010274149],"about_ca_topic_score_codex":0.07416073,"about_ca_topic_score_gemma":0.17704989,"teacher_disagreement_score":0.25123808,"about_ca_system_score_codex":0.0022997032,"about_ca_system_score_gemma":0.0012317237,"threshold_uncertainty_score":0.8404751},"labels":[],"label_agreement":null},{"id":"W1971300094","doi":"10.1080/10599230802244755","title":"<i>Dying Swans and Madmen: Ballet, the Body, and Narrative Cinema</i>by Adrienne L. McLean. New Brunswick: Rutgers University Press, 2008","year":2010,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ballet; Movie theater; Art; Narrative; Art history; Performance art; Visual arts; Literature; Dance","score_opus":0.010234534302855331,"score_gpt":0.204651716133448,"score_spread":0.19441718183059264,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1971300094","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013896902,0.8133781,0.0008897465,0.11677476,0.0127561325,0.000027777704,0.00026710893,0.000055928722,0.054460876],"genre_scores_gemma":[0.041247778,0.7752069,0.0014767734,0.028263612,0.018433465,0.000069898575,0.0004641014,0.00018959188,0.13464788],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99950826,0.00025736517,0.000024659754,0.000056423705,0.00010522543,0.000048068596],"domain_scores_gemma":[0.99855775,0.0008910755,0.00013753428,0.000038003545,0.00021233213,0.00016333426],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010408121,0.0016414383,0.00060636515,0.0034187199,0.0022743477,0.0041122586,0.000986879,0.002510802,0.014071803],"category_scores_gemma":[0.0024891626,0.00058787287,0.00037466147,0.003853106,0.0029294132,0.007049639,0.0019745906,0.003296147,0.004240669],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016833435,0.000014560526,0.00028216105,0.00036387588,0.000009111181,0.00006391899,0.0022368624,0.00004215957,0.00007746519,0.014407645,0.95074064,0.031744786],"study_design_scores_gemma":[0.0000054236693,0.000014432778,0.0020676279,0.0012807383,0.000009002082,0.0003581208,0.0038321514,0.000079346064,0.0001401333,0.0069860118,0.9852129,0.000014115313],"about_ca_topic_score_codex":0.022589806,"about_ca_topic_score_gemma":0.05895626,"teacher_disagreement_score":0.022589806,"about_ca_system_score_codex":0.0019061564,"about_ca_system_score_gemma":0.0015055178,"threshold_uncertainty_score":0.047074854},"labels":[],"label_agreement":null},{"id":"W1972318349","doi":"10.3138/md.49.2.188","title":"The Ghost in the Machine: Heiner Müller’s Devouring Melancholy","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ambivalence; Object (grammar); Metaphor; Art; Subject (documents); Literature; History; Aesthetics; Psychoanalysis; Psychology; Philosophy; Computer science; Linguistics","score_opus":0.018120241876134986,"score_gpt":0.2103166380577022,"score_spread":0.19219639618156723,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1972318349","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21151367,0.045366537,0.007994895,0.33662164,0.0062843836,0.00003406854,0.00013159988,0.00029941424,0.39175388],"genre_scores_gemma":[0.90274364,0.0066729765,0.0009532163,0.009912816,0.0010808087,0.000016513988,0.000017888517,0.00013073104,0.07847141],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990658,0.0005638055,0.000015262221,0.00008745049,0.00013067292,0.00013700794],"domain_scores_gemma":[0.9987326,0.00078308355,0.00013269432,0.00009880367,0.00008212991,0.00017062043],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012199286,0.0003000846,0.00021641835,0.0009591742,0.005468974,0.00556857,0.00048069272,0.0024792335,0.0029842076],"category_scores_gemma":[0.0048098736,0.0002539394,0.00015840691,0.00046542287,0.011193077,0.0050325524,0.0026419167,0.0031661233,0.0006438995],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000075429656,0.000024475137,0.0008688734,0.000057547993,0.000011806621,0.002147016,0.14465751,0.0001606996,0.00025592756,0.7003588,0.13439521,0.016986683],"study_design_scores_gemma":[0.000020071124,0.000032663113,0.0010430667,0.00028168416,0.000009741035,0.0022024505,0.042636175,0.00050115073,0.00042854206,0.1107169,0.84209293,0.000034576227],"about_ca_topic_score_codex":0.003237634,"about_ca_topic_score_gemma":0.00606268,"teacher_disagreement_score":0.00556857,"about_ca_system_score_codex":0.002298956,"about_ca_system_score_gemma":0.00071800686,"threshold_uncertainty_score":0.016680121},"labels":[],"label_agreement":null},{"id":"W1972357222","doi":"10.1353/vpr.2013.0039","title":"William Henry Boucher (1837-1906): Illustrator and Judy Cartoonist","year":2013,"lang":"en","type":"article","venue":"Victorian periodicals review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cartoonist; Art; Art history; History; Political science; Law; Politics","score_opus":0.02265145550643168,"score_gpt":0.23099653627650868,"score_spread":0.208345080770077,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1972357222","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005411222,0.5405632,0.001634831,0.07355215,0.03806201,0.00004184995,0.0003997679,0.00025638452,0.34007856],"genre_scores_gemma":[0.03853955,0.09202131,0.0012017373,0.010444904,0.009160266,0.000024596444,0.0001537552,0.00025941303,0.8481944],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995547,0.00007038998,0.000012931835,0.000072263894,0.00022016272,0.000069487556],"domain_scores_gemma":[0.99953926,0.00016049638,0.000041871495,0.0000185523,0.00014463028,0.00009530412],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005366205,0.0005753011,0.0002867015,0.002389659,0.0022399195,0.003019854,0.00046497188,0.0010173139,0.023222852],"category_scores_gemma":[0.0022238195,0.0002923732,0.00019243069,0.0018609106,0.0013766492,0.0016056662,0.0010496186,0.0015032451,0.008316502],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012214299,0.0000048709,0.00017757343,0.000100256584,0.0000031210732,0.00012486894,0.0010005544,0.00003144201,0.00014210399,0.013316211,0.94781923,0.037267562],"study_design_scores_gemma":[4.894436e-7,0.0000012446877,0.000162672,0.00003781136,7.690995e-7,0.0000783669,0.00008942682,0.000006023111,0.000028412944,0.00019538855,0.9993979,0.0000015145413],"about_ca_topic_score_codex":0.03780542,"about_ca_topic_score_gemma":0.09001563,"teacher_disagreement_score":0.03780542,"about_ca_system_score_codex":0.0032777118,"about_ca_system_score_gemma":0.0021720745,"threshold_uncertainty_score":0.07768822},"labels":[],"label_agreement":null},{"id":"W1974748619","doi":"10.1177/1354856509105110","title":"Between Creation and Preservation","year":2009,"lang":"en","type":"article","venue":"Convergence The International Journal of Research into New Media Technologies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Materiality (auditing); Digital media; The arts; Art; Architecture; New media; Visual arts; Media studies; Art history; Sociology; Computer science; World Wide Web; Aesthetics","score_opus":0.13193617044047973,"score_gpt":0.36147646342805084,"score_spread":0.22954029298757112,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1974748619","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010589707,0.015759023,0.015765816,0.026750006,0.0014130804,0.000056746114,0.00008923084,0.00018933004,0.9293871],"genre_scores_gemma":[0.75952923,0.0132157095,0.0106504,0.0100521175,0.0021099288,0.00022783362,0.00019279883,0.0006550095,0.20336682],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99428093,0.0030529771,0.00022927625,0.0008730583,0.0009309851,0.00063274475],"domain_scores_gemma":[0.99727863,0.0010838924,0.00027080206,0.0007772158,0.00028823543,0.0003013031],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0066841617,0.0007657654,0.0006145393,0.002245503,0.008608741,0.021338256,0.0016121184,0.0035794163,0.015607856],"category_scores_gemma":[0.005361793,0.00039460626,0.00048439408,0.002108601,0.06290289,0.022425348,0.01340226,0.0053295684,0.0034122535],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010549603,0.0000052050596,0.00011929764,0.000048124584,0.0000024597418,0.00005813537,0.010725756,0.000022842822,0.000072127834,0.9782361,0.0037525427,0.0069468403],"study_design_scores_gemma":[0.000012121192,0.00002553438,0.00027022342,0.00046642468,0.00000884583,0.0004640012,0.016289987,0.000088214045,0.0002667887,0.41068912,0.57140255,0.000016183498],"about_ca_topic_score_codex":0.0028812631,"about_ca_topic_score_gemma":0.0026348862,"teacher_disagreement_score":0.021338256,"about_ca_system_score_codex":0.0041122,"about_ca_system_score_gemma":0.0041640666,"threshold_uncertainty_score":0.05221349},"labels":[],"label_agreement":null},{"id":"W197558787","doi":"","title":"Does Shirley Temple Eat Chiken Feet? Consuming Ambivalence in Wayson Choy's The Jade Peony.","year":2003,"lang":"en","type":"article","venue":"Essays on Canadian writing","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ambivalence; JADE (particle detector); Art; Temple; Ancient history; Psychology; History; Psychoanalysis; Physics","score_opus":0.032926615369009996,"score_gpt":0.22329127683047828,"score_spread":0.1903646614614683,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W197558787","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.102371626,0.013363262,0.00044602397,0.4767673,0.0041135233,0.000024834597,0.00014703009,0.000046171626,0.40272027],"genre_scores_gemma":[0.72821647,0.0062354626,0.0003123989,0.053698763,0.00079121237,0.000022050277,0.00005540215,0.00016221352,0.21050604],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99856216,0.0005886461,0.00001880269,0.00011076309,0.00033463415,0.0003850159],"domain_scores_gemma":[0.995943,0.0017073748,0.00028070394,0.00010094245,0.001009273,0.0009586474],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001769197,0.00037776702,0.00031346758,0.0008029454,0.0351416,0.008244293,0.000662169,0.00351742,0.010519925],"category_scores_gemma":[0.008560042,0.00027443792,0.0001442673,0.0011333309,0.014186356,0.0046693333,0.00234767,0.0077516995,0.0009980419],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007150142,0.000036719215,0.0022972436,0.000059728798,0.000015119285,0.0005966299,0.4373645,0.000026224627,0.00025091233,0.095927306,0.44700822,0.01634596],"study_design_scores_gemma":[0.000009168597,0.0000130786875,0.005857712,0.00021607164,0.000011192516,0.00017068493,0.36216593,0.000036650086,0.00015564876,0.007293336,0.62404644,0.000023989502],"about_ca_topic_score_codex":0.5373981,"about_ca_topic_score_gemma":0.8032858,"teacher_disagreement_score":0.4626019,"about_ca_system_score_codex":0.015678506,"about_ca_system_score_gemma":0.00977112,"threshold_uncertainty_score":0.9306525},"labels":[],"label_agreement":null},{"id":"W1976220269","doi":"10.1177/0021934707309549","title":"Selected Filmography of the National Film Board of Canada on Blacks in Canada","year":2007,"lang":"en","type":"article","venue":"Journal of Black Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Dalhousie University","funders":"","keywords":"Filmography; Political science; Sociology; History; Art history; Movie theater","score_opus":0.02415973932791581,"score_gpt":0.2247205069440092,"score_spread":0.20056076761609337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1976220269","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5652077,0.012145549,0.00039920319,0.03569702,0.0021622078,0.00020669831,0.0055851727,0.00008078694,0.3785156],"genre_scores_gemma":[0.85071355,0.0063633025,0.00025758945,0.0024597505,0.00037094398,0.00003635662,0.00084532273,0.00012018957,0.13883302],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989791,0.00011292354,0.000017201837,0.00007887274,0.00027370363,0.0005383701],"domain_scores_gemma":[0.9961449,0.00048761658,0.00026813467,0.00005311738,0.0018247977,0.0012213666],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007576611,0.00038547645,0.00033497915,0.0037572444,0.017374655,0.005965727,0.0008041575,0.0011061855,0.018468272],"category_scores_gemma":[0.002714327,0.0003081456,0.0002482611,0.0056504295,0.0024690842,0.0008712955,0.001611013,0.0027036695,0.0004956675],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00036956306,0.000092047376,0.040601417,0.0008078757,0.000090124835,0.0035971152,0.33792531,0.00048094295,0.0037878226,0.04094166,0.5091549,0.062151186],"study_design_scores_gemma":[0.0000059851695,0.000014935816,0.14425753,0.0003867834,0.000025317402,0.00018642523,0.21065883,0.0000961433,0.00042717255,0.00028946644,0.6436065,0.00004487709],"about_ca_topic_score_codex":0.9857954,"about_ca_topic_score_gemma":0.99653673,"teacher_disagreement_score":0.057665292,"about_ca_system_score_codex":0.057665292,"about_ca_system_score_gemma":0.041197333,"threshold_uncertainty_score":0.4183929},"labels":[],"label_agreement":null},{"id":"W1976551629","doi":"10.1353/utq.2006.0228","title":"Beyond Spectacle: Eliza Haywood's Female Spectators (review)","year":2006,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spectacle; Romance; Argument (complex analysis); Literature; History; Art history; Art; Law","score_opus":0.00899008403925286,"score_gpt":0.18302293096972344,"score_spread":0.17403284693047058,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1976551629","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00007675198,0.9909106,0.000012196842,0.006437857,0.0016266474,0.0000032496991,0.000011802232,0.0000030054,0.0009178584],"genre_scores_gemma":[0.0022772413,0.98171586,0.000037282698,0.009551632,0.002926806,0.000026611804,0.000038800936,0.0000074287154,0.0034183273],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993624,0.00022957695,0.000056091172,0.000062594096,0.00021453194,0.000074754746],"domain_scores_gemma":[0.9978713,0.0008399364,0.00033134336,0.000040701252,0.00057293166,0.0003439311],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013797054,0.00081904774,0.0011055082,0.0015278502,0.0009595517,0.00270365,0.0011159058,0.0021211738,0.013623809],"category_scores_gemma":[0.005028011,0.0003819952,0.00048182192,0.0026203652,0.0014515816,0.0027023132,0.0016395656,0.0029605464,0.0030506325],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006387837,0.000018008583,0.00028946224,0.012024727,0.000055105425,0.00017959317,0.0010218556,0.00002682493,0.00009251077,0.001690724,0.78248566,0.2020516],"study_design_scores_gemma":[0.000018180668,0.00003104465,0.0014396928,0.020437522,0.000060714166,0.00073224196,0.0014258894,0.000010382888,0.000029265078,0.0004346196,0.97536236,0.000018130906],"about_ca_topic_score_codex":0.0075786756,"about_ca_topic_score_gemma":0.016502285,"teacher_disagreement_score":0.013623809,"about_ca_system_score_codex":0.0015536702,"about_ca_system_score_gemma":0.004166179,"threshold_uncertainty_score":0.045576155},"labels":[],"label_agreement":null},{"id":"W1976561945","doi":"10.1177/0196859909340054","title":"The Intertextual Terminator: The Role of Film in Branding “Arnold Schwarzenegger”","year":2009,"lang":"en","type":"article","venue":"Journal of Communication Inquiry","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Hollywood; HERO; Icon; Comedy; Masculinity; Persona; Movie theater; Sociology; Action (physics); Media studies; Law; Advertising; Gender studies; Political science; History; Art history; Art; Literature; Humanities","score_opus":0.033282842727332874,"score_gpt":0.2702606121105735,"score_spread":0.23697776938324064,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1976561945","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30019674,0.0077624326,0.008572137,0.02924646,0.0014944605,0.000067003864,0.000095674004,0.000107452506,0.65245765],"genre_scores_gemma":[0.9618084,0.0024470352,0.001266869,0.001083703,0.00039120874,0.00002747869,0.000032558393,0.00009352076,0.03284931],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9985429,0.0010122465,0.00002791769,0.00012552967,0.0001754226,0.00011593443],"domain_scores_gemma":[0.9964773,0.002474522,0.00033106006,0.00018479237,0.00026092233,0.00027137037],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002175203,0.00033611766,0.00014616484,0.0013546956,0.00587108,0.0087693585,0.00054912653,0.0009656689,0.0039976593],"category_scores_gemma":[0.0055043073,0.00021774322,0.00011986655,0.0009701882,0.011343288,0.0069770543,0.0027009307,0.0028462696,0.0005148972],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009988607,0.00003872141,0.003121541,0.00013451347,0.0000095396845,0.00061425916,0.45635116,0.00007687178,0.00207605,0.49017408,0.013858781,0.0334445],"study_design_scores_gemma":[0.000020017435,0.000087111206,0.0063674757,0.0006272977,0.000031737807,0.0007176566,0.20643437,0.00043905491,0.002624477,0.023890164,0.7587246,0.000036123623],"about_ca_topic_score_codex":0.004203621,"about_ca_topic_score_gemma":0.0077341553,"teacher_disagreement_score":0.0087693585,"about_ca_system_score_codex":0.0026088916,"about_ca_system_score_gemma":0.00089857826,"threshold_uncertainty_score":0.018928945},"labels":[],"label_agreement":null},{"id":"W1977331413","doi":"10.2307/3246488","title":"Open Circuits, Closed Markets: Festivals and Expositions of Film and Video","year":2001,"lang":"en","type":"article","venue":"PAJ A Journal of Performance and Art","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Closed circuit; Electronic circuit; Art; Visual arts; Advertising; Business; Computer science; Telecommunications; Electrical engineering; Engineering","score_opus":0.032837035456951845,"score_gpt":0.23729730239332303,"score_spread":0.20446026693637118,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1977331413","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0054577016,0.18277098,0.004572585,0.0180011,0.013520933,0.00016987706,0.0011943611,0.00030170428,0.7740107],"genre_scores_gemma":[0.15508947,0.14390516,0.0044575636,0.008203578,0.019939033,0.00066005293,0.0021484934,0.0011884461,0.66440827],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993861,0.0002356925,0.000024494833,0.00006917,0.00014174581,0.00014270506],"domain_scores_gemma":[0.99927634,0.00028800583,0.00006823797,0.000055860488,0.00008982398,0.00022176636],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009812743,0.0014148658,0.0004802105,0.0036870122,0.0038458542,0.00750799,0.00081619574,0.0013367968,0.06577798],"category_scores_gemma":[0.0022388613,0.0005556171,0.00044934495,0.004603544,0.0027644958,0.0062401444,0.0028644144,0.0027196219,0.006394777],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000077850535,0.000047227604,0.00027337193,0.00031625066,0.00000928726,0.00014972832,0.0044696443,0.00011993537,0.000240823,0.21623348,0.7372661,0.040796213],"study_design_scores_gemma":[0.0000069652046,0.000015851516,0.0005386026,0.00019510559,0.0000018776904,0.00008247192,0.0014239307,0.00005207891,0.000042885957,0.009740875,0.98789424,0.0000052713685],"about_ca_topic_score_codex":0.007947016,"about_ca_topic_score_gemma":0.01756063,"teacher_disagreement_score":0.06577798,"about_ca_system_score_codex":0.0032543421,"about_ca_system_score_gemma":0.0013196046,"threshold_uncertainty_score":0.22004926},"labels":[],"label_agreement":null},{"id":"W1977598880","doi":"10.7202/1005503ar","title":"Transference and Transparency: Digital Technology and the Remediation of Cinema","year":2011,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":20,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hollywood; Interactivity; Transparency (behavior); Representation (politics); Narrative; Movie theater; Digital media; Multimedia; Sociology; Aesthetics; Computer science; Visual arts; Art; Political science; World Wide Web; Computer security; Literature; Law; Art history","score_opus":0.041776918710983435,"score_gpt":0.24749742699427327,"score_spread":0.20572050828328983,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1977598880","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36347097,0.01263764,0.077220276,0.051616266,0.00065038016,0.00018408766,0.00011942334,0.00023350133,0.4938675],"genre_scores_gemma":[0.9921591,0.0007437056,0.0016731422,0.0002507247,0.00012796535,0.000019281923,0.0000089796185,0.000020546966,0.0049965093],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99456257,0.0030771242,0.00022635648,0.00058692246,0.0010303828,0.0005166032],"domain_scores_gemma":[0.9826155,0.009380483,0.003995762,0.0026292726,0.0008877041,0.0004913824],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0050509777,0.00043965387,0.00045446018,0.0021157125,0.002680236,0.0093314815,0.0012795159,0.002663555,0.012130176],"category_scores_gemma":[0.03610259,0.00030988257,0.00042519215,0.0013097977,0.020764992,0.013566232,0.0068149795,0.0031920157,0.00043735298],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000651952,0.00008886321,0.0019021676,0.00013318694,0.000021100363,0.00030391812,0.010753013,0.0011047116,0.0007086648,0.9542074,0.0014357636,0.02927593],"study_design_scores_gemma":[0.00007488616,0.00010955879,0.0049290764,0.00034054034,0.000027473125,0.000478113,0.00939847,0.0035953585,0.0012723443,0.9337118,0.04601012,0.000052314623],"about_ca_topic_score_codex":0.0020674565,"about_ca_topic_score_gemma":0.001007128,"teacher_disagreement_score":0.012130176,"about_ca_system_score_codex":0.002965464,"about_ca_system_score_gemma":0.0018080169,"threshold_uncertainty_score":0.04057944},"labels":[],"label_agreement":null},{"id":"W1977680003","doi":"10.1177/0270467612459928","title":"Eyeless in America","year":2012,"lang":"en","type":"article","venue":"Bulletin of Science Technology & Society","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Subject (documents); Function (biology); Set (abstract data type); Political science; Sociology; Media studies; Computer science; Library science","score_opus":0.018295638224708286,"score_gpt":0.2321402249361558,"score_spread":0.21384458671144752,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1977680003","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33424488,0.01676592,0.0010960669,0.024136389,0.0016594583,0.000027504735,0.0003932208,0.00007768043,0.62159884],"genre_scores_gemma":[0.933618,0.005812654,0.00043439356,0.002961441,0.00063045986,0.000015102886,0.00019742988,0.00007139234,0.056259144],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99946123,0.00017790255,0.000012938791,0.00007647597,0.000115307674,0.00015613272],"domain_scores_gemma":[0.999012,0.00037321358,0.00018766572,0.00005141442,0.00016643411,0.00020918419],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.00056213123,0.00023611216,0.00015723809,0.0010327421,0.0035711315,0.0043692617,0.0002119114,0.0009117971,0.013077621],"category_scores_gemma":[0.0019203502,0.000103377875,0.00014110855,0.00111362,0.002544748,0.0029657152,0.0019534132,0.0015716165,0.00065232266],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026566937,0.00012694579,0.026442045,0.0005526482,0.00004318775,0.0022001774,0.22110336,0.00021626623,0.0040961914,0.41409785,0.17283472,0.15802088],"study_design_scores_gemma":[0.0000075060293,0.000036068308,0.018381912,0.0003985921,0.000014435697,0.0007090455,0.039235525,0.000116547344,0.0005828206,0.0063945446,0.9341056,0.000017483495],"about_ca_topic_score_codex":0.011339748,"about_ca_topic_score_gemma":0.017490152,"teacher_disagreement_score":0.99642885,"about_ca_system_score_codex":0.0017836731,"about_ca_system_score_gemma":0.0007806962,"threshold_uncertainty_score":0.043748975},"labels":[],"label_agreement":null},{"id":"W1978407330","doi":"10.7202/008956ar","title":"La cinématographie comme dispositif (du) spectaculaire 1","year":2004,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":23,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Medicine","score_opus":0.03501776834087435,"score_gpt":0.24022154461892303,"score_spread":0.2052037762780487,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1978407330","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08467174,0.012223735,0.035531834,0.020386832,0.0008002817,0.00010355593,0.0006464055,0.00025258143,0.845383],"genre_scores_gemma":[0.86871207,0.0070439596,0.008133397,0.0011392875,0.00072639796,0.00008479176,0.00027459275,0.00013126218,0.1137542],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9993119,0.0003255322,0.000019442727,0.000140427,0.00012105368,0.00008170688],"domain_scores_gemma":[0.99799865,0.0010486459,0.00027314466,0.0001918372,0.00027556776,0.00021219424],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00095619605,0.00034270668,0.00020861617,0.0013080824,0.0014380957,0.0061446754,0.0004822492,0.0010785691,0.02666253],"category_scores_gemma":[0.0035696898,0.0002056226,0.00020261356,0.0012803833,0.0054881917,0.0049045403,0.001906172,0.0018104643,0.0014173007],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029142067,0.0000149412,0.0021479153,0.00013643818,0.0000075112166,0.0002486918,0.015911192,0.00021867853,0.0008083363,0.9315882,0.013631229,0.035257705],"study_design_scores_gemma":[0.000012425918,0.00005783719,0.012720985,0.0005570108,0.00002052638,0.0012609062,0.011454353,0.0010073867,0.00090320763,0.10970587,0.86225843,0.000041014035],"about_ca_topic_score_codex":0.010270448,"about_ca_topic_score_gemma":0.008229942,"teacher_disagreement_score":0.02666253,"about_ca_system_score_codex":0.0025149537,"about_ca_system_score_gemma":0.0013604051,"threshold_uncertainty_score":0.08919507},"labels":[],"label_agreement":null},{"id":"W1978833805","doi":"10.7202/1027438ar","title":"Recadrages : pour une pragmatique historique du dispositif cinématographique1","year":2014,"lang":"fr","type":"article","venue":"Recherches sémiotiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy","score_opus":0.06013218858471779,"score_gpt":0.27661715303631834,"score_spread":0.21648496445160054,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1978833805","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.049040917,0.06554411,0.02995156,0.33818638,0.0065069124,0.00008090341,0.0003240445,0.0003155739,0.51004964],"genre_scores_gemma":[0.80567646,0.033781413,0.008153475,0.013277683,0.0051642735,0.00010897244,0.00017516031,0.00032722662,0.13333535],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9976909,0.0014520322,0.000058049616,0.00026546032,0.00035022956,0.0001832563],"domain_scores_gemma":[0.9950959,0.0033268495,0.00030144435,0.00044649738,0.00048980117,0.00033953122],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035733618,0.0005412994,0.00032311564,0.0020871458,0.0044721956,0.009084204,0.000990373,0.0034292894,0.017693384],"category_scores_gemma":[0.0075305616,0.00025677643,0.00026401246,0.0014852011,0.017682126,0.0132610975,0.0030273225,0.0064676986,0.0016501908],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020488867,0.000011779441,0.00035898283,0.00008812509,0.0000034804357,0.00014825958,0.03358826,0.000086357075,0.00022981077,0.9274303,0.019208254,0.018825902],"study_design_scores_gemma":[0.00000886147,0.000022629247,0.0008489157,0.00049930654,0.0000060198404,0.00040304367,0.021911267,0.00028796762,0.00036088107,0.09336569,0.882262,0.000023322318],"about_ca_topic_score_codex":0.010403168,"about_ca_topic_score_gemma":0.012836842,"teacher_disagreement_score":0.017693384,"about_ca_system_score_codex":0.006218766,"about_ca_system_score_gemma":0.0024092773,"threshold_uncertainty_score":0.059190214},"labels":[],"label_agreement":null},{"id":"W1979010274","doi":"10.7202/1027448ar","title":"Cinema, the (Digital) Machine of the Imaginary: Revisiting Edgar Morin in the Quest to Create a Theory of Cinema in the Digital Age1","year":2014,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; The Imaginary; Negotiation; Film theory; Art; Aesthetics; Element (criminal law); Order (exchange); Visual arts; Sociology; Media studies; Computer science; Psychology; Psychoanalysis; Political science; Social science; Law","score_opus":0.06553061406245521,"score_gpt":0.27982251501407496,"score_spread":0.21429190095161976,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1979010274","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04815595,0.28275642,0.022143442,0.30723006,0.004303945,0.00007058301,0.00013574684,0.00005491451,0.335149],"genre_scores_gemma":[0.8018637,0.13149051,0.007858031,0.01547845,0.007373009,0.00016526817,0.00006641073,0.00014486912,0.035559725],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9978509,0.001506625,0.000047073765,0.00022453653,0.00025222075,0.00011864742],"domain_scores_gemma":[0.9901045,0.008783609,0.00035793445,0.00013937618,0.0003932054,0.00022140903],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0040770653,0.00061550236,0.0006715402,0.002826954,0.004594391,0.007161303,0.0012867398,0.002904174,0.0025161516],"category_scores_gemma":[0.0063050007,0.00034766915,0.0002523746,0.0023029286,0.026466167,0.01194901,0.0025613094,0.0047278013,0.000456607],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010686387,0.000014082697,0.00020842244,0.000079853715,0.0000022984066,0.00008561491,0.012217199,0.00014530832,0.00003339533,0.9741698,0.008394413,0.004639034],"study_design_scores_gemma":[0.000011760889,0.00003362657,0.0015568838,0.00087905064,0.000007758852,0.00031480208,0.0108779725,0.001471928,0.00014545165,0.5861029,0.3985615,0.000036464004],"about_ca_topic_score_codex":0.011703683,"about_ca_topic_score_gemma":0.014563494,"teacher_disagreement_score":0.011703683,"about_ca_system_score_codex":0.006688075,"about_ca_system_score_gemma":0.0023213518,"threshold_uncertainty_score":0.04852557},"labels":[],"label_agreement":null},{"id":"W1980777810","doi":"10.1177/1470357208096207","title":"The promise of `makeability': digital editing software and the structuring of everyday cinematic life","year":2009,"lang":"en","type":"article","venue":"Visual Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":18,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"Economic and Social Research Council","keywords":"Amateur; Filmmaking; Compromise; Context (archaeology); Everyday life; Movie theater; Entertainment; Aesthetics; Video editing; Digital media; Sociology; Embodied cognition; Visual arts; Multimedia; Software; Computer science; Art; World Wide Web; History; Epistemology; Social science","score_opus":0.020716864693489025,"score_gpt":0.24604054591890887,"score_spread":0.22532368122541985,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1980777810","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6043127,0.0039773094,0.06162321,0.012449088,0.00021944595,0.00006836763,0.00010696685,0.00039953442,0.31684342],"genre_scores_gemma":[0.99028045,0.0005511863,0.0041399673,0.00016307695,0.000110163695,0.000023818324,0.000025658088,0.000061747276,0.004644009],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99760914,0.0015547911,0.00007208885,0.00019846407,0.00037523013,0.00019027475],"domain_scores_gemma":[0.9913537,0.006013001,0.0008807855,0.0009398428,0.0004204935,0.00039220083],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.002810419,0.00032731707,0.00016751085,0.0019095377,0.0036503116,0.011326397,0.00092054385,0.001162472,0.00324128],"category_scores_gemma":[0.011661641,0.0002898722,0.0002282197,0.001222879,0.014634677,0.00837045,0.0036979478,0.0012237617,0.0003531321],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008921794,0.000060495066,0.008670752,0.00021089737,0.000020771811,0.0005897452,0.28451625,0.000625517,0.0040245466,0.6049081,0.003049726,0.09323394],"study_design_scores_gemma":[0.000032291427,0.00016828079,0.024366552,0.0005229112,0.00005673871,0.001531299,0.1431701,0.0029107041,0.0045465166,0.30484793,0.517735,0.000111689194],"about_ca_topic_score_codex":0.002005321,"about_ca_topic_score_gemma":0.0017572882,"teacher_disagreement_score":0.9963497,"about_ca_system_score_codex":0.0014009485,"about_ca_system_score_gemma":0.00078612723,"threshold_uncertainty_score":0.014863074},"labels":[],"label_agreement":null},{"id":"W1981469098","doi":"10.7202/044409ar","title":"Insecurity Cameras: Cinematic Elevators, Infidelity and the Crime of Time","year":2010,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Elevator; Movie theater; Duration (music); Natural (archaeology); Aesthetics; Art; Visual arts; History; Engineering; Literature; Archaeology","score_opus":0.023392629935491537,"score_gpt":0.2642528164057138,"score_spread":0.24086018647022225,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1981469098","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36260173,0.072966516,0.006822153,0.13199924,0.0020400758,0.00008727618,0.0002941835,0.00006340546,0.42312542],"genre_scores_gemma":[0.97440785,0.011427011,0.000760756,0.0023490584,0.00083331077,0.00003237154,0.000045585846,0.000020723754,0.010123317],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99865365,0.0009604474,0.000032166587,0.00010679201,0.00013708862,0.0001098323],"domain_scores_gemma":[0.9934776,0.0041920906,0.0011757024,0.00025362853,0.00045657964,0.00044450193],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016964653,0.00048048748,0.00018667981,0.002272909,0.0035733653,0.006561001,0.00069509994,0.0021953147,0.0087669715],"category_scores_gemma":[0.010039556,0.00028697937,0.000173388,0.0013627536,0.008747798,0.008811304,0.0028004888,0.0026038836,0.00041561955],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013219831,0.000112358844,0.015977545,0.00048118387,0.000040385476,0.0010775763,0.23116782,0.00018400395,0.00045468032,0.6376935,0.049538195,0.06314061],"study_design_scores_gemma":[0.000046555604,0.0001983636,0.04647964,0.0035967939,0.00008363761,0.0035568466,0.38911402,0.0009973015,0.0010219608,0.092158206,0.46266237,0.000084292864],"about_ca_topic_score_codex":0.0042610625,"about_ca_topic_score_gemma":0.006450617,"teacher_disagreement_score":0.0087669715,"about_ca_system_score_codex":0.0020963028,"about_ca_system_score_gemma":0.0006714503,"threshold_uncertainty_score":0.029328465},"labels":[],"label_agreement":null},{"id":"W1981707012","doi":"10.3366/para.2015.0147","title":"Filming Dance: Embodied Syntax in Sasha Waltz's <i>S</i>","year":2015,"lang":"en","type":"article","venue":"Paragraph","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Waltz; Embodied cognition; Movie theater; Dance; Privilege (computing); Relation (database); Aesthetics; Philosophy of language; Art; Visual arts; Linguistics; Epistemology; Philosophy; Computer science; Metaphysics","score_opus":0.059568962923861817,"score_gpt":0.24147948567877206,"score_spread":0.18191052275491024,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1981707012","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39660734,0.0057397718,0.019792985,0.03655417,0.00059427373,0.000047837082,0.00012614456,0.0001264283,0.540411],"genre_scores_gemma":[0.9846736,0.0009561146,0.0012926388,0.0006603321,0.00010870628,0.000019361061,0.000016611102,0.00003670753,0.012235974],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935573,0.00043706704,0.000011038667,0.0000589237,0.00008513592,0.00005207601],"domain_scores_gemma":[0.99934,0.00044510062,0.00006469968,0.000034766985,0.000054394026,0.00006100679],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007533977,0.00021452068,0.00017953242,0.0006518833,0.0028251896,0.0050938916,0.00043292975,0.0009092058,0.0025788466],"category_scores_gemma":[0.0021655036,0.0001439463,0.00016511268,0.000639996,0.011687225,0.0032250644,0.0022638578,0.0015889284,0.00016433833],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003981291,0.000015838881,0.0007580481,0.000084362415,0.000008621978,0.00062902883,0.26156163,0.0003759717,0.0013188795,0.7180089,0.006493087,0.010705918],"study_design_scores_gemma":[0.00003691077,0.00009721753,0.0065139397,0.00047377287,0.00002153062,0.0009645707,0.2397954,0.0016262322,0.0014201236,0.20759633,0.5413929,0.00006105205],"about_ca_topic_score_codex":0.0077109593,"about_ca_topic_score_gemma":0.008351643,"teacher_disagreement_score":0.0077109593,"about_ca_system_score_codex":0.002135337,"about_ca_system_score_gemma":0.00076898333,"threshold_uncertainty_score":0.015493035},"labels":[],"label_agreement":null},{"id":"W1981799521","doi":"10.4000/communication.877","title":"Ego-fiction","year":2007,"lang":"en","type":"article","venue":"Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Id, ego and super-ego; Psychology; Psychoanalysis; Art","score_opus":0.054361186145921725,"score_gpt":0.2576838469502376,"score_spread":0.20332266080431588,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1981799521","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0074928813,0.0026867131,0.0023675738,0.011068608,0.001354286,0.000029846145,0.00037814528,0.00010399104,0.974518],"genre_scores_gemma":[0.4568386,0.0035967855,0.0017029707,0.0052753077,0.0015336503,0.00006885366,0.00059280975,0.00023594438,0.530155],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99835783,0.0007314705,0.000043246106,0.00024099424,0.00041672008,0.00020977516],"domain_scores_gemma":[0.99837935,0.00063733006,0.00016767417,0.00024363313,0.00035991025,0.00021203644],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009604705,0.0004320623,0.00030796585,0.0012883113,0.0038843362,0.005647339,0.00063110056,0.0016138148,0.060728744],"category_scores_gemma":[0.0052630086,0.000118717646,0.00028128325,0.001175326,0.0053082635,0.0037379886,0.0029000868,0.002089143,0.01246007],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003137796,0.000012240428,0.00041204604,0.00010020466,0.000006683984,0.00021534179,0.007800975,0.00008114039,0.000117485986,0.8524463,0.1115966,0.027179645],"study_design_scores_gemma":[0.000002740463,0.0000082105325,0.0003951688,0.000065672524,0.0000026726132,0.0002833777,0.0021228604,0.00008155295,0.000115375224,0.028706333,0.9682105,0.0000054055245],"about_ca_topic_score_codex":0.0026471626,"about_ca_topic_score_gemma":0.0038071682,"teacher_disagreement_score":0.060728744,"about_ca_system_score_codex":0.003052285,"about_ca_system_score_gemma":0.0012273536,"threshold_uncertainty_score":0.2031579},"labels":[],"label_agreement":null},{"id":"W1982109666","doi":"10.3390/soc3030316","title":"Camera Arriving at the Station: Cinematic Memory as Cultural Memory","year":2013,"lang":"en","type":"article","venue":"Societies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"University of California, San Diego","keywords":"Movie theater; Cityscape; Metaphor; Subject (documents); Subjectivity; Cultural memory; Aesthetics; Dream; Mainstream; Visual arts; Psyche; Collective memory; History; Sociology; Art; Media studies; Computer science; Psychology; Anthropology; Psychoanalysis; Epistemology","score_opus":0.025634821642599098,"score_gpt":0.2293523954266274,"score_spread":0.2037175737840283,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1982109666","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15068391,0.024631802,0.010566228,0.022314359,0.0019286238,0.000052029754,0.00017311558,0.00015214234,0.7894978],"genre_scores_gemma":[0.9603394,0.0062413607,0.001606371,0.0013669162,0.00089903024,0.00002476745,0.000063432424,0.000096571835,0.029362021],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.999159,0.00044908086,0.000026053282,0.00012142373,0.00011119358,0.00013315925],"domain_scores_gemma":[0.9984889,0.00078919454,0.00017185044,0.00020433686,0.00016020896,0.00018540892],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011997757,0.0003992479,0.00021124753,0.0013854614,0.003764398,0.011557049,0.0010699731,0.0016391886,0.008297992],"category_scores_gemma":[0.003734872,0.0001963724,0.00019163456,0.0011391845,0.016074236,0.010686295,0.003772633,0.002475863,0.0006874275],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006668223,0.000022298334,0.0011278939,0.00020292653,0.000012047395,0.00043381835,0.33085838,0.00012424139,0.00081914704,0.6242605,0.010100902,0.031971168],"study_design_scores_gemma":[0.000034277775,0.00010114732,0.003722319,0.0009370638,0.00004753487,0.0011087173,0.22692396,0.00043219593,0.0016002976,0.08004467,0.68498677,0.000061021663],"about_ca_topic_score_codex":0.0070515783,"about_ca_topic_score_gemma":0.009382768,"teacher_disagreement_score":0.011557049,"about_ca_system_score_codex":0.0024355934,"about_ca_system_score_gemma":0.0010621141,"threshold_uncertainty_score":0.027759492},"labels":[],"label_agreement":null},{"id":"W1983105239","doi":"10.1145/1280120.1280228","title":"The Weight of Reason (after Goya); Guns and Kolbasa","year":2007,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of the Fraser Valley","funders":"","keywords":"Computer science","score_opus":0.012879222717414927,"score_gpt":0.20254683564297485,"score_spread":0.18966761292555992,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1983105239","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018720584,0.49474165,0.0063652215,0.1796029,0.012765261,0.000077957455,0.002353604,0.00012019474,0.28525266],"genre_scores_gemma":[0.5235218,0.27985266,0.008192066,0.011237171,0.0076002376,0.00016824646,0.0019545327,0.00025302448,0.1672204],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99934477,0.00024937137,0.00003478546,0.00011675134,0.0001797313,0.000074538155],"domain_scores_gemma":[0.9968886,0.0019167428,0.00024347617,0.00014084896,0.000595364,0.00021495468],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013679301,0.0007171473,0.00098522,0.004121768,0.0017178219,0.003965554,0.0009603236,0.0024300816,0.049789257],"category_scores_gemma":[0.005018478,0.0003301304,0.0005344911,0.005608167,0.0033778804,0.004692932,0.0012956761,0.0029698745,0.004588111],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034399587,0.00009505383,0.0033949849,0.0014518184,0.00011257026,0.00026381834,0.0030724253,0.00043807324,0.00026959917,0.49122724,0.24586284,0.25346756],"study_design_scores_gemma":[0.000051890765,0.0001079201,0.03156233,0.0022401286,0.00016418697,0.00043936746,0.0047459244,0.0004971673,0.00052025495,0.30162063,0.65795827,0.00009198204],"about_ca_topic_score_codex":0.009537236,"about_ca_topic_score_gemma":0.010979603,"teacher_disagreement_score":0.049789257,"about_ca_system_score_codex":0.0025925732,"about_ca_system_score_gemma":0.001856003,"threshold_uncertainty_score":0.16656166},"labels":[],"label_agreement":null},{"id":"W1983939065","doi":"10.1353/cj.2011.0015","title":"Eleventh International Domitor Conference: University of Toronto and Ryerson University, Toronto, Canada, June 13–16, 2010","year":2011,"lang":"en","type":"article","venue":"Cinema Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Media studies; Entertainment; Scholarship; Mainstream; Attendance; Eleventh; Greenwich; Theme (computing); Sociology; Exhibition; Film studies; Political science; Visual arts; Library science; History; Art history; Art; Law","score_opus":0.025771195672784984,"score_gpt":0.17980741039704368,"score_spread":0.15403621472425869,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1983939065","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0051181964,0.018547004,0.0015548198,0.032935552,0.050275303,0.00054933823,0.008840061,0.0013696944,0.8808101],"genre_scores_gemma":[0.0033337502,0.0023162912,0.00029209573,0.000541274,0.0008559941,0.00006258082,0.001510933,0.00020738108,0.99087965],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980868,0.00015106834,0.000053710108,0.00029817372,0.00074205885,0.0006682881],"domain_scores_gemma":[0.9956262,0.0000756963,0.00007655134,0.00013991763,0.0014571006,0.0026244537],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0019121588,0.00172495,0.0008618802,0.0011166597,0.006708739,0.008956145,0.0017593413,0.0024596786,0.53327656],"category_scores_gemma":[0.0021265673,0.0006622135,0.00062218367,0.0011381779,0.0013063549,0.0023200568,0.0054960568,0.0031397108,0.24460745],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003194216,0.000016459342,0.00020702003,0.000047746245,0.0000020863954,0.00004361768,0.00015346485,0.00001813154,0.00012815927,0.00077227934,0.9911953,0.007383752],"study_design_scores_gemma":[0.0000051571183,0.000009229083,0.0010904701,0.000067355446,0.000001926591,0.000023368902,0.00041404777,0.000019074216,0.00006720896,0.000058743477,0.99823654,0.0000069335024],"about_ca_topic_score_codex":0.24339066,"about_ca_topic_score_gemma":0.6535424,"teacher_disagreement_score":0.7566093,"about_ca_system_score_codex":0.010920267,"about_ca_system_score_gemma":0.026159087,"threshold_uncertainty_score":0.66572434},"labels":[],"label_agreement":null},{"id":"W1984333791","doi":"10.1353/aq.2013.0053","title":"Authenticity, Biography, and Race: A Critique of the 2013 Film Festival Circuit","year":2013,"lang":"en","type":"article","venue":"American Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Biography; Film festival; Race (biology); Subject (documents); Identity (music); Value (mathematics); Sociology; Media studies; Visibility; Art; Aesthetics; Art history; Gender studies; Computer science; Geography; Library science","score_opus":0.012019784103424302,"score_gpt":0.21102108353645477,"score_spread":0.19900129943303047,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1984333791","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018396202,0.027582766,0.005328885,0.72271717,0.016391013,0.000120495635,0.00007961108,0.00007595898,0.20930783],"genre_scores_gemma":[0.70669836,0.017776191,0.0041278894,0.1790007,0.015546628,0.000740861,0.00006523417,0.0004119523,0.075632095],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.98233783,0.010290305,0.0006882142,0.0017602169,0.003503884,0.0014196348],"domain_scores_gemma":[0.97760665,0.015216355,0.00081175874,0.0009737427,0.0042564604,0.0011349332],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.020060027,0.00075205957,0.0008827804,0.002160111,0.023240117,0.02220505,0.004426501,0.012482403,0.0032977485],"category_scores_gemma":[0.033747822,0.00066902774,0.00090872083,0.0018448901,0.053455733,0.011887826,0.010149719,0.023964342,0.0004660284],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000406945,0.000020692296,0.00021718733,0.00017990188,0.00001170333,0.0002276881,0.09157285,0.0001310234,0.00011516958,0.7864641,0.104704075,0.016314793],"study_design_scores_gemma":[0.000020448579,0.000018933843,0.0006629255,0.0010078524,0.000018660345,0.00012719906,0.06390237,0.00020951929,0.00025102348,0.04773889,0.88599384,0.000048297967],"about_ca_topic_score_codex":0.15447928,"about_ca_topic_score_gemma":0.13651417,"teacher_disagreement_score":0.15447928,"about_ca_system_score_codex":0.02708042,"about_ca_system_score_gemma":0.025040723,"threshold_uncertainty_score":0.3071602},"labels":[],"label_agreement":null},{"id":"W1984574020","doi":"10.1386/fiin.8.1.92","title":"Around the Circuit: Toronto International Film Festival, 1019 September 2009","year":2010,"lang":"en","type":"article","venue":"Film International","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Media studies; Art history; Sociology","score_opus":0.02619150971472241,"score_gpt":0.24673899324114945,"score_spread":0.22054748352642703,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1984574020","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07673545,0.027934898,0.0006674423,0.09165788,0.023790186,0.00042487666,0.09436894,0.00067188975,0.6837485],"genre_scores_gemma":[0.1625583,0.006448747,0.0004156047,0.0025694326,0.0023967556,0.00008376843,0.010235362,0.00030833442,0.81498367],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961144,0.000026922035,0.000007637001,0.000045103945,0.00014067756,0.0001682077],"domain_scores_gemma":[0.9989201,0.00005250381,0.000051615236,0.000029049246,0.0003759788,0.00057087024],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00055988197,0.0008316189,0.00031727157,0.0013804447,0.009361421,0.006439649,0.0007279859,0.0015906419,0.1037841],"category_scores_gemma":[0.0014010025,0.00029595543,0.00026707357,0.0020593463,0.0010345322,0.0012179995,0.001735674,0.0022590433,0.008356059],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011195031,0.000020125522,0.0015892414,0.000072480805,0.00001180998,0.0001899507,0.0017745695,0.00008107369,0.00017953377,0.0016211498,0.98793375,0.006414442],"study_design_scores_gemma":[0.000012716672,0.000017852277,0.02429278,0.0001476768,0.000016142145,0.0000328909,0.005720392,0.00006443768,0.00023268544,0.00020353547,0.9692451,0.0000136827],"about_ca_topic_score_codex":0.7112335,"about_ca_topic_score_gemma":0.9628346,"teacher_disagreement_score":0.2887665,"about_ca_system_score_codex":0.019695926,"about_ca_system_score_gemma":0.00944614,"threshold_uncertainty_score":0.58093417},"labels":[],"label_agreement":null},{"id":"W1984644576","doi":"10.1111/j.1540-6040.2005.00142.x","title":"Everybody's Going: City Newspapers and the Early Mass Market for Movies","year":2005,"lang":"en","type":"article","venue":"City and Community","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"University of Toronto; York University","keywords":"Newspaper; Journalism; Media studies; Sociology; Advertising; Metropolitan area; Mass media; Promotion (chess); Modernity; History; Political science; Law; Business","score_opus":0.04677111218531594,"score_gpt":0.22476324013646576,"score_spread":0.17799212795114983,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1984644576","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66834337,0.014523003,0.00049822417,0.022495946,0.00038795135,0.000028195987,0.00040364455,0.000024729266,0.29329497],"genre_scores_gemma":[0.9835343,0.0031548126,0.0001016473,0.00060060486,0.00036672121,0.000008998768,0.00007524997,0.00001326294,0.012144412],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99941885,0.00025656098,0.000014973426,0.00005331554,0.00010714868,0.00014913779],"domain_scores_gemma":[0.9969963,0.001472728,0.0006687945,0.000104838226,0.0002633306,0.0004940346],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001022191,0.00022600924,0.00016380017,0.002267816,0.004757254,0.011422786,0.0005155103,0.0013213935,0.0075026876],"category_scores_gemma":[0.0031346644,0.00032588726,0.00013505612,0.0031242676,0.004829836,0.003992957,0.0015045345,0.0013888672,0.00041094332],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004554293,0.00023547809,0.05196423,0.00040706198,0.00005529697,0.0029452692,0.42508113,0.00025436058,0.0011549178,0.41521809,0.053041827,0.049186885],"study_design_scores_gemma":[0.00007073117,0.0001573371,0.28307903,0.00082736695,0.000081186845,0.0009072435,0.27105027,0.00057088834,0.0010464527,0.019389413,0.42275494,0.00006524294],"about_ca_topic_score_codex":0.051084522,"about_ca_topic_score_gemma":0.09200073,"teacher_disagreement_score":0.051084522,"about_ca_system_score_codex":0.007075222,"about_ca_system_score_gemma":0.0012373893,"threshold_uncertainty_score":0.10157436},"labels":[],"label_agreement":null},{"id":"W1984811304","doi":"10.3138/ctr.158.001b","title":"The Politics of Burlesque: A Dialogue Among Dancers","year":2014,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Burlesque; Politics; Art; Indigenous; Sociology; Visual arts; Media studies; Aesthetics; Political science; Law","score_opus":0.020668690297572973,"score_gpt":0.21431234966765464,"score_spread":0.19364365937008166,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1984811304","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10047481,0.3620885,0.00079975236,0.22743303,0.0038895092,0.00006278334,0.00020190893,0.00003704966,0.3050126],"genre_scores_gemma":[0.7361482,0.1612594,0.00065137085,0.018133635,0.001491573,0.0000617611,0.00009164751,0.000088350396,0.08207407],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9946332,0.00329833,0.00009617154,0.00025196045,0.0009200918,0.0008002515],"domain_scores_gemma":[0.99464756,0.003511222,0.00026367212,0.00014576376,0.00082395447,0.000607816],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0066974526,0.00049249094,0.00072948146,0.0023664548,0.013964335,0.011445445,0.0016085681,0.0033507945,0.0056561283],"category_scores_gemma":[0.0056518363,0.00032235996,0.0002528722,0.0039461902,0.013240029,0.0030791075,0.0022911874,0.004652369,0.0003768196],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009558076,0.000047872556,0.001224907,0.0011963358,0.000050363004,0.0016874361,0.5348022,0.00014403046,0.0008171157,0.19684912,0.20164385,0.06144123],"study_design_scores_gemma":[0.00000838141,0.0000170097,0.004396513,0.0011545396,0.000013626291,0.00020205346,0.2613839,0.000031673615,0.00012921954,0.0017952885,0.730845,0.00002286623],"about_ca_topic_score_codex":0.6589992,"about_ca_topic_score_gemma":0.8157465,"teacher_disagreement_score":0.6589992,"about_ca_system_score_codex":0.033912707,"about_ca_system_score_gemma":0.027054915,"threshold_uncertainty_score":0.686018},"labels":[],"label_agreement":null},{"id":"W1987188896","doi":"10.7202/1001057ar","title":"The Canadian Experimental Camera-Child","year":2011,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Bishop's University","funders":"","keywords":"Movie theater; Visual arts; Sociology; Art; Aesthetics","score_opus":0.053329040138204484,"score_gpt":0.22365918414832978,"score_spread":0.1703301440101253,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1987188896","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6529625,0.001628466,0.0046466566,0.0057099233,0.0008032574,0.004355331,0.021292066,0.0003627752,0.30823904],"genre_scores_gemma":[0.8121071,0.0012174908,0.008900208,0.0043840813,0.00010131867,0.0035921962,0.0069268276,0.00020668712,0.16256417],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99707305,0.0006273086,0.000062909916,0.00071153964,0.0010017422,0.0005234709],"domain_scores_gemma":[0.9952312,0.0007904742,0.00022422423,0.0008101166,0.0017559945,0.001187911],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027896252,0.0010408121,0.0008041886,0.0007525654,0.008595215,0.002066707,0.0023499506,0.0025547433,0.04840523],"category_scores_gemma":[0.0059456555,0.000631765,0.00053182134,0.0013226464,0.0033778243,0.001567023,0.001746511,0.0027667852,0.003833301],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0149326,0.025835251,0.04619712,0.0017721003,0.00036376435,0.004530118,0.028311266,0.0017932621,0.035478372,0.16785012,0.5216293,0.15130691],"study_design_scores_gemma":[0.002962602,0.0069494676,0.12021236,0.0006247034,0.00034717444,0.0013877929,0.0207881,0.0014377676,0.010480111,0.011006352,0.82316685,0.0006367297],"about_ca_topic_score_codex":0.8710993,"about_ca_topic_score_gemma":0.93413925,"teacher_disagreement_score":0.1289007,"about_ca_system_score_codex":0.02433255,"about_ca_system_score_gemma":0.029573744,"threshold_uncertainty_score":0.2593196},"labels":[],"label_agreement":null},{"id":"W1987637756","doi":"10.1353/crv.2011.0004","title":"He \"coulda been a contender\" for Miss America: Feminizing Brando in On the Waterfront","year":2011,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Character (mathematics); Narrative; Masculinity; Context (archaeology); History; Reading (process); Literature; Art; Art history; Sociology; Gender studies; Law; Archaeology; Political science","score_opus":0.1370100392672214,"score_gpt":0.2797317901807139,"score_spread":0.1427217509134925,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1987637756","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26570457,0.002325396,0.002474668,0.024125492,0.000909255,0.000023873208,0.000042173713,0.000057558496,0.70433706],"genre_scores_gemma":[0.9116897,0.0006730335,0.00043044778,0.001825392,0.000114780654,0.000013533245,0.0000127006915,0.000059801005,0.08518077],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999508,0.00023869282,0.000004921134,0.000047269765,0.000070311544,0.000130857],"domain_scores_gemma":[0.9998467,0.000060507304,0.000018076076,0.000009920122,0.000025613906,0.000039127975],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005429089,0.00029984067,0.00014607846,0.00037926217,0.007855584,0.0044369632,0.00033950742,0.0014550262,0.0057142344],"category_scores_gemma":[0.0007353815,0.00014923982,0.00014710611,0.00029802747,0.010063436,0.0032363278,0.0026323448,0.002215075,0.00047915496],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007381494,0.00003802317,0.001524119,0.00006618944,0.0000040346795,0.0008099292,0.57344615,0.000061596045,0.0022696957,0.38939816,0.019514794,0.012793433],"study_design_scores_gemma":[0.000008397415,0.000043334636,0.0020703196,0.00016503682,0.000011058,0.00043738142,0.40051457,0.00014352644,0.0012779007,0.014203086,0.58110565,0.000019792777],"about_ca_topic_score_codex":0.016454155,"about_ca_topic_score_gemma":0.04604211,"teacher_disagreement_score":0.016454155,"about_ca_system_score_codex":0.0034186223,"about_ca_system_score_gemma":0.0012466724,"threshold_uncertainty_score":0.03271675},"labels":[],"label_agreement":null},{"id":"W1988019947","doi":"10.7202/1001184ar","title":"Metafiction, Pararealism and the \"Canon\" of Canadian Cinema","year":2011,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"Filmmaking; Movie theater; Realism; Metafiction; Social realism; White (mutation); Canon; Art; Literature; Aesthetics; History; Art history; Media studies; Sociology; Narrative","score_opus":0.06447808555040883,"score_gpt":0.20319231182727893,"score_spread":0.13871422627687008,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1988019947","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14259359,0.013715931,0.005796856,0.082727484,0.00075361074,0.00004349937,0.00024208173,0.000105673986,0.75402135],"genre_scores_gemma":[0.98219705,0.0018480348,0.0008924478,0.001026971,0.00008763743,0.00000995248,0.00003124028,0.000026490738,0.013880248],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973447,0.0010504262,0.00004617974,0.00027630976,0.00073411653,0.00054831355],"domain_scores_gemma":[0.99493647,0.002489194,0.00036637456,0.00033479114,0.0012702701,0.00060291373],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029466588,0.00042560088,0.00022730372,0.0024748775,0.010669727,0.01320727,0.0011347412,0.0015476398,0.0073266583],"category_scores_gemma":[0.009897447,0.00024621852,0.00016592372,0.0018532383,0.028603792,0.0036643664,0.002583777,0.0028529153,0.0002060304],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030620387,0.000008869488,0.0012083643,0.00007595898,0.0000066619596,0.00010062814,0.05471656,0.00016642913,0.00021747519,0.91700786,0.011207643,0.015252936],"study_design_scores_gemma":[0.000023934737,0.000030811814,0.018522318,0.0005946044,0.00004518719,0.00029000101,0.096097976,0.0014822882,0.0008602101,0.1513667,0.7305733,0.00011260147],"about_ca_topic_score_codex":0.8632726,"about_ca_topic_score_gemma":0.9105265,"teacher_disagreement_score":0.1367274,"about_ca_system_score_codex":0.056966662,"about_ca_system_score_gemma":0.0227576,"threshold_uncertainty_score":0.413324},"labels":[],"label_agreement":null},{"id":"W1989964666","doi":"10.7202/024884ar","title":"« Faire le tour de la question »","year":2007,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Cognition; Psychology; Philosophy; Neuroscience","score_opus":0.020965610547750136,"score_gpt":0.25489815504972446,"score_spread":0.23393254450197432,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1989964666","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013506492,0.03819569,0.08353402,0.5627808,0.022510273,0.00010055908,0.00052836526,0.00056506525,0.27827874],"genre_scores_gemma":[0.4979796,0.028400151,0.051578265,0.08734202,0.021212278,0.0003363446,0.00060778204,0.0011728032,0.31137067],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9957426,0.002397374,0.000118452306,0.00067837164,0.0007377938,0.00032535405],"domain_scores_gemma":[0.99221814,0.00405528,0.00047469928,0.0009000884,0.0018256392,0.00052614324],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0059334845,0.00079741277,0.00075664587,0.0014131475,0.0046269,0.013299513,0.0017238025,0.007863393,0.022416055],"category_scores_gemma":[0.021746036,0.00037985845,0.0011826854,0.0010194135,0.014725659,0.0199138,0.0034460397,0.0085712755,0.0062362337],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008105436,0.000019863375,0.00058431417,0.00021523984,0.000022870847,0.00024348735,0.014419477,0.0002799389,0.0006425042,0.8660707,0.076471545,0.040949065],"study_design_scores_gemma":[0.000011390154,0.00002430634,0.00048193225,0.0002668235,0.000009627303,0.00030894048,0.0076591945,0.00048791312,0.00033965486,0.22988205,0.7604899,0.00003832496],"about_ca_topic_score_codex":0.00935795,"about_ca_topic_score_gemma":0.007816332,"teacher_disagreement_score":0.022416055,"about_ca_system_score_codex":0.0036251943,"about_ca_system_score_gemma":0.003654358,"threshold_uncertainty_score":0.0749892},"labels":[],"label_agreement":null},{"id":"W1990245680","doi":"10.1300/j082v40n02_07","title":"Popular Cinema and Lesbian Interpretive Strategies","year":2000,"lang":"en","type":"article","venue":"Journal of Homosexuality","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Calgary; York University","funders":"","keywords":"Lesbian; Movie theater; Homosexuality; Sociology; Psychology; Gender studies; Psychoanalysis; Aesthetics; Art; Social psychology; Literature","score_opus":0.02918964103820878,"score_gpt":0.262360821482718,"score_spread":0.2331711804445092,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1990245680","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87298965,0.0036631632,0.0034072855,0.0037622766,0.00006664467,0.000044364664,0.000037093738,0.000029068153,0.116000526],"genre_scores_gemma":[0.9944001,0.00090017455,0.0005396382,0.00016060399,0.000031655032,0.00001208118,0.000016664462,0.000016346134,0.0039227516],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9963671,0.0028767923,0.00007743834,0.00014365072,0.00029439954,0.00024057884],"domain_scores_gemma":[0.9944887,0.0035061776,0.0010640197,0.00019587768,0.00050252944,0.0002426342],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036847936,0.000613464,0.000249975,0.002527827,0.00350135,0.0069011706,0.00055421045,0.0009285852,0.00478875],"category_scores_gemma":[0.008981447,0.00029655788,0.00019425947,0.0011554422,0.006502939,0.0027857346,0.0030341086,0.0014957864,0.00027772842],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005430467,0.0000348801,0.012849331,0.00015680089,0.000018642395,0.00087836414,0.94157255,0.000034510904,0.002088847,0.028280497,0.00059359625,0.0134377275],"study_design_scores_gemma":[0.000013841717,0.00007946163,0.020123417,0.000355006,0.00003913568,0.0013031308,0.9222284,0.00023881687,0.0013839111,0.0052945176,0.04891451,0.0000258928],"about_ca_topic_score_codex":0.005322753,"about_ca_topic_score_gemma":0.010264431,"teacher_disagreement_score":0.0069011706,"about_ca_system_score_codex":0.0019154743,"about_ca_system_score_gemma":0.0009818807,"threshold_uncertainty_score":0.019487262},"labels":[],"label_agreement":null},{"id":"W1991059899","doi":"10.3138/utq.71.4.881","title":"Family Romances: Memory, Obsession, Loss, and Redemption in the Films of Atom Egoyan","year":2002,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Literature; Atom (system on chip); Art; History; Psychoanalysis; Psychology; Parallel computing; Computer science","score_opus":0.022750785217863126,"score_gpt":0.18641297293809161,"score_spread":0.1636621877202285,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1991059899","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96256447,0.0020616206,0.000120310324,0.005595067,0.00012636052,0.000008269284,0.00013452135,0.0000059037857,0.029383514],"genre_scores_gemma":[0.9969959,0.00059446413,0.000030719308,0.00016017123,0.000037773974,0.0000033997032,0.000027283862,0.0000043952905,0.0021459088],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993198,0.00040959578,0.000020917889,0.000041307805,0.000067896624,0.00014048867],"domain_scores_gemma":[0.9961843,0.0022921895,0.00068496674,0.000151884,0.00024272868,0.00044394523],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012568365,0.0002858783,0.00028179298,0.00058639026,0.004817384,0.0037078287,0.00047409153,0.0011296188,0.0043966486],"category_scores_gemma":[0.0074701407,0.00025379003,0.00013869126,0.0008783533,0.004018894,0.0022414993,0.0018905236,0.0028859342,0.00025784585],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00086295465,0.00026515019,0.07026383,0.00018210163,0.000088464236,0.0031051363,0.85204256,0.00019542879,0.00073602283,0.025369974,0.016933765,0.029954564],"study_design_scores_gemma":[0.000038456303,0.00011199222,0.12416988,0.00022442588,0.00006216304,0.0013393825,0.8145333,0.00023108158,0.0005523738,0.004572805,0.05411365,0.000050501578],"about_ca_topic_score_codex":0.014582913,"about_ca_topic_score_gemma":0.030588664,"teacher_disagreement_score":0.014582913,"about_ca_system_score_codex":0.0018220172,"about_ca_system_score_gemma":0.00056328485,"threshold_uncertainty_score":0.02899605},"labels":[],"label_agreement":null},{"id":"W1992587624","doi":"10.3138/cjh.49.3.477","title":"Hollywood Under Siege: Recent Books on Hollywood and Censorship","year":2014,"lang":"en","type":"article","venue":"Journal of History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hollywood; Studio; Censorship; Filmmaking; Art history; Film industry; Art; Media studies; Sociology; Law; Movie theater; Visual arts; Political science","score_opus":0.05184216119185457,"score_gpt":0.21258834698097376,"score_spread":0.1607461857891192,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1992587624","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010169877,0.7694295,0.00033482525,0.012471806,0.0031220804,0.000012800875,0.00020585912,0.00009616666,0.2133099],"genre_scores_gemma":[0.031404622,0.5093996,0.0005499233,0.012363516,0.0048962715,0.00006539341,0.00044403822,0.00022215053,0.44065452],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995858,0.000087208275,0.000024338067,0.00006409745,0.00015072995,0.000087904744],"domain_scores_gemma":[0.9994967,0.00020900326,0.000059517486,0.000048101014,0.00007030626,0.00011630665],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00037603284,0.0012573262,0.0007717634,0.0022835613,0.0031057778,0.0076536024,0.0012748702,0.0031469245,0.04618338],"category_scores_gemma":[0.0012467911,0.00044089495,0.00042281993,0.004231859,0.003621646,0.007194558,0.0022679523,0.003956501,0.010015139],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020775113,0.00004055605,0.00024430643,0.00044687174,0.000010022676,0.0001347713,0.0043961145,0.00006773438,0.000073897114,0.06719766,0.8227304,0.10463691],"study_design_scores_gemma":[0.0000017701595,0.0000027635333,0.00045434307,0.0007201394,0.0000025392444,0.00006275166,0.00086260535,0.000010453325,0.000014998377,0.004283636,0.99357986,0.000004101603],"about_ca_topic_score_codex":0.016540473,"about_ca_topic_score_gemma":0.03766182,"teacher_disagreement_score":0.04618338,"about_ca_system_score_codex":0.0034146234,"about_ca_system_score_gemma":0.0029052594,"threshold_uncertainty_score":0.15449882},"labels":[],"label_agreement":null},{"id":"W1993249758","doi":"10.1386/srsc.3.2.201_1","title":"The body in the dark: body, sexuality and trauma in perestroika cinema","year":2009,"lang":"en","type":"article","venue":"Studies in Russian and Soviet Cinema","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"University of Alberta","keywords":"Movie theater; Human sexuality; Art; Literature; Gender studies; Sociology","score_opus":0.05018720695969038,"score_gpt":0.30476715906296165,"score_spread":0.2545799521032713,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1993249758","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9481501,0.0053701317,0.0005099185,0.002250233,0.00008910833,0.000012686238,0.000042844895,0.000005874955,0.04356927],"genre_scores_gemma":[0.99754226,0.0010642189,0.0000438102,0.00005231731,0.000022359804,0.00000304345,0.0000066811012,0.0000016107413,0.0012637647],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995751,0.00026329313,0.000012396713,0.000034099558,0.00004337169,0.00007170949],"domain_scores_gemma":[0.99916613,0.0005140056,0.0001861344,0.00003007666,0.000034888635,0.00006870436],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007219961,0.00021641835,0.00022251562,0.00083826174,0.0018664089,0.003955214,0.00021112527,0.00043772586,0.0029025052],"category_scores_gemma":[0.0012396649,0.00014876486,0.000090768895,0.0008012723,0.0056258487,0.0016365959,0.0016946493,0.00080218446,0.00008714493],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003331646,0.00018041211,0.05924155,0.0007540241,0.00005502704,0.002817566,0.72221553,0.00057400827,0.0037719458,0.15863073,0.004554908,0.046871204],"study_design_scores_gemma":[0.000023535928,0.00022728571,0.22699259,0.0009068442,0.00006248042,0.0023940562,0.6417976,0.00056819315,0.001566722,0.015017143,0.11038597,0.000057617322],"about_ca_topic_score_codex":0.0033304587,"about_ca_topic_score_gemma":0.0035132242,"teacher_disagreement_score":0.003955214,"about_ca_system_score_codex":0.0016317166,"about_ca_system_score_gemma":0.00049123133,"threshold_uncertainty_score":0.011839032},"labels":[],"label_agreement":null},{"id":"W1994199422","doi":"10.1525/fq.2009.63.1.84","title":"Review: <i>Fluid Screens, Expanded Cinema</i>, by Janine Marchessault and Susan Lord","year":2009,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Movie theater; Citation; Art history; Download; Art; Media studies; Library science; Computer science; World Wide Web; Sociology","score_opus":0.01682126678654635,"score_gpt":0.22443273709931186,"score_spread":0.2076114703127655,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1994199422","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00007512912,0.9296855,0.00021920704,0.024640905,0.032037657,0.00013864614,0.00027789734,0.00007759534,0.012847385],"genre_scores_gemma":[0.0014523871,0.91163826,0.00032621433,0.029933339,0.019881386,0.0002990315,0.0006192149,0.00006772239,0.035782497],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99760026,0.0005155813,0.0002670103,0.0002693384,0.0011959778,0.00015186188],"domain_scores_gemma":[0.9913536,0.0020670812,0.00081722025,0.00022400785,0.0047295955,0.00080844143],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022294882,0.0019039405,0.0026791275,0.004367231,0.001079252,0.0048357667,0.0028955785,0.0038538016,0.05280071],"category_scores_gemma":[0.013246392,0.0008791902,0.0012293748,0.0048638848,0.0016553932,0.004985107,0.0017567622,0.0044652587,0.042150293],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000121499515,0.0000033987542,0.00001944913,0.0017400155,0.000014522187,0.000026591442,0.000021174237,0.000011612,0.000036074867,0.00013312342,0.9645109,0.033470977],"study_design_scores_gemma":[0.000015945228,0.000020784106,0.00028892927,0.0047065304,0.000032399967,0.00021188105,0.0000628451,0.000014919761,0.000042595486,0.0002728927,0.99431384,0.000016427319],"about_ca_topic_score_codex":0.0045008194,"about_ca_topic_score_gemma":0.0077623976,"teacher_disagreement_score":0.05280071,"about_ca_system_score_codex":0.0032096468,"about_ca_system_score_gemma":0.0048560137,"threshold_uncertainty_score":0.17663598},"labels":[],"label_agreement":null},{"id":"W1995036204","doi":"10.1353/utq.2012.0156","title":"Cinematic Operatics: Barbara Willis Sweete Directs Metropolitan Opera HD Transmissions","year":2012,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Opera; Metropolitan area; Transmission (telecommunications); Principal (computer security); Art; Media studies; History; Art history; Telecommunications; Engineering; Sociology; Computer science; Archaeology; Computer security","score_opus":0.017115034073598375,"score_gpt":0.2043410376885395,"score_spread":0.18722600361494113,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1995036204","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.37873596,0.0046004644,0.0023616669,0.07527223,0.003240695,0.00009332868,0.00051879656,0.00023457702,0.53494227],"genre_scores_gemma":[0.7329087,0.003289352,0.0014642132,0.0037117375,0.0014401819,0.0000296546,0.00013064012,0.00013677134,0.2568887],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961156,0.00017564216,0.000007081788,0.00005237906,0.000087921515,0.000065517735],"domain_scores_gemma":[0.99905187,0.0002988594,0.00011434189,0.00005136717,0.00017141031,0.00031213058],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008366849,0.00020758402,0.0001063541,0.00046476338,0.0029761787,0.0019543858,0.0003014127,0.0005850063,0.017084701],"category_scores_gemma":[0.003193228,0.00019697737,0.00006138134,0.0004365907,0.0012678166,0.0010847523,0.0017564496,0.0016421356,0.0012139439],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002130947,0.00011542251,0.009242937,0.00026129145,0.0000216184,0.0035010742,0.15312093,0.00032832258,0.004643463,0.060164683,0.6572841,0.111103036],"study_design_scores_gemma":[0.000005744737,0.00004093148,0.010160362,0.00011444255,0.0000073632027,0.0006859952,0.03816089,0.000170968,0.0005536801,0.0010147134,0.9490681,0.000016742779],"about_ca_topic_score_codex":0.0237498,"about_ca_topic_score_gemma":0.09501817,"teacher_disagreement_score":0.0237498,"about_ca_system_score_codex":0.0013504808,"about_ca_system_score_gemma":0.00082560244,"threshold_uncertainty_score":0.057154},"labels":[],"label_agreement":null},{"id":"W1995197531","doi":"10.7202/044412ar","title":"“A Bridge Between Imagination and Reality Must Be Built”: Film and Spatial Critique in the Work of Patrick Keiller","year":2010,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":20,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of New Brunswick","funders":"","keywords":"Movie theater; Scholarship; Reading (process); Perspective (graphical); Bridge (graph theory); Aesthetics; Space (punctuation); Sociology; Film studies; Art; Art history; Visual arts; Philosophy; Political science; Linguistics; Law","score_opus":0.04426870861801518,"score_gpt":0.29749469595114136,"score_spread":0.2532259873331262,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1995197531","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.108525485,0.04833106,0.012490408,0.5284614,0.0024299705,0.00003658398,0.00006350274,0.00006190712,0.29959965],"genre_scores_gemma":[0.9538539,0.010426105,0.0019131204,0.009056987,0.0011724588,0.000042899355,0.000013832512,0.000057926587,0.023462813],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971533,0.00212591,0.00003689667,0.00024532457,0.00029322665,0.00014530744],"domain_scores_gemma":[0.9935545,0.005502024,0.00025887077,0.00013884714,0.0003342942,0.00021147386],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019928035,0.0004278113,0.0002887873,0.0010219213,0.006211883,0.008358019,0.0010379589,0.003489297,0.0035896963],"category_scores_gemma":[0.011488627,0.00023834166,0.00015207448,0.0015941755,0.021030096,0.01010573,0.0038095561,0.0033606645,0.00028222587],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024745903,0.000010748971,0.00035439926,0.00010399663,0.000003393192,0.00032597737,0.0925243,0.00021934455,0.0001378929,0.86223733,0.027982995,0.016074888],"study_design_scores_gemma":[0.000015459345,0.000030724972,0.0013415875,0.00067270856,0.000009650088,0.0006834645,0.11823745,0.00077357754,0.00046723918,0.34535697,0.53237414,0.000037001108],"about_ca_topic_score_codex":0.0074556763,"about_ca_topic_score_gemma":0.007507393,"teacher_disagreement_score":0.008358019,"about_ca_system_score_codex":0.0035195248,"about_ca_system_score_gemma":0.0018057319,"threshold_uncertainty_score":0.025536},"labels":[],"label_agreement":null},{"id":"W1995874851","doi":"10.1386/fiin.7.1.44","title":"Performative Radicalism in contemporary Canadian documentary film","year":2009,"lang":"en","type":"article","venue":"Film International","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"","keywords":"Performative utterance; Political radicalism; Art; Documentary film; Art history; Aesthetics; Visual arts; Political science; Law; Politics","score_opus":0.03193153456976252,"score_gpt":0.24151964577257257,"score_spread":0.20958811120281004,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1995874851","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84738976,0.0013855159,0.00021463515,0.0041951733,0.00007743005,0.0000242771,0.00033438095,0.000018697447,0.14636002],"genre_scores_gemma":[0.9932667,0.00041807952,0.00006912026,0.00009022017,0.000018457866,0.000003123156,0.000058873793,0.000010266365,0.006065159],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988593,0.00012521022,0.000024458071,0.000111205285,0.00045327624,0.00042654984],"domain_scores_gemma":[0.99629456,0.0008224757,0.00049386086,0.00013342372,0.001454644,0.0008010464],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011121496,0.0002468779,0.00021136578,0.003303449,0.010897346,0.008804427,0.0010941749,0.0010743974,0.009644527],"category_scores_gemma":[0.0058112307,0.00015694763,0.00015752246,0.0048382985,0.006334277,0.0012401361,0.0016431059,0.002120613,0.00023540633],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039140575,0.00018952793,0.069526315,0.00030553114,0.00006843899,0.0013823361,0.5414988,0.00061399787,0.002626947,0.2674927,0.02546043,0.09044349],"study_design_scores_gemma":[0.000015218046,0.00004193095,0.36770907,0.00030647995,0.000059200167,0.00035908583,0.4374207,0.00052304263,0.0006397619,0.0056608487,0.18716931,0.00009544208],"about_ca_topic_score_codex":0.9118741,"about_ca_topic_score_gemma":0.9625571,"teacher_disagreement_score":0.088125885,"about_ca_system_score_codex":0.04779188,"about_ca_system_score_gemma":0.01856983,"threshold_uncertainty_score":0.34675598},"labels":[],"label_agreement":null},{"id":"W1997518205","doi":"10.4000/miranda.6312","title":"De la pellicule au pixel. À propos des remédiations numériques de films expérimentaux sur Internet (et YouTube en particulier)","year":2014,"lang":"fr","type":"article","venue":"Miranda","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","score_opus":0.018835813690970874,"score_gpt":0.24962801015846403,"score_spread":0.23079219646749316,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1997518205","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31048968,0.0064194566,0.10097843,0.0056421417,0.0012784908,0.0008064989,0.0018359035,0.00137395,0.5711754],"genre_scores_gemma":[0.7386243,0.0035267419,0.0816895,0.0007472093,0.00015830486,0.0006673171,0.000804226,0.00074978115,0.17303263],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981153,0.00039439058,0.00010811977,0.00046906335,0.0008243895,0.000088694476],"domain_scores_gemma":[0.99714124,0.0012199874,0.0002588835,0.00047512812,0.0007941949,0.00011066287],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012629487,0.00048615065,0.00030065794,0.0014040525,0.002288339,0.004905103,0.00064986973,0.00086920545,0.038665574],"category_scores_gemma":[0.0104474425,0.00039174905,0.00037032992,0.0014311505,0.00190786,0.0050175423,0.0023645475,0.0013418307,0.0033513168],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010475329,0.00021060395,0.0121235745,0.0018938475,0.000072960196,0.00093995844,0.027617596,0.002247807,0.053156983,0.32017088,0.029238133,0.55128014],"study_design_scores_gemma":[0.00010350356,0.00037863135,0.04022822,0.0008339921,0.00012857723,0.0020504734,0.01552607,0.0065328144,0.04446369,0.03849241,0.85117483,0.00008673048],"about_ca_topic_score_codex":0.010246402,"about_ca_topic_score_gemma":0.015453218,"teacher_disagreement_score":0.038665574,"about_ca_system_score_codex":0.0021631988,"about_ca_system_score_gemma":0.001221496,"threshold_uncertainty_score":0.12934917},"labels":[],"label_agreement":null},{"id":"W1998967676","doi":"10.1017/s0261143014000063","title":"The Music of Fantasy Cinema <i>(Genre, Music and Sound Series)</i>. Edited by Janet K. Halfyard. Sheffield: Equinox Publishing, 2012. 252 pp. ISBN 978-1908049-93-3","year":2014,"lang":"en","type":"article","venue":"Popular Music","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Equinox; Publishing; Movie theater; Fantasy; Art history; Art; Sound (geography); History; Media studies; Visual arts; Sociology; Literature; Acoustics; Physics; Astronomy; Ionosphere","score_opus":0.02670319610262006,"score_gpt":0.20823517860731863,"score_spread":0.18153198250469857,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1998967676","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0048363893,0.49310786,0.005692467,0.009435514,0.017913654,0.00009394362,0.0019803257,0.00085497944,0.4660849],"genre_scores_gemma":[0.03960624,0.21831113,0.0049130423,0.0015005367,0.006765456,0.000086810745,0.001940803,0.0010044734,0.7258715],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99976176,0.000042796786,0.000015659392,0.000039878054,0.000115117626,0.00002484015],"domain_scores_gemma":[0.9995677,0.00012203888,0.00004445777,0.000038204133,0.00012530142,0.00010227486],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043443084,0.0010169699,0.00062179717,0.0021840793,0.000634581,0.0041250633,0.00065314857,0.0006779501,0.095570795],"category_scores_gemma":[0.001314866,0.0005081039,0.00033995553,0.0018313907,0.0008752367,0.0024644155,0.0013693359,0.001435265,0.029569773],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056952038,0.000021860977,0.00026154474,0.00088740484,0.000015132264,0.000094589726,0.0008808669,0.00010809927,0.0015362818,0.009503691,0.6540179,0.33261567],"study_design_scores_gemma":[0.0000049726686,0.00002150461,0.0023298897,0.0005240992,0.0000062231015,0.00046469274,0.00043542538,0.00007311444,0.00029259615,0.0034322834,0.992405,0.000010106642],"about_ca_topic_score_codex":0.004966235,"about_ca_topic_score_gemma":0.009678243,"teacher_disagreement_score":0.095570795,"about_ca_system_score_codex":0.0008410244,"about_ca_system_score_gemma":0.0009047756,"threshold_uncertainty_score":0.31971622},"labels":[],"label_agreement":null},{"id":"W1999068358","doi":"10.1353/tam.2004.0151","title":"Through Your Eyes (A Traves de Tus Ojos). Directed and Produced by Eva Urrutia and Guillermina Buzio. Les Petites Production, Canada/Peru, 2002, 9 min. Independently Distributed. Price Not Available.","year":2004,"lang":"en","type":"article","venue":"The Americas A Quarterly Review of Latin American History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Production (economics); Volume (thermodynamics); Humanities; Economics; Physics; Macroeconomics","score_opus":0.026054088043343814,"score_gpt":0.23026336600659886,"score_spread":0.20420927796325505,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W1999068358","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00069383654,0.018061878,0.0010042544,0.02600045,0.009991623,0.0001869706,0.0069499053,0.0017667944,0.93534416],"genre_scores_gemma":[0.0015380332,0.0033784176,0.00022296523,0.0008979314,0.0004936647,0.000037876176,0.00074066955,0.00033782885,0.99235266],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996245,0.000036507434,0.000017021113,0.00007798323,0.0001854393,0.000058549398],"domain_scores_gemma":[0.99863416,0.00018029819,0.000093385584,0.00008747534,0.00074973016,0.000254952],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00044510642,0.0011182124,0.0007187103,0.0012304262,0.0013601586,0.003753753,0.0010344298,0.001666177,0.79093355],"category_scores_gemma":[0.0025829268,0.00056270993,0.00039431296,0.0018778703,0.00047457556,0.0035154717,0.0016989374,0.0023052194,0.6557517],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018017436,0.0000067299857,0.000034897548,0.000047650006,8.937026e-7,0.000015724278,0.000025605474,0.000011984883,0.00009127332,0.00043868434,0.9803609,0.018947639],"study_design_scores_gemma":[0.0000078658595,0.00000872499,0.0005593444,0.00010460802,0.0000013891695,0.000024222016,0.00011779536,0.000023343253,0.000057810106,0.00018228624,0.9989083,0.000004458308],"about_ca_topic_score_codex":0.03929442,"about_ca_topic_score_gemma":0.0775017,"teacher_disagreement_score":0.9607056,"about_ca_system_score_codex":0.0012479769,"about_ca_system_score_gemma":0.0012844665,"threshold_uncertainty_score":0.29820788},"labels":[],"label_agreement":null},{"id":"W200012063","doi":"","title":"Cinema and technology:cultures, theories, practices.","year":2008,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":37,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Film theory; Art; Art history; Exhibition; Vampire; Sociology; Media studies; Visual arts; Literature","score_opus":0.025968941027352883,"score_gpt":0.23310628579882944,"score_spread":0.20713734477147655,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W200012063","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008791398,0.42598492,0.0020752223,0.04373309,0.0025237023,0.00010732661,0.00047332147,0.00008604318,0.516225],"genre_scores_gemma":[0.4087971,0.37406963,0.0031651673,0.007057396,0.0044425773,0.0004273318,0.000380416,0.00014098232,0.20151941],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998801,0.0007042916,0.00006927562,0.00013066808,0.0002064322,0.000088298926],"domain_scores_gemma":[0.99584854,0.0027105652,0.000262068,0.00029291224,0.0004505368,0.00043536793],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017467113,0.000420573,0.0003834069,0.0027508812,0.0026739533,0.010396249,0.000740723,0.001257022,0.033264343],"category_scores_gemma":[0.0071175722,0.00031081343,0.00017382368,0.0050963187,0.0064111794,0.0070831496,0.0023151007,0.0015192153,0.003162204],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029887115,0.00006999024,0.0016093387,0.0014577991,0.000009452485,0.00017155755,0.06025072,0.00013487536,0.00026169547,0.5083534,0.20914435,0.21850696],"study_design_scores_gemma":[0.0000039226525,0.000013147481,0.0033390946,0.001971293,0.0000037872471,0.00022528261,0.026001,0.00006143561,0.00005664336,0.022549635,0.9457652,0.000009449171],"about_ca_topic_score_codex":0.009557404,"about_ca_topic_score_gemma":0.00932252,"teacher_disagreement_score":0.033264343,"about_ca_system_score_codex":0.0044415765,"about_ca_system_score_gemma":0.003164649,"threshold_uncertainty_score":0.11128032},"labels":[],"label_agreement":null},{"id":"W2000336535","doi":"10.1080/01439685.2012.727339","title":"Independent Production and Industrial Tactics in Britain: Michael Klinger and<i>Baby Love</i>","year":2012,"lang":"en","type":"article","venue":"Historical Journal Of Film Radio and Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Production (economics); Management; Sociology; Philosophy; Economics; Microeconomics","score_opus":0.037968688982006185,"score_gpt":0.22031438366367417,"score_spread":0.182345694681668,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2000336535","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0125657935,0.08058753,0.0002423897,0.7268288,0.0071497913,0.000025466583,0.000051075276,0.000048333168,0.17250082],"genre_scores_gemma":[0.26990014,0.057327267,0.0006736521,0.15549497,0.0069418885,0.00010297425,0.00007066128,0.00031581585,0.5091727],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99593025,0.0017036325,0.0001089502,0.0004341738,0.0011475417,0.0006753323],"domain_scores_gemma":[0.9958276,0.0018381418,0.00036158087,0.000167856,0.00049886934,0.0013059612],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033879846,0.00065984786,0.00041719704,0.001386083,0.013376063,0.012943303,0.0016680826,0.008368993,0.017066838],"category_scores_gemma":[0.0072753304,0.0008709373,0.00021725464,0.0017669204,0.016263166,0.008625915,0.004795531,0.009509609,0.004778464],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059710448,0.00005758288,0.00057110615,0.00010361776,0.0000054185475,0.00068977167,0.07031233,0.000025812704,0.00015770769,0.056494344,0.84445214,0.027070375],"study_design_scores_gemma":[0.000014564212,0.00002012631,0.001993322,0.00027042557,0.0000026293665,0.00025451442,0.03947049,0.000023867578,0.00007974417,0.0036351534,0.9542146,0.000020550116],"about_ca_topic_score_codex":0.10502929,"about_ca_topic_score_gemma":0.24513139,"teacher_disagreement_score":0.10502929,"about_ca_system_score_codex":0.010631234,"about_ca_system_score_gemma":0.006220373,"threshold_uncertainty_score":0.2088359},"labels":[],"label_agreement":null},{"id":"W2001429924","doi":"10.1353/bio.2011.0063","title":"“My Eyes Ended Up At My Fingertips”: Antoine, Autobiographical Documentary, and the Cinematic Depiction of a Blind Child Subject","year":2011,"lang":"en","type":"article","venue":"Biography","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Depiction; Subject (documents); Portrait; Biography; Art; Construct (python library); Documentary film; Art history; Literature; History; Computer science","score_opus":0.02601308501784429,"score_gpt":0.20915528117211735,"score_spread":0.18314219615427305,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2001429924","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45947713,0.0177812,0.003694432,0.06842314,0.0026427566,0.00010726038,0.0007093346,0.00014157951,0.44702318],"genre_scores_gemma":[0.9377577,0.0056148595,0.0024539193,0.0025437456,0.00071267656,0.00004938111,0.00016905411,0.0001085013,0.05059023],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.999501,0.00024663325,0.000010752032,0.00006263682,0.00010527716,0.000073651136],"domain_scores_gemma":[0.9983903,0.0007934804,0.00019676864,0.00008312954,0.00021499924,0.000321415],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00064618513,0.00044570272,0.00020404003,0.0011043219,0.0055121174,0.0035674265,0.0007112439,0.0016755164,0.0039952067],"category_scores_gemma":[0.004086635,0.00025493762,0.0001859495,0.0011671804,0.0049049333,0.001643038,0.0018380501,0.0024926767,0.0005120416],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017470442,0.00006947857,0.0032807542,0.00033770336,0.000020791655,0.006408325,0.7189809,0.00017278106,0.0022888845,0.11442529,0.12864688,0.025193438],"study_design_scores_gemma":[0.00001308958,0.000024105839,0.009937645,0.00047996704,0.000020266074,0.00374499,0.10751009,0.0003442121,0.0006822856,0.0024674905,0.87474394,0.00003192345],"about_ca_topic_score_codex":0.09343892,"about_ca_topic_score_gemma":0.18877067,"teacher_disagreement_score":0.09343892,"about_ca_system_score_codex":0.0036687076,"about_ca_system_score_gemma":0.0017083707,"threshold_uncertainty_score":0.18579012},"labels":[],"label_agreement":null},{"id":"W2001665327","doi":"10.1353/mdr.2012.0045","title":"Artaud and His Doubles (review)","year":2012,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Nothing; Passion; Politics; Context (archaeology); Art; Relation (database); Art history; Power (physics); Absurdism; Philosophy; Humanities; Literature; History; Law; Psychology; Epistemology; Political science; Archaeology","score_opus":0.03996074752383518,"score_gpt":0.23496347116066132,"score_spread":0.19500272363682614,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2001665327","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000044455155,0.9845725,0.00003959731,0.0067587085,0.005221881,0.000009824746,0.00007312632,0.000013439852,0.003266458],"genre_scores_gemma":[0.001191368,0.97172767,0.00008750766,0.010932951,0.008771943,0.000036832564,0.00023469867,0.000016656479,0.0070004193],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99848986,0.00028245422,0.0002102991,0.00026082966,0.00062240195,0.00013415032],"domain_scores_gemma":[0.99687946,0.0008113685,0.00041803488,0.00011491629,0.001373512,0.00040270132],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015517909,0.001248814,0.002271349,0.0035121443,0.00083979993,0.005963686,0.0022427335,0.0028986614,0.04900304],"category_scores_gemma":[0.007897336,0.0005485647,0.0010079257,0.004256363,0.0011886202,0.0036268875,0.001963154,0.0038244547,0.018366748],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051578492,0.000020058278,0.0001475917,0.013848124,0.000086669665,0.00013555173,0.000110570385,0.000046749643,0.000075456475,0.0011853961,0.71928406,0.26500818],"study_design_scores_gemma":[0.000017224836,0.000014466515,0.0005111222,0.010768169,0.00008300154,0.00053700944,0.0000997764,0.000013356098,0.000036423757,0.00043070308,0.98747253,0.00001607621],"about_ca_topic_score_codex":0.0037932014,"about_ca_topic_score_gemma":0.005221559,"teacher_disagreement_score":0.04900304,"about_ca_system_score_codex":0.0017539347,"about_ca_system_score_gemma":0.004768838,"threshold_uncertainty_score":0.16393149},"labels":[],"label_agreement":null},{"id":"W2001789698","doi":"10.7202/1027447ar","title":"The Passion of the Digital: the Ontology of the Photographic Image in the Age of New Media","year":2014,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Passion; Faith; Skepticism; Aesthetics; Narrative; Representation (politics); Transcendental number; Humanism; Deconstruction (building); Ontology; Philosophy; Sociology; Literature; Epistemology; Art; Theology; Psychology; Law; Politics; Social psychology; Political science","score_opus":0.1009558142600817,"score_gpt":0.2821891389981265,"score_spread":0.18123332473804477,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2001789698","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06609007,0.02903594,0.020308284,0.083868906,0.0015326504,0.00003274628,0.000109544504,0.000058781243,0.7989631],"genre_scores_gemma":[0.9544105,0.008264303,0.0030530312,0.0031184054,0.0013695811,0.000041981417,0.000028786702,0.00008728743,0.029626064],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9982974,0.0010966922,0.000031493506,0.00016002388,0.00025696712,0.00015742668],"domain_scores_gemma":[0.99691665,0.0021421246,0.00022049932,0.00029529238,0.00022447847,0.00020096844],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023545865,0.00030808477,0.0002296192,0.0018849083,0.004456124,0.01249464,0.00076573144,0.0023804915,0.0037894014],"category_scores_gemma":[0.0046105348,0.00023392428,0.00023836618,0.0011354641,0.043326173,0.011162104,0.0031786861,0.0034267989,0.00043687256],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000068461404,0.000006248957,0.00014349182,0.000018090997,0.0000010823513,0.000044982542,0.018520823,0.000026789057,0.00004149538,0.9766183,0.0019204617,0.0026515021],"study_design_scores_gemma":[0.000017078324,0.000029579138,0.0014485302,0.00035969223,0.0000086209175,0.00032244142,0.044017844,0.000412911,0.00032572958,0.5980533,0.35498455,0.000019670233],"about_ca_topic_score_codex":0.00698729,"about_ca_topic_score_gemma":0.0076054735,"teacher_disagreement_score":0.01249464,"about_ca_system_score_codex":0.005754659,"about_ca_system_score_gemma":0.001646628,"threshold_uncertainty_score":0.041753232},"labels":[],"label_agreement":null},{"id":"W2002898227","doi":"10.3138/jrpc.25.3.344","title":"Jewish Displacement of Irish Americans in Vaudeville: The Role of Religious and Cultural Values","year":2013,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Irish; Judaism; Immigration; Pleasure; Position (finance); History; Art; Gender studies; Sociology; Psychology; Philosophy","score_opus":0.01240838313481746,"score_gpt":0.23706988572801457,"score_spread":0.22466150259319712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2002898227","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98564756,0.0001456313,0.000021790442,0.0011776849,0.00002173762,0.000003181493,0.000015322823,0.0000011293229,0.012965992],"genre_scores_gemma":[0.9970693,0.00009026068,0.00001728128,0.00027306084,0.000010453475,0.0000023045222,0.000013003507,0.0000018583733,0.00252242],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994324,0.00023048173,0.000008630591,0.000036990525,0.00007462322,0.00021700912],"domain_scores_gemma":[0.9991265,0.00020717447,0.00021171219,0.000029844206,0.0001563143,0.00026850158],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010532822,0.00011708379,0.00014623176,0.0005871741,0.004324378,0.0031342413,0.0005344037,0.00076218933,0.004734016],"category_scores_gemma":[0.0016920512,0.00010452843,0.00008881823,0.0006516988,0.0021257084,0.000688779,0.0018438955,0.0014176341,0.000332249],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006817537,0.0006331662,0.43883467,0.00009251335,0.000045267112,0.0024505933,0.4529545,0.00008741422,0.00295371,0.02593072,0.014203408,0.061132237],"study_design_scores_gemma":[0.000026614758,0.00009791718,0.23833448,0.00010880118,0.0000152727,0.00043999433,0.7238315,0.00014028436,0.00045378073,0.0008267252,0.035700873,0.000023814922],"about_ca_topic_score_codex":0.08499771,"about_ca_topic_score_gemma":0.17137253,"teacher_disagreement_score":0.08499771,"about_ca_system_score_codex":0.0026221168,"about_ca_system_score_gemma":0.0016348105,"threshold_uncertainty_score":0.16900593},"labels":[],"label_agreement":null},{"id":"W2003564621","doi":"10.1093/aesthj/ayl020","title":"External Realism about Cinematic Motion","year":2006,"lang":"en","type":"article","venue":"The British Journal of Aesthetics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Realism; Motion (physics); Aesthetics; Art; Computer science; Computer vision; Visual arts","score_opus":0.015901051507418936,"score_gpt":0.20691662948440107,"score_spread":0.19101557797698213,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2003564621","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025480853,0.0018215381,0.020133743,0.020546364,0.0010977216,0.000030512485,0.00012962025,0.000048489994,0.9307111],"genre_scores_gemma":[0.9581778,0.0009657918,0.0016142724,0.0013853365,0.0010141053,0.000030899082,0.00012786641,0.00008541899,0.036598567],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9981286,0.0010662458,0.000059670463,0.00021281325,0.00035905387,0.00017359162],"domain_scores_gemma":[0.9962058,0.0019418094,0.0003946436,0.00057639874,0.00060248317,0.00027885824],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019707875,0.00032632065,0.00023609553,0.00094141107,0.0026812025,0.0061630625,0.00048441274,0.0019286061,0.029997416],"category_scores_gemma":[0.0150388,0.00022156526,0.0003666523,0.0007215332,0.008461571,0.0057961973,0.0030868247,0.0036997173,0.0013283425],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022327771,0.000007942572,0.000194772,0.000034393466,0.000004150312,0.00006335841,0.0017513507,0.0004223086,0.00013421598,0.9889053,0.004848494,0.0036114203],"study_design_scores_gemma":[0.000019949528,0.000027326814,0.0013984632,0.00015019404,0.000012087038,0.00023853737,0.0023377151,0.0015721681,0.00019437906,0.8722694,0.12176245,0.00001722912],"about_ca_topic_score_codex":0.002635474,"about_ca_topic_score_gemma":0.0017633899,"teacher_disagreement_score":0.029997416,"about_ca_system_score_codex":0.002724191,"about_ca_system_score_gemma":0.0006749073,"threshold_uncertainty_score":0.10035133},"labels":[],"label_agreement":null},{"id":"W200376677","doi":"","title":"2009 Cannes Film Festival","year":2010,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Disappointment; Entertainment; Ideology; Media studies; Uncanny; Sociology; Bourgeoisie; Law; Aesthetics; History; Art history; Political science; Art; Politics; Psychology; Social psychology","score_opus":0.021880598493587877,"score_gpt":0.21856650700466426,"score_spread":0.1966859085110764,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W200376677","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019087482,0.0035071203,0.00050438684,0.016514046,0.026224794,0.0001855962,0.0053112046,0.00075625535,0.9279091],"genre_scores_gemma":[0.05642809,0.0015755654,0.0007978792,0.0028330036,0.002587743,0.00011138403,0.004127342,0.00047846118,0.93106055],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99951816,0.000053796317,0.000013208247,0.00008862013,0.00020850744,0.000117717085],"domain_scores_gemma":[0.99950254,0.000036647143,0.000020088964,0.0000482077,0.00020572709,0.00018666896],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006861243,0.000925418,0.00028599115,0.0010723517,0.0056099272,0.005591619,0.00073621416,0.001674829,0.19034542],"category_scores_gemma":[0.0015365859,0.0002790627,0.0004533188,0.00052618684,0.000828276,0.0014445165,0.002699883,0.0022508726,0.03566036],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011138068,0.00003794636,0.00033848488,0.00008344009,0.0000071975314,0.00025920878,0.0008983891,0.000033936903,0.00066702184,0.0031134062,0.9835661,0.0108834915],"study_design_scores_gemma":[0.000008677878,0.00001594796,0.0015436242,0.000070761795,0.0000028802538,0.000070427595,0.0009122926,0.000030678468,0.00023091506,0.00016606829,0.99694073,0.000007023399],"about_ca_topic_score_codex":0.033571098,"about_ca_topic_score_gemma":0.18673424,"teacher_disagreement_score":0.19034542,"about_ca_system_score_codex":0.0031203732,"about_ca_system_score_gemma":0.0012122812,"threshold_uncertainty_score":0.6367689},"labels":[],"label_agreement":null},{"id":"W2003838885","doi":"10.7202/007962ar","title":"L’opérateur de vues animées : deus ex machina des premières salles de cinéma (suite et fin 1)","year":2004,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.03133604662043391,"score_gpt":0.254510082509601,"score_spread":0.2231740358891671,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2003838885","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.82715154,0.0025747095,0.007031997,0.0034419415,0.00012932575,0.00006507802,0.00020538055,0.000044149503,0.15935585],"genre_scores_gemma":[0.98328316,0.0005641037,0.0011702242,0.00009596318,0.000038273578,0.000018636107,0.000032456574,0.00001029112,0.014786884],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995834,0.00016257518,0.000011467958,0.00009274313,0.000054424454,0.00009539163],"domain_scores_gemma":[0.99908197,0.0004019785,0.00023265106,0.00005300085,0.000094447474,0.00013596001],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00081080984,0.00022150698,0.00011775155,0.0006258144,0.0023814929,0.003224468,0.0003041142,0.00063682307,0.007312598],"category_scores_gemma":[0.001991464,0.00018967057,0.00013003728,0.00048217358,0.0025091507,0.0020380004,0.0017704404,0.00094299106,0.00041384163],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018275602,0.000074604926,0.061455082,0.00029886598,0.000017294653,0.0016519792,0.5578574,0.0001931434,0.009623035,0.2486389,0.0037402655,0.11626662],"study_design_scores_gemma":[0.000019100802,0.00027891604,0.30644634,0.0005869529,0.00004384083,0.0027227262,0.2702216,0.00094301335,0.004808495,0.028439557,0.38542616,0.000063225634],"about_ca_topic_score_codex":0.008118996,"about_ca_topic_score_gemma":0.011798235,"teacher_disagreement_score":0.008118996,"about_ca_system_score_codex":0.0013506808,"about_ca_system_score_gemma":0.0007876851,"threshold_uncertainty_score":0.024463058},"labels":[],"label_agreement":null},{"id":"W2005203166","doi":"10.1353/crv.2007.0007","title":"Becoming Documentary: Edward Curtis's In the Land of the Headhunters and the Politics of Archival Reconstruction","year":2006,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; History; Literature; Art; Political science; Law","score_opus":0.018932425881908865,"score_gpt":0.248950229723979,"score_spread":0.23001780384207016,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2005203166","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15158477,0.02875046,0.0023607844,0.09812643,0.0025428105,0.0000745689,0.00014334012,0.00019603169,0.7162208],"genre_scores_gemma":[0.82393813,0.006404034,0.00096225506,0.005137078,0.00050637976,0.00006656754,0.000048321468,0.0002741046,0.16266303],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99672806,0.0015655158,0.00006869298,0.00034749528,0.00072319264,0.0005670917],"domain_scores_gemma":[0.99616313,0.002354354,0.00022446866,0.00033421913,0.00041797638,0.0005058055],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027465064,0.00058515946,0.00041202345,0.001718959,0.025807656,0.017861381,0.0014195152,0.003402349,0.009966104],"category_scores_gemma":[0.008505028,0.0003511019,0.0001803051,0.0017088392,0.035158616,0.007298185,0.0066531627,0.0050490564,0.0008604115],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004756127,0.000011311874,0.0003843014,0.000092324335,0.000004940166,0.0012125007,0.7143063,0.00006248891,0.0004741149,0.22171329,0.047556102,0.014134832],"study_design_scores_gemma":[0.0000062300137,0.0000153195,0.00040955804,0.00027058515,0.000005281347,0.0004286958,0.22348829,0.000046512683,0.0008090405,0.006987537,0.76751363,0.000019392606],"about_ca_topic_score_codex":0.11172572,"about_ca_topic_score_gemma":0.2126675,"teacher_disagreement_score":0.11172572,"about_ca_system_score_codex":0.016795352,"about_ca_system_score_gemma":0.0077068047,"threshold_uncertainty_score":0.2221508},"labels":[],"label_agreement":null},{"id":"W2007121949","doi":"10.2478/ausfm-2014-0001","title":"Revisiting Michael Snow’s Wavelength, after Deleuze’s Time-Image","year":2013,"lang":"en","type":"article","venue":"Acta Universitatis Sapientiae Film and Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Movie theater; Narrative; Consciousness; Subject (documents); Phenomenology (philosophy); Ideology; Art history; Art; Literature; Philosophy; Politics; Epistemology; Computer science; Law","score_opus":0.015075169189639408,"score_gpt":0.2034080538852794,"score_spread":0.18833288469564,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2007121949","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11502427,0.032191172,0.013602132,0.44178513,0.013520457,0.00006640143,0.0001185367,0.0001257776,0.38356617],"genre_scores_gemma":[0.9111096,0.011668492,0.0037207238,0.0194319,0.0031429336,0.000054605785,0.00003140499,0.00026848883,0.05057184],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9984193,0.0008335913,0.000041279553,0.00018634202,0.00032887136,0.00019066331],"domain_scores_gemma":[0.9978606,0.0013441268,0.00014343421,0.00010549965,0.00038518908,0.00016116473],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023701198,0.0004202546,0.00027981427,0.00089338265,0.005728454,0.0045347707,0.0009535921,0.0024612607,0.0044264086],"category_scores_gemma":[0.0058613475,0.00022982861,0.00024089929,0.0008450345,0.014839447,0.0074718306,0.0030718704,0.00509902,0.0006753072],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032485026,0.000020015374,0.00031049547,0.000102137754,0.0000053812523,0.0007459119,0.11103328,0.00010954563,0.0004973675,0.8278606,0.04632112,0.012961704],"study_design_scores_gemma":[0.000009819275,0.000023498807,0.00049218663,0.00041325472,0.000007026278,0.00050854695,0.041588794,0.00023752768,0.00058461766,0.18654858,0.7695653,0.000020840862],"about_ca_topic_score_codex":0.016700137,"about_ca_topic_score_gemma":0.023249205,"teacher_disagreement_score":0.016700137,"about_ca_system_score_codex":0.00503868,"about_ca_system_score_gemma":0.0030404027,"threshold_uncertainty_score":0.03655833},"labels":[],"label_agreement":null},{"id":"W2008135572","doi":"10.1007/s11002-011-9146-1","title":"The long-term box office performance of sequel movies","year":2011,"lang":"en","type":"article","venue":"Marketing Letters","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":62,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Praxis Spinal Cord Institute; University of British Columbia","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Attendance; Revenue; Franchise; Term (time); Economics; Demand side; Margin (machine learning); Advertising; Business; Marketing; Microeconomics; Computer science; Finance; Economic growth","score_opus":0.03165413719537442,"score_gpt":0.1973806132171517,"score_spread":0.16572647602177729,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2008135572","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99458534,0.00026029182,0.000037976235,0.00021383005,0.000030096791,0.0000058693813,0.00065771927,0.000006909242,0.0042018867],"genre_scores_gemma":[0.993455,0.00012377831,0.000019927504,0.000039323404,0.000076060336,0.0000043628006,0.0008698425,0.000005447201,0.005406239],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9995819,0.00009202195,0.000033673346,0.00005484626,0.000100600824,0.00013699886],"domain_scores_gemma":[0.9876567,0.0043168967,0.0036268735,0.0004264833,0.0015963853,0.0023766097],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011089214,0.00022572023,0.00030717324,0.0010871254,0.000646718,0.0023506316,0.0003528686,0.0013282229,0.0102240695],"category_scores_gemma":[0.009947115,0.000112650756,0.00022049449,0.00091750536,0.00032252012,0.000983276,0.0006574362,0.0008471536,0.0033497754],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0033378962,0.0013657309,0.95156586,0.00010132919,0.00016824709,0.0007777426,0.0017809964,0.0012197657,0.0036366107,0.0017953101,0.0058248676,0.028425522],"study_design_scores_gemma":[0.000008509983,0.00023140066,0.9966792,0.000012915419,0.000030188008,0.000054855023,0.0008208382,0.00046314907,0.0002948076,0.00014350179,0.0012493032,0.000011263685],"about_ca_topic_score_codex":0.008648285,"about_ca_topic_score_gemma":0.016009582,"teacher_disagreement_score":0.0102240695,"about_ca_system_score_codex":0.0008002536,"about_ca_system_score_gemma":0.0002710228,"threshold_uncertainty_score":0.034202933},"labels":[],"label_agreement":null},{"id":"W2008142943","doi":"10.7202/1000959ar","title":"Cinéma ambulant et implantation urbaine : l’activité de William Shaw dans le contexte des Cantons-de-l’Est","year":2011,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.04958786545020557,"score_gpt":0.24155941351254626,"score_spread":0.19197154806234068,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2008142943","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8733995,0.0025849405,0.00058776553,0.031505276,0.00019490413,0.00001867939,0.00007230219,0.000007473427,0.091629155],"genre_scores_gemma":[0.9795775,0.0010952153,0.00013719044,0.00046917805,0.000044686974,0.0000073937963,0.00001514388,0.000005014347,0.018648524],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99901736,0.0006195359,0.000010268846,0.00006440293,0.00008068635,0.00020770653],"domain_scores_gemma":[0.99819607,0.00070727186,0.00026068182,0.000060163646,0.00027719495,0.0004986878],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001185705,0.00019189311,0.00010076558,0.00042045876,0.0046562944,0.0032687292,0.00032205493,0.0006996868,0.0072720526],"category_scores_gemma":[0.0028641801,0.000112918664,0.00007626718,0.0006034824,0.0037829212,0.0013534636,0.0018285094,0.0014768991,0.00030910273],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002612349,0.0001008693,0.058902796,0.00017566468,0.00002150388,0.0020031475,0.628204,0.00044243035,0.0030771047,0.18536794,0.026014196,0.095429115],"study_design_scores_gemma":[0.000007796852,0.00011377294,0.11993795,0.0002647506,0.000012344819,0.0004945527,0.45676172,0.00043877124,0.0010311886,0.005177488,0.41570544,0.00005427195],"about_ca_topic_score_codex":0.1685039,"about_ca_topic_score_gemma":0.3291806,"teacher_disagreement_score":0.8314961,"about_ca_system_score_codex":0.0049760584,"about_ca_system_score_gemma":0.0046713264,"threshold_uncertainty_score":0.33504617},"labels":[],"label_agreement":null},{"id":"W2009663403","doi":"10.7202/1025616ar","title":"“Clear Eyes, Full Hearts, Can’t Lose”: Friday Night Lights and Victorian Fictions of Provincial Life","year":2014,"lang":"en","type":"article","venue":"Romanticism and Victorianism on the Net","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Plot (graphics); Sociology; Aesthetics; History; Media studies; Gender studies; Art; Law; Political science","score_opus":0.01280372225618086,"score_gpt":0.18621000253981715,"score_spread":0.17340628028363628,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2009663403","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2890432,0.0049046,0.0029110413,0.11474655,0.0007325147,0.000019554862,0.00032763177,0.000040095354,0.58727485],"genre_scores_gemma":[0.9705019,0.00067871384,0.00021752152,0.0013239826,0.00010531763,0.000006707845,0.000029427729,0.000029275201,0.02710716],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988337,0.0006738167,0.000013685173,0.00007432007,0.00018995463,0.0002144931],"domain_scores_gemma":[0.9979175,0.0011895769,0.00022767563,0.00013097873,0.0002420407,0.00029222952],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012616105,0.00014934059,0.00013036728,0.0006108324,0.006108333,0.0070781643,0.0005181595,0.0011318496,0.0058576027],"category_scores_gemma":[0.005723404,0.00018787086,0.00014173251,0.0009129125,0.011770114,0.0025329178,0.001656142,0.002966492,0.00042654178],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000080757105,0.00002998575,0.0034188812,0.000084920146,0.000009402443,0.00028560206,0.14027159,0.00027037863,0.00033822173,0.7725361,0.06664032,0.016033819],"study_design_scores_gemma":[0.000013004176,0.000026299966,0.017700242,0.0003347124,0.000012988374,0.00027279014,0.11326733,0.0010118068,0.0006721035,0.06916691,0.79746526,0.000056648165],"about_ca_topic_score_codex":0.14625409,"about_ca_topic_score_gemma":0.33130708,"teacher_disagreement_score":0.14625409,"about_ca_system_score_codex":0.014475119,"about_ca_system_score_gemma":0.0035236129,"threshold_uncertainty_score":0.29080558},"labels":[],"label_agreement":null},{"id":"W2010156356","doi":"10.3138/md.54.1.003","title":"A Hasty Kind of Genius: Noël Coward's <i>Hay Fever</i>","year":2011,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"BLISS; Genius; Character (mathematics); Literature; Art; History; Aesthetics; Psychology","score_opus":0.0562230560892857,"score_gpt":0.21005462714894063,"score_spread":0.15383157105965495,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2010156356","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.058508914,0.049223226,0.0043279524,0.4125465,0.017833432,0.00004269597,0.00020012746,0.00031650875,0.4570007],"genre_scores_gemma":[0.54375106,0.013550204,0.0017105731,0.041529663,0.005857166,0.00005462218,0.000071413866,0.00041875904,0.39305657],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9993299,0.00031726214,0.00000859893,0.00008692782,0.00013555713,0.00012174972],"domain_scores_gemma":[0.99860054,0.0007057988,0.00012594392,0.000071014525,0.00020511846,0.00029164721],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00092708506,0.00047838961,0.00026313946,0.0006647596,0.0058042295,0.0074995025,0.00053901935,0.0014924542,0.008086276],"category_scores_gemma":[0.0037428965,0.00024008827,0.00016795691,0.0004864332,0.006220968,0.003279872,0.0018591045,0.0047725555,0.0011237791],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000104242106,0.000019602732,0.0006580078,0.00009230636,0.000013982544,0.00036981664,0.032559495,0.00008611542,0.0006357127,0.18204767,0.7645502,0.018862898],"study_design_scores_gemma":[0.000005380373,0.000016152677,0.000854719,0.00014295508,0.0000058907112,0.00022045238,0.0096991975,0.00013189523,0.00032375703,0.0040199873,0.98456556,0.000014103321],"about_ca_topic_score_codex":0.035976365,"about_ca_topic_score_gemma":0.054505367,"teacher_disagreement_score":0.035976365,"about_ca_system_score_codex":0.0033580752,"about_ca_system_score_gemma":0.0013372336,"threshold_uncertainty_score":0.07153392},"labels":[],"label_agreement":null},{"id":"W2012105668","doi":"10.4309/jgi.2006.16.17","title":"Walking Tall (2004)","year":2006,"lang":"en","type":"article","venue":"Journal of Gambling Issues","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Centre for Addiction and Mental Health","funders":"","keywords":"Humanities; Art","score_opus":0.08932085044545447,"score_gpt":0.29293958654322333,"score_spread":0.20361873609776887,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2012105668","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003761421,0.0069294577,0.00083235296,0.010457029,0.0050722314,0.00008803476,0.014813333,0.00046061855,0.9575854],"genre_scores_gemma":[0.0042826,0.0014156476,0.00035474653,0.0009669823,0.00019208065,0.000026738031,0.0030201792,0.000065062115,0.98967594],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996824,0.000023945193,0.000017686243,0.00005505648,0.00014772583,0.000073130155],"domain_scores_gemma":[0.9994387,0.000037537822,0.00003800063,0.000050643717,0.00029691562,0.00013815907],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004178052,0.00043341742,0.00023580574,0.0017050082,0.0017048985,0.0038096395,0.00079173106,0.0016164905,0.23691413],"category_scores_gemma":[0.001241516,0.0002884802,0.00023693392,0.0026122127,0.00025572197,0.0014046478,0.0009935597,0.001298807,0.12308961],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000256713,0.0000336884,0.00069989666,0.000046091965,0.0000024323147,0.00004401433,0.000116829135,0.000048578146,0.00012017624,0.0029766709,0.9109795,0.08490642],"study_design_scores_gemma":[0.000002491341,0.00000662116,0.004672457,0.000041919873,0.0000024442236,0.000022504355,0.00015343321,0.00002487271,0.000061459185,0.00033589784,0.99467236,0.0000035964822],"about_ca_topic_score_codex":0.06812115,"about_ca_topic_score_gemma":0.23824096,"teacher_disagreement_score":0.23691413,"about_ca_system_score_codex":0.0013646543,"about_ca_system_score_gemma":0.0027690951,"threshold_uncertainty_score":0.7925567},"labels":[],"label_agreement":null},{"id":"W2013786926","doi":"10.7202/1000961ar","title":"Mapping the Serious and the Dangerous: Film and the National Council of Education, 1920-1939","year":2011,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":30,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Calgary","funders":"","keywords":"Criticism; Recreation; Taste; Pleasure; Movie theater; Media studies; Political science; Sociology; Law; Art; Psychology; Visual arts","score_opus":0.08428436612620764,"score_gpt":0.22502326935112926,"score_spread":0.1407389032249216,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2013786926","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20105681,0.050915547,0.0011212941,0.09229964,0.0012574785,0.00009348917,0.0036560996,0.00005445832,0.64954513],"genre_scores_gemma":[0.8819708,0.013871114,0.000560593,0.0020036867,0.00020417798,0.000025299023,0.0006949818,0.000031030137,0.10063828],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9987808,0.00013283835,0.000033310393,0.00013600239,0.00045349787,0.0004634781],"domain_scores_gemma":[0.99862194,0.00031183203,0.00017251442,0.000041665047,0.0005883693,0.0002637542],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001031062,0.0002919888,0.00024322474,0.0032720105,0.008634368,0.005042217,0.0008301372,0.0012209237,0.008114678],"category_scores_gemma":[0.006562903,0.00030003168,0.00012115783,0.0052379025,0.005189927,0.0019880778,0.001723983,0.0023659687,0.00037257394],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012277083,0.00004765949,0.018135482,0.00033158902,0.000024449293,0.000878867,0.075256474,0.0007940447,0.0002129909,0.60417336,0.17714162,0.12288065],"study_design_scores_gemma":[0.000008329241,0.000012709263,0.07294498,0.00035917232,0.000016403226,0.00008271365,0.024920197,0.00016331153,0.00018923017,0.0073044053,0.8939676,0.000030938678],"about_ca_topic_score_codex":0.9746459,"about_ca_topic_score_gemma":0.98976266,"teacher_disagreement_score":0.9746459,"about_ca_system_score_codex":0.1014244,"about_ca_system_score_gemma":0.0420054,"threshold_uncertainty_score":0.73588896},"labels":[],"label_agreement":null},{"id":"W2014291522","doi":"10.1080/10509200500536363","title":"“Taking Care of Her Green Stone Wall”: The Experience of Space in<i>Once Were Warriors</i>","year":2007,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Creatures; Movie theater; Hybridity; Art; Postcolonialism (international relations); Representation (politics); Space (punctuation); Art history; Visual arts; Film director; Sociology; Literature; Gender studies; History; Computer science; Political science; Politics; Archaeology","score_opus":0.022391221786757964,"score_gpt":0.2671163071869575,"score_spread":0.24472508540019955,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2014291522","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45891333,0.013842533,0.003929561,0.10392686,0.0040917825,0.000075370765,0.00018571068,0.00019880649,0.41483605],"genre_scores_gemma":[0.91958946,0.003160127,0.0004758886,0.0076691844,0.00034882926,0.00004482361,0.000060570743,0.00016928972,0.06848183],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99792117,0.0014227596,0.000020789445,0.00010655403,0.00018103133,0.0003476693],"domain_scores_gemma":[0.9981664,0.0006839812,0.0001904613,0.00009222851,0.00015570785,0.0007111608],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019958492,0.0006853016,0.00045435078,0.0007962275,0.017512247,0.00962914,0.0011920024,0.002514167,0.009686487],"category_scores_gemma":[0.0051251436,0.0004976687,0.00033178908,0.0007359094,0.02154138,0.0073219296,0.006976671,0.0076636006,0.0015477511],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031109947,0.000016452004,0.00061912043,0.00004813842,0.0000065195686,0.00045463172,0.94131,0.000016157463,0.0003035648,0.013024418,0.038209498,0.0059603667],"study_design_scores_gemma":[0.0000047605818,0.000024881727,0.0010141202,0.00015813051,0.000005249115,0.00042896692,0.84503746,0.000024705078,0.00010119754,0.0014775195,0.15170781,0.000015307507],"about_ca_topic_score_codex":0.02512135,"about_ca_topic_score_gemma":0.061661392,"teacher_disagreement_score":0.02512135,"about_ca_system_score_codex":0.0026637907,"about_ca_system_score_gemma":0.0022410282,"threshold_uncertainty_score":0.0499503},"labels":[],"label_agreement":null},{"id":"W2014476250","doi":"10.2752/175145212x13330132506942","title":"Forensic Photography, Film Noir, and Fellig: Scenes Excavated by the Night Prowler","year":2012,"lang":"en","type":"article","venue":"Photography and Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Artificial Intelligence in Medicine (Canada)","funders":"","keywords":"Trespass; Photography; Style (visual arts); Ambiguity; Visual arts; Art; Product (mathematics); Aesthetics; History; Art history; Law; Computer science; Political science","score_opus":0.015457739700294739,"score_gpt":0.19660158450754758,"score_spread":0.18114384480725285,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2014476250","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76255065,0.00901816,0.0033410022,0.016183505,0.0006073825,0.00013237455,0.0005132927,0.00007902433,0.20757455],"genre_scores_gemma":[0.9650703,0.0029797168,0.0021817929,0.0006420424,0.00020221494,0.000015978367,0.000089160305,0.000061465624,0.028757362],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992847,0.00039254338,0.000014120844,0.00007485858,0.00012137487,0.000112409056],"domain_scores_gemma":[0.9987056,0.00079919177,0.00018437592,0.00010089006,0.000072140014,0.00013767119],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011525238,0.0003919011,0.00020074828,0.0020960434,0.0067288573,0.0035300595,0.0005955478,0.0013400166,0.0051533515],"category_scores_gemma":[0.0039917775,0.0003180635,0.00016247034,0.0014750754,0.0063261846,0.0021264218,0.0020055778,0.0020851705,0.00048259017],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024431158,0.00013343744,0.009821244,0.00042776295,0.000027122363,0.011536627,0.7368147,0.0002234194,0.0031588238,0.08527357,0.05075351,0.10158553],"study_design_scores_gemma":[0.0000122431275,0.000074869255,0.03196909,0.00061774097,0.000020683176,0.0056514395,0.50078344,0.00021489357,0.0022235173,0.007035846,0.45135778,0.000038450406],"about_ca_topic_score_codex":0.01178335,"about_ca_topic_score_gemma":0.058230076,"teacher_disagreement_score":0.01178335,"about_ca_system_score_codex":0.002119022,"about_ca_system_score_gemma":0.0009038881,"threshold_uncertainty_score":0.023429573},"labels":[],"label_agreement":null},{"id":"W2014825552","doi":"10.1111/1468-5949.00275","title":"Making Movies Matter or Whatever Happened to the Sabre‐Tooth Curriculum?","year":2001,"lang":"en","type":"article","venue":"Journal of Art & Design Education","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Summit; Curriculum; Construct (python library); Window (computing); Media studies; Sociology; Political science; Visual arts; Art; Pedagogy; Computer science; World Wide Web; Cartography; Geography","score_opus":0.06714189398598912,"score_gpt":0.29131029804278297,"score_spread":0.22416840405679384,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2014825552","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21586664,0.012164801,0.003890663,0.46293935,0.0047372147,0.000070340626,0.0005692841,0.00007610395,0.29968563],"genre_scores_gemma":[0.9294335,0.005131306,0.0009089449,0.024268316,0.0015595979,0.000050676616,0.0002009501,0.000048757815,0.03839796],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99801093,0.0008329889,0.000041292904,0.00019915617,0.00029770014,0.0006179584],"domain_scores_gemma":[0.9953245,0.0016244682,0.00062345533,0.00016902143,0.00050017226,0.0017584626],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031415215,0.0002487824,0.0003223025,0.00055924035,0.0017700748,0.005419179,0.00056198257,0.002098079,0.033030674],"category_scores_gemma":[0.014600857,0.00016215802,0.00021876144,0.00083558814,0.0037675125,0.007740466,0.0015986557,0.0032634747,0.0024997257],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020400487,0.00062180037,0.020478072,0.00048881455,0.000045410678,0.00021930592,0.004934463,0.00062169746,0.00078267814,0.68399197,0.12770122,0.15991054],"study_design_scores_gemma":[0.000105009145,0.00023342978,0.06503177,0.0013990094,0.000054652348,0.00015156862,0.019407919,0.0006523994,0.0017072045,0.25595728,0.6552444,0.000055314027],"about_ca_topic_score_codex":0.010478757,"about_ca_topic_score_gemma":0.010380792,"teacher_disagreement_score":0.033030674,"about_ca_system_score_codex":0.003804395,"about_ca_system_score_gemma":0.0043047494,"threshold_uncertainty_score":0.11049855},"labels":[],"label_agreement":null},{"id":"W2015141596","doi":"10.1353/utq.0.0457","title":"Detecting Men: Masculinity and the Hollywood Detective Film (review)","year":2009,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hollywood; Masculinity; Movie theater; Detective fiction; Criticism; History; Art; Literature; Art history; Sociology; Gender studies","score_opus":0.010939138081192368,"score_gpt":0.1873488304333295,"score_spread":0.17640969235213713,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2015141596","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00004478294,0.9982279,0.000005563097,0.00089350337,0.00044455187,0.000002614667,0.000011024295,9.4585226e-7,0.00036906946],"genre_scores_gemma":[0.000800423,0.99679935,0.000014661971,0.0011446726,0.0008180494,0.000008343972,0.000023307102,0.0000014983904,0.00038966647],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993999,0.00018468982,0.0001011404,0.000084709136,0.00018174066,0.000047892034],"domain_scores_gemma":[0.99711466,0.0015467202,0.000499279,0.000036911748,0.0006371234,0.0001653921],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010990091,0.0009707637,0.0012384387,0.003192116,0.0006284425,0.0028264364,0.0012668612,0.0025391649,0.012405416],"category_scores_gemma":[0.0052117435,0.000536788,0.0005888287,0.0036305354,0.0012633704,0.0031033636,0.0012145049,0.0022029046,0.0026164886],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001524435,0.00005085137,0.00069758995,0.076817416,0.0002559477,0.00023410343,0.0009454526,0.0000583839,0.00015137407,0.001978552,0.36050346,0.5581545],"study_design_scores_gemma":[0.000053864507,0.00011257451,0.008613445,0.11030031,0.00040612114,0.0022057,0.0021349967,0.000037149588,0.00011318197,0.0006735116,0.8752952,0.00005394856],"about_ca_topic_score_codex":0.008323025,"about_ca_topic_score_gemma":0.0143644,"teacher_disagreement_score":0.012405416,"about_ca_system_score_codex":0.0009987097,"about_ca_system_score_gemma":0.0020102493,"threshold_uncertainty_score":0.04150027},"labels":[],"label_agreement":null},{"id":"W2015443213","doi":"10.1177/1746847711417934","title":"Experiments in Documentary Animation: Anxious Borders, Speculative Media","year":2011,"lang":"en","type":"article","venue":"Animation","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Animation; Movement (music); Context (archaeology); Documentary film; Visual arts; History; Art; Aesthetics; Sociology; Media studies","score_opus":0.06183847836004836,"score_gpt":0.2634320755349112,"score_spread":0.20159359717486286,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2015443213","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94112307,0.0005988908,0.003915783,0.0017530344,0.00028916835,0.00087490334,0.00022012199,0.00007904979,0.05114605],"genre_scores_gemma":[0.9842918,0.0004227223,0.0057953508,0.0004754794,0.00012095268,0.0013583872,0.00018706525,0.00006822047,0.0072800154],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9967384,0.0020074663,0.00022564382,0.00041196877,0.00044118962,0.00017533034],"domain_scores_gemma":[0.95339406,0.038821153,0.0022793529,0.0036576174,0.0008358046,0.0010120873],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0047873273,0.00060241006,0.00034227778,0.0006893448,0.002097527,0.004129681,0.0014258892,0.0023033964,0.01480441],"category_scores_gemma":[0.04308478,0.0005064708,0.00038489298,0.0007146049,0.003789693,0.0044255806,0.0030315393,0.00339612,0.0010172606],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.021024851,0.06518505,0.01845999,0.004528944,0.00040447514,0.0022570335,0.2217572,0.006542494,0.088433996,0.39582497,0.020407487,0.15517344],"study_design_scores_gemma":[0.01924625,0.06130252,0.06670272,0.0030625693,0.0010253148,0.0026693372,0.08342752,0.033055503,0.07846052,0.37252992,0.27783316,0.00068457786],"about_ca_topic_score_codex":0.00052961323,"about_ca_topic_score_gemma":0.0005017149,"teacher_disagreement_score":0.01480441,"about_ca_system_score_codex":0.00096400455,"about_ca_system_score_gemma":0.0004135798,"threshold_uncertainty_score":0.049525738},"labels":[],"label_agreement":null},{"id":"W2015458812","doi":"10.1080/10509200690902313","title":"Film Noir and the Spaces of Modernity","year":2008,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Modernity; Art; Art history; Aesthetics; Visual arts; Philosophy; Epistemology","score_opus":0.028433957215986797,"score_gpt":0.2322399361391424,"score_spread":0.2038059789231556,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2015458812","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.044571105,0.03386412,0.0022828549,0.13361377,0.001993778,0.000011598722,0.000069547415,0.000035794616,0.7835575],"genre_scores_gemma":[0.9538695,0.008909935,0.0005204412,0.00515758,0.0020796706,0.000013256627,0.000028276463,0.000066646535,0.029354563],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966786,0.002300583,0.000050055187,0.00024993057,0.00038952305,0.00033137904],"domain_scores_gemma":[0.9959992,0.0023396027,0.00042537635,0.00051439705,0.00040090078,0.00032041722],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028577026,0.0002901412,0.00028457437,0.0014022199,0.007230241,0.009548267,0.00052561663,0.0017745433,0.008772692],"category_scores_gemma":[0.008514772,0.00018239181,0.00016004113,0.0014770321,0.027850162,0.011600533,0.0035308194,0.0044733672,0.00058159453],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024102164,0.0000051235197,0.000239283,0.00003206368,0.0000030676526,0.000054763463,0.015408301,0.00004129362,0.00005197981,0.9653297,0.011922525,0.006887746],"study_design_scores_gemma":[0.000013252658,0.000024739684,0.0015743235,0.00030056207,0.000006173659,0.00020966363,0.020164048,0.00015651865,0.00015245043,0.42363483,0.55374676,0.000016676337],"about_ca_topic_score_codex":0.004440061,"about_ca_topic_score_gemma":0.006362244,"teacher_disagreement_score":0.009548267,"about_ca_system_score_codex":0.0037212155,"about_ca_system_score_gemma":0.0011376564,"threshold_uncertainty_score":0.029347599},"labels":[],"label_agreement":null},{"id":"W2016358461","doi":"10.3167/hrrh2009.350205","title":"Jean Vigo, L'Atalante, and the Promise of Social Cinema","year":2009,"lang":"fr","type":"article","venue":"Historical Reflections/Réflexions Historiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Mythology; Art; Censorship; Art history; Literature; Philosophy; Theology","score_opus":0.03594042513361962,"score_gpt":0.2724767562136727,"score_spread":0.23653633108005306,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2016358461","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18814182,0.049170885,0.002139048,0.16496587,0.0013514216,0.000022980807,0.00015541326,0.0001137965,0.59393877],"genre_scores_gemma":[0.96511704,0.0069720247,0.0003215728,0.002646816,0.0012428527,0.000016596136,0.000018714212,0.000051031333,0.023613319],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986645,0.0009416137,0.000011226084,0.00010004717,0.00010438391,0.0001782578],"domain_scores_gemma":[0.9976266,0.0016704056,0.00024483784,0.00009088396,0.00011271108,0.00025447455],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013594261,0.00023517775,0.00014007722,0.0012187725,0.004295654,0.0101985615,0.00036374904,0.0015745589,0.0044363043],"category_scores_gemma":[0.0039062463,0.00016331421,0.00010547724,0.0008532164,0.010123991,0.0028451236,0.0018000508,0.0017614185,0.0003757209],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013102934,0.00003371041,0.0048382827,0.000101719095,0.000008826731,0.00034623482,0.06814602,0.000207482,0.0004190069,0.8335877,0.05219797,0.03998207],"study_design_scores_gemma":[0.00001706002,0.000029596418,0.007822649,0.00032102523,0.0000062602376,0.00025737679,0.022220055,0.00014397092,0.00025907846,0.040323194,0.92857426,0.000025427962],"about_ca_topic_score_codex":0.018474465,"about_ca_topic_score_gemma":0.0212174,"teacher_disagreement_score":0.018474465,"about_ca_system_score_codex":0.0064362544,"about_ca_system_score_gemma":0.0012918051,"threshold_uncertainty_score":0.04669857},"labels":[],"label_agreement":null},{"id":"W201690211","doi":"","title":"Dominique Baqué, Mauvais genre(s). Érotisme, pornographie, art contemporain, Éditions du Regard, Paris, 2002, 200 p., 100 illustrationsDominique Baqué, Mauvais genre(s). Érotisme, pornographie, art contemporain, Éditions du Regard, Paris, 2002, 200 p., 100 illustrations","year":2002,"lang":"fr","type":"article","venue":"CV Photo","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.025138878248910108,"score_gpt":0.2230847850588822,"score_spread":0.1979459068099721,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W201690211","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015878471,0.35940892,0.0024251142,0.03165186,0.021135703,0.00006486978,0.0014035136,0.0006056905,0.5817165],"genre_scores_gemma":[0.018545637,0.1253623,0.002099605,0.0029697607,0.0045554726,0.00007125206,0.0008561071,0.00065030355,0.8448895],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994449,0.000113131886,0.00003723109,0.000107497726,0.00023812322,0.000059079197],"domain_scores_gemma":[0.9993826,0.0001794738,0.00006634479,0.000033744232,0.0002542189,0.00008358375],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005939943,0.0012055167,0.0006310777,0.0026926666,0.0016385963,0.004661216,0.0006482858,0.0014722715,0.12673745],"category_scores_gemma":[0.0021103586,0.00045112954,0.00033725603,0.0037829787,0.0010597329,0.003732832,0.0011772397,0.0021009082,0.054084964],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023539582,0.000007979435,0.000095626056,0.0002542869,0.0000034754146,0.0000685687,0.00068555074,0.000039803075,0.00028743476,0.01611785,0.90902746,0.07338845],"study_design_scores_gemma":[0.000001309648,0.0000019494057,0.0001723948,0.00008685883,9.626817e-7,0.000078481404,0.00015085463,0.000008791459,0.000034700235,0.0004401466,0.99902153,0.0000019805877],"about_ca_topic_score_codex":0.02658898,"about_ca_topic_score_gemma":0.039568797,"teacher_disagreement_score":0.12673745,"about_ca_system_score_codex":0.0025503677,"about_ca_system_score_gemma":0.002136528,"threshold_uncertainty_score":0.42397898},"labels":[],"label_agreement":null},{"id":"W2017878006","doi":"10.1287/mksc.1050.0164","title":"<b>Invited Commentary</b>—Research and the Motion Picture Industry","year":2006,"lang":"en","type":"article","venue":"Marketing Science","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Exhibition; Perspective (graphical); Relevance (law); Film industry; Motion (physics); Marketing; Product (mathematics); Motion picture; Empirical research; Product line; Computer science; Management science; Operations research; Data science; Business; Economics; Engineering; Political science; Artificial intelligence; Epistemology; History","score_opus":0.03814692836092094,"score_gpt":0.2654231675191988,"score_spread":0.22727623915827788,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2017878006","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00014090173,0.0030540405,0.00009532833,0.8446494,0.14862666,0.000022671546,0.0001397383,0.000034191577,0.0032370733],"genre_scores_gemma":[0.0017329621,0.0024107972,0.00018271792,0.8538929,0.1331491,0.00006747353,0.00006483541,0.00003455824,0.0084648],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9938199,0.0018449293,0.0006771857,0.00086782995,0.0023078986,0.00048231304],"domain_scores_gemma":[0.9553985,0.026843533,0.0014459458,0.0010270451,0.011929873,0.0033550512],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007106888,0.0012250036,0.0013744732,0.0023403408,0.0050443346,0.0054055564,0.0045427056,0.046834726,0.019831302],"category_scores_gemma":[0.035181552,0.0007192207,0.0017064542,0.0018423243,0.0053333435,0.0054518827,0.001718469,0.029351806,0.012575915],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019250052,0.000005981141,0.00005577379,0.000085554035,0.0000040482546,0.000110036206,0.000046714656,0.000009603503,0.00005451911,0.00055783,0.99761033,0.0014404306],"study_design_scores_gemma":[0.000027027118,0.00002066772,0.00085491076,0.0005428011,0.000018549885,0.0003335973,0.00049300113,0.000097298966,0.00019134351,0.0026985114,0.9946749,0.000047288857],"about_ca_topic_score_codex":0.029683411,"about_ca_topic_score_gemma":0.037982814,"teacher_disagreement_score":0.046834726,"about_ca_system_score_codex":0.0068448246,"about_ca_system_score_gemma":0.005465121,"threshold_uncertainty_score":0.066342294},"labels":[],"label_agreement":null},{"id":"W2018567416","doi":"10.1558/aleth.v5i1.65","title":"Demonic Curiosity and Documentary Photography","year":2002,"lang":"en","type":"article","venue":"Alethia","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Curiosity; Photography; Visual arts; Art; Psychology; Social psychology","score_opus":0.02867186271871097,"score_gpt":0.1959163238029818,"score_spread":0.16724446108427082,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2018567416","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41876966,0.008019456,0.002102707,0.008440144,0.00019416922,0.000029347922,0.00024016012,0.000033511424,0.5621708],"genre_scores_gemma":[0.9823169,0.0016711756,0.0004089666,0.00019929008,0.0001474767,0.0000065526915,0.00005411258,0.000017968225,0.015177653],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9993394,0.00027862992,0.000025415009,0.00011441451,0.00012661525,0.000115556926],"domain_scores_gemma":[0.9916459,0.0043299943,0.0020168824,0.0006477727,0.00081205944,0.00054751366],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013679783,0.00022561738,0.0001821921,0.0020312895,0.0017241735,0.004640236,0.00035476763,0.0008250964,0.017748632],"category_scores_gemma":[0.011976006,0.00016451094,0.00013898808,0.0015924922,0.0038513425,0.0029201491,0.0014966212,0.0013337668,0.00060730847],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005435662,0.0003427747,0.06698069,0.000617731,0.000098283046,0.0011128143,0.07837875,0.0003783056,0.0041913264,0.70555615,0.020321041,0.12147854],"study_design_scores_gemma":[0.000050852086,0.0002639799,0.38721707,0.0008654473,0.00016986443,0.0036420764,0.11759564,0.0013546577,0.0038377156,0.2204561,0.26442236,0.00012427784],"about_ca_topic_score_codex":0.0037958978,"about_ca_topic_score_gemma":0.007919889,"teacher_disagreement_score":0.017748632,"about_ca_system_score_codex":0.0016594684,"about_ca_system_score_gemma":0.00052825524,"threshold_uncertainty_score":0.059375048},"labels":[],"label_agreement":null},{"id":"W2018908674","doi":"10.7202/501120ar","title":"La machine en mouvement : A night at the movies de Robert Coover","year":2005,"lang":"fr","type":"article","venue":"Études littéraires","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Humanities; Art","score_opus":0.013213740542678588,"score_gpt":0.2221565860514335,"score_spread":0.20894284550875492,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2018908674","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21526563,0.059306007,0.0021382365,0.35291168,0.0044294433,0.000031278974,0.0006485247,0.00009176461,0.36517742],"genre_scores_gemma":[0.7585004,0.017655998,0.00088753516,0.013939335,0.0024781208,0.000017378154,0.00019234589,0.00008428371,0.20624448],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99955195,0.0002371461,0.0000053855138,0.000055663313,0.000071489805,0.00007837988],"domain_scores_gemma":[0.99919313,0.0004273805,0.000080521815,0.000028504928,0.00011309767,0.0001574119],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006224028,0.00021096088,0.000117930664,0.00047919856,0.0031518196,0.0032009995,0.00020928538,0.00093007635,0.0064459033],"category_scores_gemma":[0.0022701456,0.00012852359,0.00007340987,0.00071047165,0.001407083,0.0018281187,0.00048755514,0.0016483559,0.00067048345],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018942599,0.00010572333,0.009433966,0.00011282012,0.000020061281,0.0012576869,0.031009875,0.00025860863,0.000778712,0.14903176,0.72894835,0.07885298],"study_design_scores_gemma":[0.000007999971,0.000034670513,0.018210093,0.00015325061,0.00001000772,0.0004112079,0.015396358,0.00022321727,0.00044264048,0.0068569793,0.9582264,0.000027139618],"about_ca_topic_score_codex":0.06223622,"about_ca_topic_score_gemma":0.12208006,"teacher_disagreement_score":0.06223622,"about_ca_system_score_codex":0.002275192,"about_ca_system_score_gemma":0.0007704227,"threshold_uncertainty_score":0.123747945},"labels":[],"label_agreement":null},{"id":"W2019907761","doi":"10.3828/extr.2003.44.3.08","title":"From <i>Videodrome</i> to <i>Virtual Light</i> : David Cronenberg and William Gibson","year":2003,"lang":"he","type":"article","venue":"Extrapolation","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Essar Steel Algoma (Canada)","funders":"","keywords":"Art history; Art; Environmental ethics; Philosophy","score_opus":0.019512484406737838,"score_gpt":0.2202263916304769,"score_spread":0.20071390722373905,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2019907761","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002178604,0.20977414,0.025048858,0.4538943,0.037390105,0.000052806623,0.0008611123,0.0012094816,0.26959062],"genre_scores_gemma":[0.0565936,0.1300652,0.011338504,0.05901657,0.029275425,0.00007877792,0.000886064,0.0022989921,0.71044683],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992567,0.00025532267,0.000037245343,0.000115012066,0.00027572364,0.00005997829],"domain_scores_gemma":[0.99720347,0.0009846967,0.00012855807,0.00018988419,0.0012015756,0.0002918957],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013956818,0.0008760226,0.00044991568,0.0042260657,0.002762991,0.007268707,0.0010736577,0.0027376686,0.062261216],"category_scores_gemma":[0.0074227387,0.0004860068,0.0002850814,0.0033405519,0.0029873135,0.010624746,0.00252637,0.003257871,0.019404316],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008229413,0.000007184026,0.00010889965,0.00006755114,0.0000025011318,0.00001986316,0.0004054636,0.00006069242,0.000083471496,0.040332776,0.91817886,0.04072444],"study_design_scores_gemma":[0.000002121036,0.0000034362897,0.00020649235,0.00022491446,0.0000035414596,0.000051528943,0.0005022832,0.00013978648,0.0001563605,0.021653313,0.9770423,0.000013951819],"about_ca_topic_score_codex":0.059358757,"about_ca_topic_score_gemma":0.08454149,"teacher_disagreement_score":0.062261216,"about_ca_system_score_codex":0.0029705977,"about_ca_system_score_gemma":0.0013732165,"threshold_uncertainty_score":0.20828456},"labels":[],"label_agreement":null},{"id":"W2021914802","doi":"10.3138/md.53.3.370","title":"Drama is the Cure for Gossip: Television's Turn to Theatricality in a Time of Media Transition","year":2010,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Gossip; Drama; Fantasy; Identity (music); The Internet; Narrative; Media studies; Sociology; Appeal; Advertising; Aesthetics; Art; Literature; Psychology; Political science; Social psychology; Law; Computer science","score_opus":0.020098723032775483,"score_gpt":0.235451437346091,"score_spread":0.2153527143133155,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2021914802","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46922287,0.012607108,0.0024460244,0.09263226,0.0028381578,0.00003353512,0.00014455973,0.00009211879,0.41998336],"genre_scores_gemma":[0.98339635,0.0020719096,0.00018288524,0.0018196449,0.0007332885,0.000013223119,0.00001855297,0.000033122727,0.011731107],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9986349,0.0009212115,0.00001370452,0.00005847894,0.0001142945,0.0002573999],"domain_scores_gemma":[0.9982383,0.0010666471,0.00014165962,0.000068523615,0.00007704067,0.00040786903],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012755133,0.00025727833,0.00020874433,0.0010924756,0.006866141,0.0094779255,0.0005974353,0.001670025,0.004260595],"category_scores_gemma":[0.0038358364,0.00014669458,0.00018003676,0.0008630986,0.014169096,0.0036511628,0.0042693736,0.0031978746,0.0003840271],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026324968,0.00009824593,0.003334995,0.00014105704,0.00002782748,0.0017760706,0.4454816,0.00028327305,0.00064572156,0.46565485,0.053106695,0.029186469],"study_design_scores_gemma":[0.000040932086,0.000091242895,0.008389445,0.00036394957,0.00002031932,0.0007423031,0.42293525,0.00035888722,0.0004337664,0.03169454,0.53488714,0.00004233371],"about_ca_topic_score_codex":0.008081921,"about_ca_topic_score_gemma":0.010563225,"teacher_disagreement_score":0.0094779255,"about_ca_system_score_codex":0.003222924,"about_ca_system_score_gemma":0.0010758671,"threshold_uncertainty_score":0.023384094},"labels":[],"label_agreement":null},{"id":"W2021996963","doi":"10.7202/1001178ar","title":"Music in Film: Film as Music","year":2011,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Musical; Narrative; Unconscious mind; Visual arts; Art; Movie theater; Rhythm; Literature; Aesthetics; Psychology; Psychoanalysis","score_opus":0.07921108507931587,"score_gpt":0.22908706092008663,"score_spread":0.14987597584077075,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2021996963","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015090429,0.13315165,0.006330051,0.05188034,0.00523111,0.00006713307,0.0002890905,0.000098948745,0.7878613],"genre_scores_gemma":[0.7041943,0.10567577,0.006455821,0.013874844,0.0109667145,0.00014215254,0.00034200476,0.00025925145,0.15808918],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981592,0.0011575468,0.00007013662,0.0001796957,0.00027022147,0.00016319311],"domain_scores_gemma":[0.9983474,0.00083534047,0.00016355563,0.00016070728,0.00023452203,0.00025847068],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012552973,0.00044423572,0.00035249154,0.0017834812,0.0033959683,0.012674792,0.0006618655,0.002205009,0.014043739],"category_scores_gemma":[0.004275378,0.00020330327,0.0002020125,0.00243276,0.008749097,0.008748183,0.0024632239,0.0022331954,0.001372587],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008351522,0.00002801264,0.0010247229,0.00037856327,0.000015911335,0.0002780618,0.03536112,0.000096778596,0.0005518364,0.8156987,0.075285405,0.071197316],"study_design_scores_gemma":[0.000020554211,0.000049674047,0.002838645,0.00069833285,0.000015435393,0.00050319417,0.015868327,0.00014767607,0.00025847214,0.061704658,0.9178771,0.000017902263],"about_ca_topic_score_codex":0.008724753,"about_ca_topic_score_gemma":0.010964085,"teacher_disagreement_score":0.014043739,"about_ca_system_score_codex":0.0025709951,"about_ca_system_score_gemma":0.0012366305,"threshold_uncertainty_score":0.046981037},"labels":[],"label_agreement":null},{"id":"W2022196894","doi":"10.1525/jlat.2007.12.2.549","title":"Film Reviews","year":2007,"lang":"en","type":"article","venue":"The Journal of Latin American and Caribbean Anthropology","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Paradise; Suite; Art; Art history; Computer graphics (images); Computer science; Geography; Archaeology","score_opus":0.03622331564763605,"score_gpt":0.2822048313335157,"score_spread":0.24598151568587967,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2022196894","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003992145,0.25081408,0.00044689013,0.03658268,0.083608694,0.0001755066,0.0036695716,0.00046727638,0.62383616],"genre_scores_gemma":[0.0036519428,0.17565519,0.00061229145,0.012813299,0.02471027,0.00013390789,0.004241549,0.00031935712,0.7778622],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99875915,0.00013461706,0.00009740181,0.00015306003,0.0007289012,0.00012693189],"domain_scores_gemma":[0.9947095,0.0006902557,0.0003149291,0.00034258267,0.0033510027,0.00059165666],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010483344,0.0009306796,0.000793317,0.004151709,0.0014039944,0.0051016067,0.0015973914,0.0022164243,0.39229417],"category_scores_gemma":[0.007477972,0.00041145997,0.00053914293,0.0038932613,0.00063001254,0.003320586,0.0015072024,0.0022821408,0.27013415],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005545848,0.000004834265,0.00001396503,0.0001944288,0.0000015697135,0.000014993382,0.000018343035,0.000006584068,0.000033162156,0.0005291628,0.9694634,0.029713865],"study_design_scores_gemma":[0.0000011563654,0.0000023739117,0.00009412578,0.00026941896,0.0000013400826,0.00002871542,0.000030652674,0.000003067705,0.0000131557945,0.000099840196,0.9994549,0.0000013321595],"about_ca_topic_score_codex":0.006776715,"about_ca_topic_score_gemma":0.012891405,"teacher_disagreement_score":0.39229417,"about_ca_system_score_codex":0.0023826645,"about_ca_system_score_gemma":0.002596448,"threshold_uncertainty_score":0.8668186},"labels":[],"label_agreement":null},{"id":"W2025576377","doi":"10.7202/1000950ar","title":"Le cinéma québécois aux États-Unis a-t-il plus de chances d’être mieux reçu en anglais?","year":2011,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science; Humanities; Art","score_opus":0.041511102210224936,"score_gpt":0.23880196869993148,"score_spread":0.19729086648970653,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2025576377","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63207626,0.015308022,0.0030262196,0.045999113,0.0007314601,0.000045936526,0.0007764696,0.00006199287,0.30197456],"genre_scores_gemma":[0.95946324,0.0031605568,0.0005036013,0.0008282317,0.00017544544,0.000013677061,0.00011292673,0.000025336927,0.03571708],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9990669,0.0003311022,0.000013695368,0.00013420431,0.00017843425,0.00027568627],"domain_scores_gemma":[0.99681735,0.00064101594,0.0005075549,0.00016598581,0.0011423471,0.0007258306],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015495465,0.00024143553,0.00034035422,0.0014557448,0.0043669343,0.007329187,0.00046247948,0.0008059477,0.014556665],"category_scores_gemma":[0.0049966983,0.000197245,0.00012181234,0.0019642229,0.0033237182,0.0027891092,0.00089574576,0.0015832689,0.001046164],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00049659656,0.00020454799,0.17542678,0.00040678337,0.000153319,0.0016416939,0.1535874,0.0009127974,0.0029089772,0.40530574,0.085526645,0.17342877],"study_design_scores_gemma":[0.000029083763,0.000090491725,0.32318887,0.0010495167,0.000095863776,0.0005562946,0.11774251,0.0017014636,0.00090993184,0.017289508,0.53725094,0.000095562646],"about_ca_topic_score_codex":0.6261711,"about_ca_topic_score_gemma":0.7508908,"teacher_disagreement_score":0.3738289,"about_ca_system_score_codex":0.014962833,"about_ca_system_score_gemma":0.007198083,"threshold_uncertainty_score":0.7520609},"labels":[],"label_agreement":null},{"id":"W2026080248","doi":"10.5130/portal.v4i2.423","title":"Beyond Eurocentrism: Manuel Poirier’s Breton Road-film Western","year":2007,"lang":"en","type":"article","venue":"PORTAL Journal of Multidisciplinary International Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Eurocentrism; Immigration; Appropriation; Western europe; Sociology; Deconstruction (building); Gender studies; Art history; Art; Geography; European union; Anthropology; Philosophy; Linguistics; Archaeology","score_opus":0.041142215793540236,"score_gpt":0.30914713459768495,"score_spread":0.26800491880414473,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2026080248","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14960386,0.03326778,0.0019303155,0.16191122,0.003946423,0.0000511068,0.00010734979,0.0001176086,0.6490643],"genre_scores_gemma":[0.668429,0.011516964,0.0007915191,0.016006567,0.001618402,0.000049117185,0.000054106556,0.0001690289,0.3013653],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999201,0.00050012476,0.000010758753,0.00009052346,0.00008496662,0.00011277651],"domain_scores_gemma":[0.9992275,0.00042359828,0.00005955607,0.00004261065,0.000091052214,0.000155696],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014236037,0.00037589538,0.0001721065,0.0006496552,0.004656699,0.005946228,0.0005564017,0.0017247382,0.007216371],"category_scores_gemma":[0.002924167,0.0001524716,0.00009574905,0.0006933457,0.004243916,0.0046838536,0.002355772,0.0031125986,0.0009037933],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015810631,0.00011522917,0.0017160217,0.0001406562,0.000013003599,0.0013305782,0.26780924,0.00011867704,0.0007030024,0.37222505,0.29855615,0.057114445],"study_design_scores_gemma":[0.0000075698454,0.000033198008,0.001142129,0.00019743208,0.000004827355,0.0002741185,0.052533947,0.00010530493,0.00038468358,0.006984678,0.93832,0.0000120454315],"about_ca_topic_score_codex":0.009337125,"about_ca_topic_score_gemma":0.019502409,"teacher_disagreement_score":0.009337125,"about_ca_system_score_codex":0.002301196,"about_ca_system_score_gemma":0.00061254733,"threshold_uncertainty_score":0.024141133},"labels":[],"label_agreement":null},{"id":"W2026313337","doi":"10.1353/esc.0.0066","title":"Cukor and Collaboration: Subjective Displacement in America’s Postwar Years","year":2007,"lang":"en","type":"article","venue":"English studies in Canada","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Displacement (psychology); History; Art; Political science; Sociology; Psychology; Psychoanalysis","score_opus":0.018408269413515442,"score_gpt":0.24638076074889786,"score_spread":0.22797249133538242,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2026313337","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53872573,0.009866371,0.000894908,0.06270035,0.0013031294,0.000060160826,0.00016253651,0.00007516211,0.38621166],"genre_scores_gemma":[0.9813455,0.0012469875,0.00010049631,0.0028686635,0.00019194136,0.00003882471,0.000031855423,0.00003989648,0.014135813],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9943527,0.0024549079,0.00012184641,0.0005418498,0.0006152595,0.001913453],"domain_scores_gemma":[0.9946629,0.0013587864,0.00081446016,0.0003977171,0.0007904173,0.0019757005],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0045714313,0.00038677477,0.00040071228,0.0021675301,0.03926529,0.015602962,0.0012805997,0.0025274002,0.0059906677],"category_scores_gemma":[0.0064035538,0.00030681968,0.00019029262,0.0036479672,0.029013094,0.009323969,0.014629521,0.0070961197,0.00039683652],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033095348,0.000030118026,0.0025446499,0.00003042432,0.0000055283826,0.00022688675,0.86447465,0.000029238225,0.0000964459,0.10695333,0.016842186,0.0087334355],"study_design_scores_gemma":[0.000011511554,0.000023183384,0.0076723676,0.000121079946,0.0000042033626,0.00010332168,0.6684936,0.000039025766,0.000058057954,0.0065952875,0.31684837,0.00002991961],"about_ca_topic_score_codex":0.16176052,"about_ca_topic_score_gemma":0.22347867,"teacher_disagreement_score":0.8382395,"about_ca_system_score_codex":0.01644014,"about_ca_system_score_gemma":0.009965314,"threshold_uncertainty_score":0.32163793},"labels":[],"label_agreement":null},{"id":"W2027432021","doi":"10.7202/1001151ar","title":"Terminator 2. Technologie et identité sexuelle","year":2011,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Terminator (solar); Philosophy; Art; Physics","score_opus":0.07147327751440923,"score_gpt":0.2519369819945225,"score_spread":0.18046370448011329,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2027432021","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11345606,0.0045318604,0.06030827,0.0051677595,0.00072453945,0.00030383788,0.0012151563,0.0002533173,0.8140393],"genre_scores_gemma":[0.80555147,0.002977537,0.022971984,0.0006140617,0.00027381783,0.00044108395,0.00083820295,0.00025018377,0.16608168],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9986291,0.0006408292,0.00005023304,0.00024493292,0.00028026797,0.00015464102],"domain_scores_gemma":[0.996986,0.0017158678,0.00048222832,0.00024761065,0.0004086737,0.00015963269],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015516253,0.000559199,0.0001782198,0.0017606501,0.0024085485,0.0057371976,0.0006127952,0.001612084,0.024099758],"category_scores_gemma":[0.00468872,0.00020393211,0.00032319422,0.0015027262,0.005234708,0.0043552984,0.0017862006,0.001772562,0.002187013],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017278644,0.000016619208,0.0042046155,0.00026290488,0.000010012857,0.0005233926,0.07173284,0.00037139532,0.0029977104,0.870698,0.0083530815,0.040656563],"study_design_scores_gemma":[0.000030393896,0.00011713293,0.0145627,0.00068039313,0.000024334811,0.0015717505,0.03505874,0.0014632592,0.0035476533,0.059011094,0.88387084,0.00006180506],"about_ca_topic_score_codex":0.0072193267,"about_ca_topic_score_gemma":0.0052703833,"teacher_disagreement_score":0.024099758,"about_ca_system_score_codex":0.003343039,"about_ca_system_score_gemma":0.0018714978,"threshold_uncertainty_score":0.08062178},"labels":[],"label_agreement":null},{"id":"W2027701714","doi":"10.1386/sdf.1.2.151_1","title":"Injured Identities: Pain, Politics and Documentary","year":2007,"lang":"en","type":"article","venue":"Studies in Documentary Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Documentary film; Media studies; Gender studies; Political science; Art; Visual arts; Sociology; Law","score_opus":0.03372635975578203,"score_gpt":0.29404984967174924,"score_spread":0.2603234899159672,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2027701714","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32420328,0.009031906,0.005527171,0.045023106,0.0010840954,0.000038281774,0.00012524835,0.00006083121,0.6149061],"genre_scores_gemma":[0.982667,0.0012418621,0.00030621586,0.0006635364,0.00016998255,0.000013165992,0.00002472214,0.000029649796,0.014883788],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99665123,0.0019895777,0.00010042437,0.00022820705,0.0006207696,0.00040987582],"domain_scores_gemma":[0.99397945,0.0031522417,0.0012974143,0.00042947274,0.00055544334,0.00058601086],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027505122,0.00040911892,0.00032493702,0.001664467,0.011193395,0.014614098,0.0010637479,0.0022191543,0.012713152],"category_scores_gemma":[0.010555319,0.00021619168,0.00016854682,0.0015474688,0.024535717,0.007573843,0.008423808,0.0039025333,0.0007861797],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011246918,0.00006200981,0.0025508686,0.00015882506,0.000010615308,0.0007418836,0.3485678,0.00008921565,0.0004769546,0.6136576,0.012704902,0.02086688],"study_design_scores_gemma":[0.000024266183,0.00010519639,0.006112733,0.001201065,0.000026336573,0.0013937468,0.4314044,0.00037902154,0.0010984425,0.06337117,0.49483854,0.000045071236],"about_ca_topic_score_codex":0.0053910455,"about_ca_topic_score_gemma":0.0061767497,"teacher_disagreement_score":0.014614098,"about_ca_system_score_codex":0.00513153,"about_ca_system_score_gemma":0.0013572437,"threshold_uncertainty_score":0.04252976},"labels":[],"label_agreement":null},{"id":"W2029065456","doi":"10.1386/fiin.6.2.14","title":"New Zealand Film and Questions of Genre","year":2008,"lang":"en","type":"article","venue":"Film International","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"Brock University","keywords":"Art; Materials science","score_opus":0.02723679588671193,"score_gpt":0.22832423330243778,"score_spread":0.20108743741572585,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2029065456","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38323745,0.050492715,0.0016766546,0.059828274,0.00087839935,0.00006720352,0.00096740254,0.000030374711,0.5028216],"genre_scores_gemma":[0.9599469,0.014873981,0.00043047272,0.00075973425,0.000835671,0.0000328107,0.00019568087,0.00004207156,0.022882694],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983615,0.0006676044,0.000093920185,0.00021886388,0.00040502218,0.0002531298],"domain_scores_gemma":[0.98338366,0.008283826,0.0024738708,0.0009505472,0.0029849787,0.0019230931],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002860251,0.00040151604,0.000586955,0.0057088137,0.0025443716,0.012895702,0.0008997768,0.0015602153,0.031730957],"category_scores_gemma":[0.027466487,0.00036633995,0.00029724403,0.009701525,0.0088862,0.012890623,0.001850587,0.0022900978,0.00077441736],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00064237404,0.0002951438,0.06472644,0.0011735404,0.00014937631,0.0012937797,0.07769931,0.000575438,0.0015882619,0.67946756,0.041501526,0.1308872],"study_design_scores_gemma":[0.000093286566,0.00016869372,0.38164732,0.0022038056,0.00014398203,0.00094342104,0.16094953,0.0018295647,0.0005054951,0.19248213,0.2588926,0.00014020296],"about_ca_topic_score_codex":0.17896535,"about_ca_topic_score_gemma":0.21305561,"teacher_disagreement_score":0.17896535,"about_ca_system_score_codex":0.010680619,"about_ca_system_score_gemma":0.0029603718,"threshold_uncertainty_score":0.3558473},"labels":[],"label_agreement":null},{"id":"W2031763754","doi":"10.7202/016129ar","title":"The Virtual Infernal: Philippe de Loutherbourg, William Beckford and the Spectacle of the Sublime","year":2007,"lang":"en","type":"article","venue":"Romanticism on the Net","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":25,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Spectacle; Sublime; Romance; Art history; Movie theater; Art; Entertainment; Literature; Romanticism; History; Visual arts; Law","score_opus":0.014752165593873826,"score_gpt":0.20614312879402982,"score_spread":0.191390963200156,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2031763754","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020102827,0.17470913,0.0019258324,0.2574503,0.03923838,0.000022658764,0.00011996206,0.00034445192,0.50608647],"genre_scores_gemma":[0.33207682,0.04399292,0.0010610289,0.04258526,0.013114022,0.000054786135,0.000066768225,0.0005935414,0.56645477],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9994642,0.0002760235,0.0000058208357,0.00006518389,0.00011347877,0.000075315256],"domain_scores_gemma":[0.9995316,0.0001788874,0.00003402895,0.000029787538,0.000050620176,0.00017505388],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00069307815,0.0007727882,0.00020922296,0.0006508528,0.0063322303,0.0075353887,0.0006422933,0.0016643441,0.020516708],"category_scores_gemma":[0.0016228806,0.00026121797,0.00010749277,0.00038916693,0.0070415363,0.0051400014,0.0035225716,0.0042714393,0.0024821786],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047441943,0.000021552705,0.00033329998,0.00011268282,0.0000037727264,0.00030595186,0.03888147,0.000045987963,0.00021434606,0.21253936,0.71636367,0.031130446],"study_design_scores_gemma":[0.000002332102,0.0000064052338,0.00016443462,0.0001136502,8.7115114e-7,0.00017700241,0.0054230676,0.000018171168,0.000044594133,0.0026000657,0.9914442,0.0000052921173],"about_ca_topic_score_codex":0.014663028,"about_ca_topic_score_gemma":0.042690694,"teacher_disagreement_score":0.020516708,"about_ca_system_score_codex":0.003170027,"about_ca_system_score_gemma":0.00150109,"threshold_uncertainty_score":0.068635285},"labels":[],"label_agreement":null},{"id":"W2032360168","doi":"10.1080/00210862.2013.810072","title":"The Female Gaze in <i>The Blind Owl</i> by Sadeq Hedayat and <i>Lost Highway</i> by David Lynch","year":2013,"lang":"en","type":"article","venue":"Iranian Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Gaze; Voyeurism; Male gaze; Hegemony; Power (physics); Sociology; Gender studies; Psychology; Psychoanalysis; Political science; Law","score_opus":0.03673332619878644,"score_gpt":0.24455499391043825,"score_spread":0.2078216677116518,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2032360168","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.112852745,0.10543322,0.0018911585,0.5145522,0.008619707,0.000030732313,0.00017074835,0.000075272736,0.25637427],"genre_scores_gemma":[0.8874061,0.022262717,0.00051710964,0.0153567875,0.0036359865,0.00002149799,0.000026898719,0.000076203476,0.070696756],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994124,0.00032203324,0.000007914885,0.00006368726,0.0000988779,0.000095119154],"domain_scores_gemma":[0.999315,0.0004115251,0.00010382593,0.000019554134,0.00007925143,0.0000708352],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009971353,0.0004105688,0.00017986106,0.00063592993,0.004970747,0.0032245114,0.00039516247,0.0013077952,0.0043145283],"category_scores_gemma":[0.0021388545,0.000167015,0.00016686443,0.0005376475,0.0063416194,0.0030513592,0.001307261,0.0029400298,0.0004781938],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016066607,0.00004245603,0.0027366031,0.0002669756,0.00002101279,0.0013888302,0.16312133,0.00017482351,0.0009559306,0.41828325,0.3679749,0.04487329],"study_design_scores_gemma":[0.000012518579,0.000042462394,0.0044405693,0.0003518023,0.000010764738,0.00073818606,0.07051923,0.00022340938,0.0004805775,0.019673606,0.9034722,0.000034736146],"about_ca_topic_score_codex":0.022724064,"about_ca_topic_score_gemma":0.0333086,"teacher_disagreement_score":0.022724064,"about_ca_system_score_codex":0.003943271,"about_ca_system_score_gemma":0.001148639,"threshold_uncertainty_score":0.0451836},"labels":[],"label_agreement":null},{"id":"W2032458532","doi":"10.1080/01439680600916736","title":"Temporary American citizens? British audiences, hollywood films and the threat of Americanization in the 1920s","year":2006,"lang":"en","type":"article","venue":"Historical Journal Of Film Radio and Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":19,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Arts and Humanities Research Council","keywords":"Americanization; Hollywood; Advertising; Media studies; Political science; Sociology; Art; Business; Art history; Law","score_opus":0.010197332442533694,"score_gpt":0.189254527976408,"score_spread":0.17905719553387428,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2032458532","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50205606,0.019360352,0.00016984115,0.057194207,0.001565253,0.00002245678,0.00015359366,0.00003380985,0.41944444],"genre_scores_gemma":[0.96419716,0.0026670322,0.000040202754,0.0025041348,0.00022476264,0.00000910629,0.00002162345,0.000019608886,0.030316392],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987765,0.000360209,0.000022665541,0.000104666666,0.00022287933,0.0005131461],"domain_scores_gemma":[0.9992385,0.00024581575,0.00009551007,0.000032962635,0.00010556606,0.00028166338],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012837767,0.00023846165,0.00021752865,0.0010390636,0.013548059,0.006830832,0.00036964653,0.0020930804,0.008430499],"category_scores_gemma":[0.0021156168,0.00025655425,0.000115730916,0.0015733832,0.010548882,0.0035102074,0.0028186725,0.0035493847,0.0006024882],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001213248,0.000044513796,0.0064609265,0.00011555396,0.000011390799,0.00093595905,0.7014501,0.000030526295,0.0005946186,0.16202806,0.09349331,0.034713667],"study_design_scores_gemma":[0.0000066408957,0.000034999546,0.02634953,0.00024470247,0.000008129591,0.00021109542,0.2546364,0.00003224125,0.00016452692,0.0035996675,0.7146817,0.000030263685],"about_ca_topic_score_codex":0.23138869,"about_ca_topic_score_gemma":0.39316738,"teacher_disagreement_score":0.23138869,"about_ca_system_score_codex":0.00952201,"about_ca_system_score_gemma":0.0023970031,"threshold_uncertainty_score":0.46008372},"labels":[],"label_agreement":null},{"id":"W2032983709","doi":"10.7202/1025923ar","title":"One of Us? From Bad Taste to Empathy. Otherness in Contemporary Hollywood Movies","year":2014,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hollywood; Comics; Normality; Taste; Empathy; Drama; Movie theater; Aesthetics; Representation (politics); Psychology; Vulnerability (computing); Joke; Sociology; Character (mathematics); Social psychology; Art; Literature; Computer science; Law; Political science","score_opus":0.1857129962707877,"score_gpt":0.3034736152365979,"score_spread":0.1177606189658102,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2032983709","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6953361,0.009376196,0.0022060378,0.030209297,0.00090765866,0.000029447852,0.00012147501,0.000063224536,0.26175052],"genre_scores_gemma":[0.9905104,0.0009034206,0.0001305755,0.0010129213,0.00013775722,0.0000059264944,0.000014012775,0.000026696009,0.0072580986],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9981363,0.0011803723,0.000032424487,0.00016945414,0.00025471844,0.0002266628],"domain_scores_gemma":[0.99843425,0.0008118408,0.00026208226,0.000070498405,0.00011418013,0.00030716884],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016793837,0.00033885168,0.00032485492,0.0010470623,0.005896058,0.0076170275,0.00038346302,0.0015015319,0.0053259144],"category_scores_gemma":[0.0042407997,0.0002511753,0.00018781729,0.00069939345,0.01159163,0.0051371153,0.0032089804,0.002779817,0.00038145698],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014062772,0.00005671284,0.0056809983,0.0002922157,0.000036272064,0.0014439994,0.7991725,0.000056832392,0.0013463732,0.15118206,0.01625333,0.024338081],"study_design_scores_gemma":[0.00002323159,0.00011736959,0.027669307,0.00068188296,0.000030383648,0.0021769993,0.7121829,0.00028880726,0.00058595545,0.022150354,0.23403305,0.00005976483],"about_ca_topic_score_codex":0.003313342,"about_ca_topic_score_gemma":0.0051072245,"teacher_disagreement_score":0.0076170275,"about_ca_system_score_codex":0.0020899076,"about_ca_system_score_gemma":0.000509041,"threshold_uncertainty_score":0.01781696},"labels":[],"label_agreement":null},{"id":"W203319399","doi":"10.15760/honors.13","title":"Instant Canons: Film Festivals, Film Criticism, and the Internet in the Early Twenty-First Century","year":2012,"lang":"en","type":"report","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Criticism; Narrative; Journalism; Media studies; Power (physics); Film studies; History; Art; Visual arts; Humanities; Sociology; Literature; Movie theater","score_opus":0.054130267846661334,"score_gpt":0.24927191645813718,"score_spread":0.19514164861147584,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W203319399","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24967594,0.10594998,0.001624187,0.039527964,0.0047036153,0.00011624318,0.00033333735,0.00016538499,0.5979033],"genre_scores_gemma":[0.90613264,0.025256094,0.00069057907,0.0034098343,0.0025245738,0.000096573545,0.00019263984,0.0001331997,0.061563965],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9964108,0.0019183207,0.00012144294,0.00029661434,0.0008703583,0.00038255015],"domain_scores_gemma":[0.9922455,0.004602049,0.0008026942,0.00039825018,0.00065402937,0.0012975192],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004307782,0.00047390535,0.00031393653,0.0040370403,0.008869176,0.017361788,0.0011636645,0.0022618135,0.0071555865],"category_scores_gemma":[0.0077975984,0.00033469155,0.00023985992,0.0034901924,0.010343874,0.0082753105,0.0040239897,0.0026373975,0.0005448628],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020412313,0.0001568657,0.006861591,0.0011026409,0.000044649034,0.0018259506,0.63844365,0.00011568725,0.0005571485,0.1901458,0.06630038,0.09424154],"study_design_scores_gemma":[0.0000147664805,0.000046374906,0.009205936,0.00097578333,0.000015835385,0.00050173723,0.11865819,0.000057386238,0.0002523216,0.0040104156,0.86623806,0.000023162887],"about_ca_topic_score_codex":0.011856305,"about_ca_topic_score_gemma":0.027791006,"teacher_disagreement_score":0.017361788,"about_ca_system_score_codex":0.008443559,"about_ca_system_score_gemma":0.0029136504,"threshold_uncertainty_score":0.061262608},"labels":[],"label_agreement":null},{"id":"W2033692659","doi":"10.7202/1001147ar","title":"La voix off dans Sunset Boulevard","year":2011,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Boulevard; Humanities; Art; History","score_opus":0.04973472577145175,"score_gpt":0.23293403011555802,"score_spread":0.18319930434410628,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2033692659","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7622028,0.004492465,0.0011759129,0.002538928,0.00051598175,0.000059492395,0.0014303864,0.00010209997,0.22748195],"genre_scores_gemma":[0.8466521,0.0012194444,0.0013760622,0.00015316712,0.00011521616,0.000016630434,0.0007406246,0.0000614713,0.14966516],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997464,0.00004871881,0.000005843099,0.000082331666,0.0000620302,0.000054726635],"domain_scores_gemma":[0.9997501,0.00010288975,0.00002120508,0.000012986448,0.000042723736,0.0000701336],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002885286,0.00021147201,0.00024354381,0.0005555199,0.002457108,0.00195356,0.0002705973,0.00069497345,0.016966833],"category_scores_gemma":[0.00077778875,0.00021330833,0.00014322926,0.0006131185,0.00081250176,0.0004666692,0.0007687726,0.00084127445,0.00079360814],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0021531594,0.00037023472,0.073252484,0.0011248981,0.0001291417,0.023176614,0.19550812,0.00472615,0.035453077,0.117874414,0.13162127,0.41461048],"study_design_scores_gemma":[0.000034801084,0.00015658047,0.3269644,0.0003022635,0.000025408139,0.0018018718,0.031314768,0.0014459259,0.0028350381,0.0024577659,0.63261104,0.000050072376],"about_ca_topic_score_codex":0.12189334,"about_ca_topic_score_gemma":0.2767202,"teacher_disagreement_score":0.12189334,"about_ca_system_score_codex":0.0023567697,"about_ca_system_score_gemma":0.001072436,"threshold_uncertainty_score":0.24236768},"labels":[],"label_agreement":null},{"id":"W2034061696","doi":"10.7202/1009081ar","title":"Intermedia History, 1973, 01:01:34 (2011)","year":2011,"lang":"fr","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Intermedia; Geology; Art; Art history","score_opus":0.06146122585313391,"score_gpt":0.26396236690441194,"score_spread":0.20250114105127803,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2034061696","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01620532,0.0686817,0.0018873245,0.03955829,0.004288353,0.00004792652,0.008342639,0.0003528423,0.8606356],"genre_scores_gemma":[0.19631016,0.029075472,0.0013270456,0.0023214822,0.003801518,0.00010283174,0.002311779,0.00046531486,0.7642843],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99978036,0.000040498762,0.000018230945,0.00005322345,0.00006161946,0.00004611402],"domain_scores_gemma":[0.9996425,0.00012927847,0.000047583933,0.000044902336,0.00009465046,0.000041156905],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043096504,0.0005366875,0.000307187,0.0032001948,0.0030378322,0.007746449,0.00040519988,0.002693298,0.066260934],"category_scores_gemma":[0.0022764716,0.00042778967,0.0003010081,0.00755388,0.001941425,0.004695985,0.0012439709,0.0030189753,0.009408957],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055097666,0.000023206467,0.001809239,0.00021099774,0.000016737402,0.00014727039,0.0018003706,0.00026350908,0.00016865772,0.507909,0.4527606,0.03483527],"study_design_scores_gemma":[0.000014393478,0.000007930804,0.0048506306,0.00023323773,0.000014625162,0.00011953348,0.0005582738,0.00012175049,0.00019870682,0.036234163,0.957636,0.000010739847],"about_ca_topic_score_codex":0.0544552,"about_ca_topic_score_gemma":0.105037495,"teacher_disagreement_score":0.066260934,"about_ca_system_score_codex":0.0066841203,"about_ca_system_score_gemma":0.0024954658,"threshold_uncertainty_score":0.2216649},"labels":[],"label_agreement":null},{"id":"W2035011915","doi":"10.7202/030607ar","title":"Cinéma et intermédialité","year":2000,"lang":"fr","type":"article","venue":"Protée","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.030022724639151357,"score_gpt":0.24543317048363886,"score_spread":0.21541044584448749,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2035011915","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27421117,0.08468674,0.026917927,0.035808165,0.0015833942,0.00009083442,0.0016807424,0.0002851555,0.5747358],"genre_scores_gemma":[0.9299438,0.020134509,0.0034687407,0.00067488226,0.0027013705,0.00006765135,0.00042042573,0.0000860227,0.04250274],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971975,0.0014819908,0.00006462664,0.00041466026,0.0005925491,0.0002485315],"domain_scores_gemma":[0.9880199,0.008910866,0.0013487452,0.0005865724,0.0006695903,0.00046437792],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024592772,0.0010205942,0.0008334125,0.0039812694,0.002404432,0.013160705,0.00054247625,0.0025362053,0.0346177],"category_scores_gemma":[0.014971719,0.00045233397,0.0005531737,0.005452661,0.0051966254,0.00745573,0.0013174879,0.0059049022,0.0020837788],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015432946,0.0002045216,0.0068912054,0.00029466252,0.00006593728,0.00028506527,0.0026495585,0.0010078567,0.0005425931,0.91439646,0.0087162815,0.06479165],"study_design_scores_gemma":[0.00016740435,0.00023309607,0.061912645,0.0011633245,0.000093987845,0.0035487374,0.0069915084,0.00573244,0.0019792456,0.2546944,0.6633451,0.00013807218],"about_ca_topic_score_codex":0.017018909,"about_ca_topic_score_gemma":0.0064159897,"teacher_disagreement_score":0.0346177,"about_ca_system_score_codex":0.0038461192,"about_ca_system_score_gemma":0.0010901314,"threshold_uncertainty_score":0.11580771},"labels":[],"label_agreement":null},{"id":"W2035639190","doi":"10.1353/esc.2013.0035","title":"Cinematographic Imperfection: The Art of Life in Film (On John Huston’s The Misfits , 1961)","year":2013,"lang":"en","type":"article","venue":"English studies in Canada","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Miller; Movie theater; Filmography; Art; Drama; Performance art; Hollywood; Art history; Spectacle; Biography; Gable; Comics; Still life; History; Visual arts; Painting; Literature; Law; Political science","score_opus":0.02391429379067847,"score_gpt":0.2098758025822295,"score_spread":0.18596150879155102,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2035639190","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026007187,0.3070836,0.0014589478,0.20927712,0.015582173,0.000056643068,0.00015416768,0.00007649167,0.4403037],"genre_scores_gemma":[0.5346682,0.13255894,0.0013835256,0.025387485,0.01159118,0.00012347964,0.000107877655,0.00019292846,0.29398644],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99877876,0.00070922315,0.000033517994,0.00012493605,0.00022833135,0.00012510201],"domain_scores_gemma":[0.9991054,0.0004122392,0.00011021666,0.000048918097,0.00013990025,0.00018329415],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012953264,0.000529947,0.0002171072,0.0011152272,0.0074163894,0.007954571,0.0005194343,0.0018295036,0.008768981],"category_scores_gemma":[0.002858227,0.00027921493,0.00013300998,0.0010946216,0.012263457,0.0071663023,0.002810924,0.0036118221,0.0010803111],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048413665,0.000024206083,0.0005472806,0.00022914702,0.000008004151,0.000405331,0.15004143,0.00007231552,0.00050579134,0.25785878,0.5491809,0.041078296],"study_design_scores_gemma":[0.0000043301166,0.000011560408,0.0011328765,0.00032762517,0.0000029364826,0.00021692383,0.022214113,0.000032500324,0.00013073208,0.005311195,0.9706063,0.000008790175],"about_ca_topic_score_codex":0.03469403,"about_ca_topic_score_gemma":0.056160863,"teacher_disagreement_score":0.03469403,"about_ca_system_score_codex":0.006903531,"about_ca_system_score_gemma":0.001952716,"threshold_uncertainty_score":0.06898415},"labels":[],"label_agreement":null},{"id":"W2036947525","doi":"10.7202/1027442ar","title":"Retrograde Technicity and the Cinematic Avant-Garde: Towards a New Dispositif of Production1","year":2014,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Filmmaking; Context (archaeology); Point (geometry); Production (economics); Event (particle physics); Moment (physics); Visual arts; Art; Aesthetics; Movie theater; History; Physics; Economics","score_opus":0.07367452103791754,"score_gpt":0.27787075362609387,"score_spread":0.20419623258817632,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2036947525","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1740297,0.0082524335,0.20477034,0.011970941,0.00034145088,0.00011375537,0.000086616245,0.00023085046,0.60020393],"genre_scores_gemma":[0.98149496,0.0011569274,0.009693933,0.00018323328,0.00009482286,0.0000416874,0.000018818278,0.00004998787,0.007265535],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99736834,0.0017219956,0.000076374155,0.0002916081,0.00033502164,0.00020666716],"domain_scores_gemma":[0.9931318,0.0044692713,0.00063177035,0.0011164008,0.00033839812,0.00031237773],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005515503,0.0004738033,0.00042439523,0.0019452984,0.002741874,0.010259413,0.0011166752,0.0020849928,0.0039649433],"category_scores_gemma":[0.007782443,0.00042727878,0.0004010704,0.0010854112,0.039359737,0.008337442,0.005152567,0.003002467,0.00040458562],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009815208,0.0000061788433,0.00024168908,0.000021009057,0.0000013576457,0.000057952904,0.004675278,0.00006846296,0.00013025657,0.9919933,0.0001614432,0.0026331968],"study_design_scores_gemma":[0.000026638612,0.00009380423,0.0014860277,0.00032215836,0.000015065909,0.0006991758,0.010407302,0.0018020326,0.0012925703,0.8987474,0.08507695,0.00003075096],"about_ca_topic_score_codex":0.0009583873,"about_ca_topic_score_gemma":0.0008357896,"teacher_disagreement_score":0.010259413,"about_ca_system_score_codex":0.0027539926,"about_ca_system_score_gemma":0.0014968395,"threshold_uncertainty_score":0.029169083},"labels":[],"label_agreement":null},{"id":"W2037126400","doi":"10.1353/abs.2011.0004","title":"&lt;i&gt;Whose Lives Are They Anyway? The Biopic as Contemporary Film Genre&lt;/i&gt; (review)","year":2011,"lang":"en","type":"article","venue":"a/b Auto/Biography Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Biography; Art; Sociology; Art history; Media studies","score_opus":0.07359175032493298,"score_gpt":0.24692839932327998,"score_spread":0.173336648998347,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2037126400","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00041523747,0.9739034,0.0001055216,0.010368229,0.0011546118,0.000005680702,0.000091325855,0.000005732638,0.013950214],"genre_scores_gemma":[0.0062595843,0.9840561,0.00019013778,0.0026744057,0.001260238,0.000015217385,0.00008971782,0.000007948296,0.0054465574],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99969673,0.00008967719,0.00002895421,0.00004926959,0.0000920722,0.000043254855],"domain_scores_gemma":[0.9987446,0.00061942614,0.00015481282,0.00004595905,0.0003345906,0.00010059376],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008722878,0.00036261394,0.0005820148,0.0022304123,0.0007276911,0.004481874,0.00051726605,0.0014398751,0.0138585],"category_scores_gemma":[0.0024581114,0.00020378108,0.00025581344,0.003706064,0.0020512794,0.004617628,0.0009859796,0.0013720238,0.0035233665],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037063397,0.000019566496,0.00064704503,0.0068752174,0.000045454224,0.000116880736,0.0012747063,0.000046562007,0.00042663043,0.01922479,0.2466192,0.7246669],"study_design_scores_gemma":[0.0000062752506,0.000019793853,0.0028721553,0.007461465,0.00005008334,0.00027250065,0.0021310372,0.00002184466,0.00018040401,0.0028693161,0.98410416,0.000010944702],"about_ca_topic_score_codex":0.011454636,"about_ca_topic_score_gemma":0.019812278,"teacher_disagreement_score":0.0138585,"about_ca_system_score_codex":0.0014888934,"about_ca_system_score_gemma":0.002919047,"threshold_uncertainty_score":0.046361268},"labels":[],"label_agreement":null},{"id":"W2038681020","doi":"10.3138/jrpc.22.3.001","title":"The Horror, The Horror: What Kind of (Horror) Movie is the Apocalypse?","year":2010,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Possession (linguistics); Vampire; Fantasy; Art; Apostasy; Trope (literature); Literature; Order (exchange); Feature (linguistics); Solipsism; Feature film; Philosophy; Movie theater; Theology","score_opus":0.01460835546885,"score_gpt":0.23094395371799653,"score_spread":0.21633559824914653,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2038681020","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16114451,0.028166916,0.004788814,0.25753185,0.011581133,0.00006844904,0.0007289305,0.00014206619,0.53584737],"genre_scores_gemma":[0.9139145,0.010789163,0.0014049497,0.013718825,0.0044721547,0.000029763125,0.00020649146,0.00017561477,0.05528854],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99957365,0.0002011055,0.000014144635,0.00006418989,0.00008080099,0.00006608541],"domain_scores_gemma":[0.9986871,0.0003934863,0.00020341003,0.00009339098,0.00025019076,0.00037230208],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00062984775,0.0002683229,0.00022195515,0.00046063686,0.0034633114,0.006997067,0.00032717918,0.001393318,0.006801628],"category_scores_gemma":[0.0046045077,0.00016662086,0.00014041945,0.00063275924,0.0050352938,0.005170762,0.0008644661,0.0021301585,0.00090386654],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000469597,0.00011062838,0.014187234,0.0007761323,0.00006954631,0.0018761778,0.15015106,0.000111847396,0.003969803,0.2896894,0.42276096,0.11582773],"study_design_scores_gemma":[0.000021483895,0.000090607704,0.020583753,0.0006592118,0.000027874998,0.0017053039,0.096755244,0.00022705553,0.0012134732,0.016961122,0.8617039,0.00005102339],"about_ca_topic_score_codex":0.005518156,"about_ca_topic_score_gemma":0.009659778,"teacher_disagreement_score":0.006997067,"about_ca_system_score_codex":0.0014629631,"about_ca_system_score_gemma":0.0004852911,"threshold_uncertainty_score":0.022753716},"labels":[],"label_agreement":null},{"id":"W2040795319","doi":"10.1177/0270467607306936","title":"The Speed Death of the Eye: The Ideology of Hollywood Film Special Effects","year":2007,"lang":"en","type":"article","venue":"Bulletin of Science Technology & Society","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Action (physics); Pace; Ideology; Hollywood; Power (physics); LEAPS; Special effects; Aesthetics; Sociology; History; Media studies; Computer science; Law; Politics; Computer graphics (images); Art; Political science; Art history","score_opus":0.010806619949274473,"score_gpt":0.22479312817905223,"score_spread":0.21398650822977774,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2040795319","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14667052,0.0098222075,0.029328484,0.055254154,0.0011801433,0.000039543498,0.00006170775,0.00025318592,0.7573901],"genre_scores_gemma":[0.9666404,0.002058773,0.0028387748,0.0024161362,0.00039997938,0.000019071413,0.0000095826335,0.000074703144,0.025542568],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9990515,0.0004536926,0.000026219115,0.00013357747,0.00021340082,0.000121579025],"domain_scores_gemma":[0.99736184,0.0017269346,0.00024391718,0.00024501176,0.00023877822,0.00018350482],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0016200206,0.000248478,0.0001708003,0.0010577393,0.0023560042,0.006778696,0.0004937184,0.001251334,0.0036986838],"category_scores_gemma":[0.004353314,0.00023138177,0.00014236532,0.00033054609,0.016353186,0.0054247202,0.002350786,0.002466163,0.00038074725],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057272864,0.000012733002,0.00050752534,0.000046412348,0.000004134688,0.000097969285,0.011225985,0.00010841223,0.0004970878,0.9650536,0.0061925086,0.016196305],"study_design_scores_gemma":[0.000061472696,0.000115250645,0.00391592,0.00034734924,0.000027965045,0.00043086623,0.010386073,0.0017788731,0.0026813566,0.50309163,0.477102,0.00006124501],"about_ca_topic_score_codex":0.0023597863,"about_ca_topic_score_gemma":0.00204325,"teacher_disagreement_score":0.997644,"about_ca_system_score_codex":0.0023564803,"about_ca_system_score_gemma":0.0005802316,"threshold_uncertainty_score":0.017097592},"labels":[],"label_agreement":null},{"id":"W2043674512","doi":"10.1525/fq.2006.60.2.68","title":"Contemporary American Independent Film: From the Margins to the Mainstream","year":2006,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":53,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Mainstream; Citation; Movie theater; Special collections; Download; Index (typography); Library science; Art; Media studies; World Wide Web; Computer science; History; Art history; Sociology; Political science; Law","score_opus":0.018271106244793656,"score_gpt":0.20274463539941273,"score_spread":0.18447352915461906,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2043674512","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0032986163,0.6835277,0.00019897906,0.025148323,0.0062273326,0.000019986024,0.000048810485,0.000023178756,0.28150707],"genre_scores_gemma":[0.0918253,0.81089747,0.00020142554,0.004425859,0.009890855,0.000032891036,0.00012112249,0.00004403398,0.082561046],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993944,0.00016452775,0.000022385604,0.00008020225,0.0002620263,0.000076453216],"domain_scores_gemma":[0.9991937,0.00020907466,0.000062061095,0.000032463973,0.00034071069,0.00016195852],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00073013274,0.0005002507,0.00044784383,0.0015866281,0.0022517615,0.007730003,0.0006460918,0.0016420722,0.03328746],"category_scores_gemma":[0.0022436632,0.00022910681,0.00015658351,0.002944432,0.0024139683,0.0054480033,0.0014510812,0.0021866935,0.004068499],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004560867,0.00008501802,0.0006199895,0.002166958,0.000021951524,0.0001840034,0.009224379,0.000049024464,0.00030201385,0.053393394,0.59967315,0.33423454],"study_design_scores_gemma":[0.000004304235,0.00001306643,0.0023588808,0.0017547811,0.000013784012,0.00017331081,0.0057712807,0.000028073831,0.00006392777,0.003195086,0.9866171,0.0000065138265],"about_ca_topic_score_codex":0.0132724885,"about_ca_topic_score_gemma":0.014316714,"teacher_disagreement_score":0.03328746,"about_ca_system_score_codex":0.002881999,"about_ca_system_score_gemma":0.002506456,"threshold_uncertainty_score":0.11135769},"labels":[],"label_agreement":null},{"id":"W2043780997","doi":"10.7202/500813ar","title":"Imitation et récupération d'Eisenstein","year":2005,"lang":"fr","type":"article","venue":"Études littéraires","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Reprise","score_opus":0.035412496235740394,"score_gpt":0.2500117259964681,"score_spread":0.2145992297607277,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2043780997","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2825333,0.0127232,0.26069963,0.02443811,0.00093781715,0.00009965038,0.00016493221,0.00034426758,0.41805908],"genre_scores_gemma":[0.9318517,0.002363361,0.011369665,0.0004501331,0.0002947083,0.000061783176,0.000034216428,0.000069962385,0.053504437],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99868876,0.00057352206,0.000066493885,0.00023726872,0.00022915583,0.00020468222],"domain_scores_gemma":[0.9952276,0.002877122,0.00063728547,0.0006810426,0.0003701015,0.00020672647],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003439225,0.0005451662,0.00075025926,0.0008529226,0.0008711975,0.0022824653,0.00083991163,0.0019402235,0.0066299425],"category_scores_gemma":[0.02006178,0.00020911505,0.00058715866,0.0006460318,0.004541938,0.0033273867,0.0016874325,0.0018443931,0.00085711636],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016099299,0.0000102722815,0.000550365,0.000022233731,0.0000071967975,0.000103452934,0.00030306022,0.002812644,0.00017059514,0.9886558,0.0012511319,0.006097173],"study_design_scores_gemma":[0.000016813481,0.000020598756,0.00067528005,0.000043273038,0.000010406548,0.0001268407,0.00011083371,0.017347582,0.00039360873,0.97077125,0.010464734,0.000018828283],"about_ca_topic_score_codex":0.003535965,"about_ca_topic_score_gemma":0.0019748032,"teacher_disagreement_score":0.0066299425,"about_ca_system_score_codex":0.002085329,"about_ca_system_score_gemma":0.0010842697,"threshold_uncertainty_score":0.022179365},"labels":[],"label_agreement":null},{"id":"W2044196738","doi":"10.1353/crv.2010.0013","title":"Derelicte and the Oppressed: &lt;i&gt;Zoolander&lt;/i&gt;, Hollywood, and Representing Activism","year":2010,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hollywood; Literature; Art; Art history","score_opus":0.024105469521039768,"score_gpt":0.2532102388799197,"score_spread":0.22910476935887997,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2044196738","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14738265,0.038996443,0.0024746312,0.26036426,0.00070350646,0.000025614909,0.00009732134,0.00005212024,0.54990345],"genre_scores_gemma":[0.9437188,0.011267146,0.00050763553,0.0041966178,0.0003305324,0.00002603121,0.000024963449,0.00004855957,0.039879672],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9984798,0.0010158079,0.000019425683,0.00009928526,0.00020338857,0.00018228503],"domain_scores_gemma":[0.9981061,0.0011979698,0.00026471942,0.00008702065,0.0001394178,0.00020472813],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017235171,0.00024606715,0.00015957393,0.0015264642,0.0044152774,0.010803309,0.0005753425,0.0015594831,0.009730139],"category_scores_gemma":[0.0033386804,0.00014529622,0.00009349602,0.002123452,0.014568784,0.0071067065,0.0023507948,0.0019356599,0.00037808061],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031370782,0.000048240578,0.0015292005,0.00011845907,0.000007304084,0.00014600858,0.07838735,0.0001200159,0.00017960869,0.8255255,0.05782291,0.036083974],"study_design_scores_gemma":[0.000016318598,0.000016352466,0.0045758174,0.0005660468,0.000014056633,0.00012720571,0.1525989,0.00034910202,0.00042361405,0.11836013,0.7229284,0.000024130504],"about_ca_topic_score_codex":0.037188917,"about_ca_topic_score_gemma":0.057826277,"teacher_disagreement_score":0.037188917,"about_ca_system_score_codex":0.0048426213,"about_ca_system_score_gemma":0.0024154799,"threshold_uncertainty_score":0.073944926},"labels":[],"label_agreement":null},{"id":"W2045774897","doi":"10.1353/mos.2013.0027","title":"Blinding the Screen: Visualizing Disability in Le scaphandre et le papillon","year":2013,"lang":"en","type":"article","venue":"Mosaic","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":32,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Blindness; Blinding; Perspective (graphical); Representation (politics); Visual impairment; Disability studies; Art; Sociology; Aesthetics; Humanities; Psychology; Visual arts; Gender studies; Political science; Optometry; Politics; Medicine","score_opus":0.03733384622661335,"score_gpt":0.25185796358797274,"score_spread":0.2145241173613594,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2045774897","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.54488146,0.0044948193,0.01300483,0.033123318,0.00067267445,0.000050364793,0.00017626146,0.0001136484,0.4034826],"genre_scores_gemma":[0.9836263,0.0011540476,0.0013834644,0.0005410197,0.000076477874,0.000010513676,0.000017074755,0.00003287453,0.013158268],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994684,0.0003238867,0.000007934426,0.000041046893,0.00007289386,0.00008579565],"domain_scores_gemma":[0.99903774,0.000705274,0.00007340606,0.00003204987,0.00005695863,0.00009472238],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010139602,0.00026736502,0.00014375783,0.0009250252,0.0018511668,0.004827788,0.0003440777,0.0010123743,0.0040625157],"category_scores_gemma":[0.0035670775,0.00011980952,0.00015133416,0.0004394272,0.005921386,0.0038197634,0.002395126,0.0012003524,0.0002461953],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010809475,0.00002905288,0.00365151,0.00015107616,0.0000110431,0.0020278294,0.60060036,0.0003426959,0.0024262487,0.34916964,0.017817555,0.023664871],"study_design_scores_gemma":[0.000022080501,0.0000753006,0.009620877,0.0005988694,0.0000224109,0.0038450218,0.38251105,0.0012730103,0.0013292006,0.05988218,0.5407638,0.000056138473],"about_ca_topic_score_codex":0.008922315,"about_ca_topic_score_gemma":0.010980856,"teacher_disagreement_score":0.008922315,"about_ca_system_score_codex":0.0016904644,"about_ca_system_score_gemma":0.0006339635,"threshold_uncertainty_score":0.017740726},"labels":[],"label_agreement":null},{"id":"W204922064","doi":"","title":"Sexe, drogue et Hollywood. FLEMING, Charles. Box-office — La biographie du producteur le plus déjanté d’Hollywood, Paris, Éditions Sonatine, 2009, 348 p.FLEMING, Charles. Box-office — La biographie du producteur le plus déjanté d’Hollywood, Paris, Éditions Sonatine, 2009, 348 p.","year":2009,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hollywood; Humanities; Art; Art history","score_opus":0.011472468710892384,"score_gpt":0.22109143888285004,"score_spread":0.20961897017195766,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W204922064","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00046564193,0.8987051,0.00038153294,0.010335802,0.006592505,0.000011111964,0.00071914465,0.000091415204,0.08269769],"genre_scores_gemma":[0.014570016,0.4897239,0.00074933097,0.003974427,0.0046558976,0.00005085954,0.0010477947,0.00027139593,0.48495635],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997408,0.000048005055,0.000022362543,0.00006192382,0.00010008643,0.000026764794],"domain_scores_gemma":[0.9995735,0.00018722886,0.00005186905,0.00002596941,0.00010948607,0.000051921015],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004136604,0.0015531863,0.0007245499,0.0025835473,0.0011366528,0.002691019,0.0007405476,0.0016290644,0.10272307],"category_scores_gemma":[0.0014942596,0.0006463798,0.0003581064,0.0043634926,0.0009193119,0.005623091,0.0010573993,0.0024151946,0.034250326],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035657773,0.000010251424,0.0001812311,0.00037244806,0.0000066667985,0.000053202584,0.00061716634,0.000036839705,0.0001435377,0.0067868046,0.8797529,0.11200338],"study_design_scores_gemma":[0.0000026840492,0.0000041893704,0.0009001971,0.00032926616,0.000002230307,0.0001401085,0.00029373198,0.000013326048,0.000041283532,0.0009118917,0.9973573,0.000003659352],"about_ca_topic_score_codex":0.022810865,"about_ca_topic_score_gemma":0.052867256,"teacher_disagreement_score":0.10272307,"about_ca_system_score_codex":0.0015816151,"about_ca_system_score_gemma":0.0009163395,"threshold_uncertainty_score":0.3436429},"labels":[],"label_agreement":null},{"id":"W2049859445","doi":"10.1353/scu.2006.0015","title":"Fat Tuesday at Dixie's: Jack Robinson's New Orleans Mardi Gras Photographs, 1952-1955","year":2006,"lang":"en","type":"article","venue":"Southern cultures","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Memphis; Art history; Club; Art; Courtesy; Quarter (Canadian coin); George (robot); Convention; Performance art; History; Law; Archaeology; Political science","score_opus":0.014127783113550571,"score_gpt":0.20228446024648813,"score_spread":0.18815667713293757,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2049859445","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011352747,0.009740408,0.00034163133,0.007235147,0.0035523751,0.00004478041,0.0018939613,0.00022056451,0.9656183],"genre_scores_gemma":[0.025602192,0.0027238894,0.00032499473,0.00037195574,0.00021138655,0.000011920325,0.00033527004,0.00007116061,0.9703472],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998863,0.0000132734685,0.0000021563333,0.000020515614,0.000051281288,0.000026500104],"domain_scores_gemma":[0.99986804,0.000012797135,0.000009160767,0.000007556959,0.000054030723,0.00004838006],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00026667002,0.00045212897,0.00013752763,0.0010192352,0.0028855298,0.0018987735,0.00033797152,0.00035453468,0.16317034],"category_scores_gemma":[0.0004977401,0.00022102827,0.000116010015,0.00069083244,0.00052388554,0.0009141645,0.00086426554,0.0010229368,0.02394626],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000316341,0.000012590583,0.00043861568,0.00005160293,0.0000020827597,0.00015792243,0.002376635,0.000028550181,0.0004568482,0.0044535333,0.970979,0.021011],"study_design_scores_gemma":[7.7372204e-7,0.0000025536422,0.0012750543,0.00003586063,8.6519566e-7,0.000043238484,0.0010835063,0.000006984782,0.00007972046,0.0000563642,0.9974131,0.0000019986715],"about_ca_topic_score_codex":0.1272509,"about_ca_topic_score_gemma":0.5128133,"teacher_disagreement_score":0.16317034,"about_ca_system_score_codex":0.0030443117,"about_ca_system_score_gemma":0.0009835571,"threshold_uncertainty_score":0.54585916},"labels":[],"label_agreement":null},{"id":"W2051848268","doi":"10.1353/mov.2004.0004","title":"Film Festivals, Programming, and the Building of a National Cinema","year":2004,"lang":"en","type":"article","venue":"The Moving Image The Journal of the Association of Moving Image Archivists","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":80,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Film festival; Filmmaking; National cinema; Indigenous; Reputation; Media studies; Film studies; Advertising; Art; Visual arts; Political science; Sociology; Social science; Business","score_opus":0.011494571773007205,"score_gpt":0.23192288945071532,"score_spread":0.22042831767770812,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2051848268","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005885429,0.004224192,0.001354324,0.02571277,0.0032835056,0.000053995656,0.00010551238,0.00030370196,0.9590765],"genre_scores_gemma":[0.3171045,0.015050608,0.009128159,0.018572595,0.0058609447,0.00037135195,0.00053876924,0.0010875178,0.6322856],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910104,0.0004172503,0.000026413316,0.00010032389,0.00019083919,0.00016420316],"domain_scores_gemma":[0.9983941,0.00035213394,0.00011714985,0.00014429617,0.00023072454,0.0007615867],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013986329,0.00040285662,0.00019569391,0.0008433665,0.009826135,0.0095562665,0.00091429695,0.0011941207,0.04914995],"category_scores_gemma":[0.0024378758,0.00025394105,0.00019856571,0.00067670294,0.004416852,0.008314544,0.005345626,0.0026514323,0.0054539875],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029963237,0.00006480496,0.0006941921,0.00020300793,0.0000064489454,0.0003016261,0.022130253,0.000070144815,0.00046626257,0.23442696,0.67150944,0.070096925],"study_design_scores_gemma":[0.000003146234,0.0000112852595,0.00097038865,0.00014392589,0.0000023373623,0.00010025957,0.008094335,0.00003173734,0.00009781907,0.004392067,0.986147,0.000005689275],"about_ca_topic_score_codex":0.007577668,"about_ca_topic_score_gemma":0.030050421,"teacher_disagreement_score":0.04914995,"about_ca_system_score_codex":0.0024441143,"about_ca_system_score_gemma":0.0023223194,"threshold_uncertainty_score":0.16442293},"labels":[],"label_agreement":null},{"id":"W2052205834","doi":"10.1353/gpq.2014.0082","title":"Native American Film outside the Margins of Filmmaking","year":2014,"lang":"en","type":"article","venue":"Great plains quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Navajo; Hollywood; Storytelling; Native american; Mohawk; Narrative; Art history; History; Hopi; Movie theater; Film industry; Cheyenne; White (mutation); Art; Media studies; Anthropology; Ethnology; Archaeology; Sociology; Literature","score_opus":0.021295279329244545,"score_gpt":0.22040351816629122,"score_spread":0.19910823883704667,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2052205834","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022598453,0.017093167,0.0005225941,0.019958746,0.0043131905,0.00001919572,0.00007554563,0.00011674398,0.9353024],"genre_scores_gemma":[0.49887887,0.021551317,0.00077554816,0.007030483,0.004097805,0.00004409569,0.00013623541,0.0002222293,0.46726346],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99925464,0.0003267265,0.00001419411,0.00009166518,0.00018207193,0.00013072095],"domain_scores_gemma":[0.9993413,0.00012821151,0.000037101054,0.00006621488,0.00019870482,0.00022851487],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00070914783,0.00032274344,0.00020177725,0.0005825304,0.008427677,0.008324997,0.00032161587,0.0008820339,0.039495915],"category_scores_gemma":[0.001820651,0.0001751572,0.00015567642,0.0007253737,0.0030428895,0.004835326,0.0034971747,0.0022374485,0.0036995802],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011460976,0.00014426181,0.0018350175,0.0003224053,0.000014669181,0.0007292891,0.11139241,0.00006942277,0.003305231,0.092753276,0.6197126,0.16960682],"study_design_scores_gemma":[0.0000022108113,0.000008076037,0.002327501,0.0002048275,0.0000044052726,0.00015955482,0.027990315,0.00002969738,0.00019904488,0.002141743,0.9669262,0.000006446859],"about_ca_topic_score_codex":0.021702623,"about_ca_topic_score_gemma":0.042333297,"teacher_disagreement_score":0.039495915,"about_ca_system_score_codex":0.0014471848,"about_ca_system_score_gemma":0.0016854393,"threshold_uncertainty_score":0.13212699},"labels":[],"label_agreement":null},{"id":"W2052344187","doi":"10.1080/10509200590461837","title":"Memories, Dreams, Screens","year":2005,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":21,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film studies; Criticism; Art; Art history; The arts; Visual arts; Movie theater; Media studies; Sociology; Literature","score_opus":0.02238079200879276,"score_gpt":0.24253770049097437,"score_spread":0.2201569084821816,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2052344187","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016460173,0.0044761808,0.0015468594,0.0068359068,0.0028093767,0.000062612206,0.0045730555,0.0016291282,0.96160674],"genre_scores_gemma":[0.15341043,0.0062712943,0.0029429637,0.004343599,0.0010414441,0.00013121161,0.0030164586,0.0007754312,0.8280672],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998646,0.000017367714,0.0000065831073,0.00002516579,0.000060054972,0.000026219841],"domain_scores_gemma":[0.9994824,0.00008821047,0.000036424703,0.000093638344,0.000112851,0.0001864156],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00020897872,0.0003970134,0.00023062785,0.00071221247,0.0012205,0.0033135172,0.00039341615,0.0006125707,0.31624544],"category_scores_gemma":[0.0029478285,0.00017238375,0.00025553993,0.0005685483,0.0003921786,0.0037407158,0.0013028199,0.0011685748,0.11447898],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014844253,0.00004308962,0.0016141037,0.00016947431,0.000011290407,0.00022350349,0.0017804094,0.000036623856,0.0007477803,0.008549017,0.81277466,0.17390168],"study_design_scores_gemma":[0.000013965229,0.000030131974,0.0041911313,0.0001292167,0.000010644763,0.00053485896,0.0029715234,0.000050346724,0.00040078096,0.0049588536,0.9866911,0.000017376778],"about_ca_topic_score_codex":0.0015093165,"about_ca_topic_score_gemma":0.003290384,"teacher_disagreement_score":0.31624544,"about_ca_system_score_codex":0.0003293175,"about_ca_system_score_gemma":0.00026251876,"threshold_uncertainty_score":0.9752929},"labels":[],"label_agreement":null},{"id":"W2052437673","doi":"10.7202/1001076ar","title":"Reading Positions, the Cow Bell Effect, and the Sounds of Silent Film","year":2011,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Reading (process); Control (management); Linguistics; Reception theory; Aesthetics; Psychology; History; Computer science; Art; Philosophy; Artificial intelligence","score_opus":0.026024406079657603,"score_gpt":0.21200729522289627,"score_spread":0.18598288914323866,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2052437673","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38960883,0.0025957762,0.009159938,0.011839526,0.00052685593,0.00004785588,0.00020624933,0.00008931896,0.58592564],"genre_scores_gemma":[0.9861995,0.0004865436,0.00068267155,0.00041550706,0.00030196787,0.00001331952,0.000047498394,0.00005358376,0.011799349],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983423,0.0007378125,0.000063318235,0.00028290524,0.0003981295,0.00017564294],"domain_scores_gemma":[0.97491735,0.019085795,0.0029274751,0.0012406792,0.00092886254,0.0008998728],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026624217,0.0004493244,0.00032413442,0.0012374582,0.0020395098,0.005714145,0.0011712963,0.0016902037,0.025265887],"category_scores_gemma":[0.024865594,0.00031463438,0.00021813973,0.0013256504,0.008635662,0.0040608915,0.0024238557,0.0024264029,0.0010672555],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011860308,0.00034785393,0.036304206,0.00052164827,0.000112321926,0.0016671283,0.12205839,0.0008376834,0.0044136583,0.72589415,0.015019649,0.091637276],"study_design_scores_gemma":[0.00031048214,0.0010261171,0.27055904,0.0006633657,0.0003343648,0.0017190438,0.1310084,0.0027187308,0.0043255435,0.4559375,0.13117707,0.00022032612],"about_ca_topic_score_codex":0.0032310805,"about_ca_topic_score_gemma":0.0038753983,"teacher_disagreement_score":0.025265887,"about_ca_system_score_codex":0.0011912913,"about_ca_system_score_gemma":0.0005507512,"threshold_uncertainty_score":0.08452284},"labels":[],"label_agreement":null},{"id":"W2052706347","doi":"10.1080/0885430042000338480","title":"Left docudrama 2004","year":2005,"lang":"en","type":"article","venue":"Socialism and Democracy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mainstream; Media studies; Politics; Sociology; Corporation; Sign (mathematics); Subject (documents); Perspective (graphical); Aesthetics; Political science; Law; Visual arts; Art","score_opus":0.018741763879245667,"score_gpt":0.23591882964615912,"score_spread":0.21717706576691345,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2052706347","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0078066154,0.01364883,0.0006955499,0.01958947,0.021421384,0.00009122471,0.0033995775,0.0005972382,0.9327502],"genre_scores_gemma":[0.022899304,0.0021640947,0.00037340404,0.0019647186,0.0027492577,0.000072713425,0.0012656985,0.0002841358,0.96822673],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990068,0.00015226177,0.00003643585,0.00016233642,0.0004164517,0.00022576301],"domain_scores_gemma":[0.998899,0.00027525195,0.0000941657,0.00014387791,0.00031860493,0.00026902938],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008284994,0.00065177464,0.00046758246,0.0025270262,0.00454571,0.009242151,0.0008098979,0.0016629512,0.16133955],"category_scores_gemma":[0.0028027869,0.00033740944,0.00036010894,0.0014271961,0.0011819274,0.0019466191,0.0027755573,0.0026791503,0.04000934],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024777823,0.000047789825,0.0004743477,0.00041110374,0.000009490477,0.000504564,0.0025751963,0.000057257508,0.0014044394,0.046541687,0.86582106,0.08190526],"study_design_scores_gemma":[0.000003255463,0.0000068323675,0.00029651733,0.000074707816,0.0000011957576,0.000037875066,0.00017725035,0.00001293653,0.00017893602,0.00031388592,0.99889404,0.0000025185793],"about_ca_topic_score_codex":0.010770699,"about_ca_topic_score_gemma":0.026161788,"teacher_disagreement_score":0.16133955,"about_ca_system_score_codex":0.0053990646,"about_ca_system_score_gemma":0.0020895188,"threshold_uncertainty_score":0.5397346},"labels":[],"label_agreement":null},{"id":"W2052757915","doi":"10.5195/cinej.2013.72","title":"Nation, Genre and Female Performance in Canadian Cinema","year":2013,"lang":"en","type":"article","venue":"CINEJ Cinema Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Theme (computing); Dysfunctional family; Persona; Identity (music); Space (punctuation); Gender studies; Sociology; Film genre; Aesthetics; Art; Literature; Psychology; Linguistics; Humanities; Philosophy; Computer science","score_opus":0.024897954988322892,"score_gpt":0.201116308458981,"score_spread":0.17621835347065812,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2052757915","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8412617,0.00094527006,0.00035407118,0.0015970635,0.00007763913,0.000025483596,0.0003845795,0.000024052395,0.15533021],"genre_scores_gemma":[0.9915848,0.00037570554,0.00016749138,0.000056988087,0.0000187637,0.0000048557954,0.00017018952,0.000018713432,0.0076024206],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.9987845,0.00016294733,0.00003314257,0.00010107697,0.00061736425,0.0003010699],"domain_scores_gemma":[0.9968071,0.0003884979,0.00045019484,0.00008639192,0.001212461,0.0010553334],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012011033,0.00040235306,0.00026688722,0.0031177772,0.0053437604,0.0048319935,0.00071232446,0.00046711136,0.010567755],"category_scores_gemma":[0.008284332,0.00013601028,0.00017780124,0.00256016,0.002486046,0.0010969108,0.0017315479,0.00081603986,0.00044866916],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005613535,0.00021589785,0.5850454,0.00019750607,0.00008492614,0.001140467,0.1951197,0.00084911444,0.003785683,0.05731493,0.02106921,0.13461584],"study_design_scores_gemma":[0.000009539666,0.000063270345,0.85756445,0.00016966322,0.000035263238,0.00032752007,0.08434804,0.0007351913,0.00052483054,0.0014478513,0.054697234,0.000077167424],"about_ca_topic_score_codex":0.8660085,"about_ca_topic_score_gemma":0.9285233,"teacher_disagreement_score":0.13399148,"about_ca_system_score_codex":0.016776584,"about_ca_system_score_gemma":0.00799559,"threshold_uncertainty_score":0.2695611},"labels":[],"label_agreement":null},{"id":"W2052988395","doi":"10.1093/screen/hjr013","title":"The Film Festivals dossier: Introduction","year":2011,"lang":"en","type":"article","venue":"Screen","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; Film festival; Movie theater; Exhibition; National cinema; Film studies; Politics; Media studies; Historiography; Political science; Film industry; Sociology; Art; Visual arts; Law","score_opus":0.05127657430914955,"score_gpt":0.21380282291297464,"score_spread":0.16252624860382509,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2052988395","genre_codex":"other","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020013139,0.052580595,0.0016191499,0.090278365,0.02942998,0.0004450582,0.0035025543,0.0004319953,0.80169916],"genre_scores_gemma":[0.25520262,0.043938417,0.0033280177,0.022203283,0.020206172,0.0006588564,0.0037860386,0.0006160445,0.65006065],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988965,0.0003794973,0.00007313756,0.00016883605,0.0003168059,0.00016527767],"domain_scores_gemma":[0.99855596,0.0004138062,0.000121370824,0.00012699068,0.00029359825,0.00048825218],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011965972,0.00050509826,0.0002638328,0.001147582,0.004624774,0.0063354177,0.0011308533,0.0026732401,0.046676908],"category_scores_gemma":[0.003167713,0.0003103284,0.00021486377,0.0014459444,0.0026355956,0.004320534,0.0050568115,0.0036388366,0.008022661],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006073121,0.0000796294,0.0010587678,0.00064917625,0.000003832533,0.000503233,0.013834078,0.00009135739,0.0004527566,0.1127924,0.782534,0.08793998],"study_design_scores_gemma":[0.0000015638982,0.000008494877,0.0008610444,0.00019026967,4.988499e-7,0.00008687056,0.002018025,0.000009005312,0.000033356846,0.0008486039,0.995939,0.0000033662145],"about_ca_topic_score_codex":0.010866613,"about_ca_topic_score_gemma":0.015049922,"teacher_disagreement_score":0.046676908,"about_ca_system_score_codex":0.0028936313,"about_ca_system_score_gemma":0.0017237469,"threshold_uncertainty_score":0.1561498},"labels":[],"label_agreement":null},{"id":"W2054006581","doi":"10.7202/1006516ar","title":"The Romantic Lecture in an Age of Paper (Money): Jean Paul’s Literary Aesthetics across Print and Orality","year":2011,"lang":"en","type":"article","venue":"Romanticism and Victorianism on the Net","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Orality; Romance; Criticism; Literature; Literary criticism; Presentation (obstetrics); Phenomenon; Art; Aesthetics; History; Sociology; Philosophy; Epistemology","score_opus":0.035559564840136094,"score_gpt":0.2362250635093301,"score_spread":0.200665498669194,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2054006581","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23815458,0.0062398524,0.014739769,0.06165856,0.0033595157,0.000046504763,0.00004688184,0.00024290444,0.6755115],"genre_scores_gemma":[0.953518,0.00074342766,0.00091833033,0.0014480902,0.0006516652,0.000019756453,0.000007102304,0.0001462131,0.042547427],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965783,0.0022754453,0.000046917612,0.00027256378,0.00055640616,0.000270405],"domain_scores_gemma":[0.9954223,0.0030645635,0.00036120578,0.00029106162,0.00038169455,0.00047916264],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026828146,0.000419868,0.00023372899,0.0013061552,0.007256812,0.01337164,0.00065255683,0.0018217283,0.0040283855],"category_scores_gemma":[0.010226425,0.00018624157,0.00020137632,0.00078843755,0.02072754,0.0038360383,0.0037688944,0.00408193,0.0005478423],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055707274,0.00002408986,0.0007965674,0.000075413205,0.0000058989035,0.00059650216,0.27437714,0.00018200661,0.00083136413,0.6906369,0.011863875,0.020554597],"study_design_scores_gemma":[0.0000236364,0.0001173837,0.0025336873,0.00042051836,0.000013890325,0.0012826994,0.13012135,0.00071852765,0.001577632,0.06900674,0.794127,0.000057005163],"about_ca_topic_score_codex":0.0022040233,"about_ca_topic_score_gemma":0.0029472471,"teacher_disagreement_score":0.01337164,"about_ca_system_score_codex":0.0033186784,"about_ca_system_score_gemma":0.001385181,"threshold_uncertainty_score":0.024078846},"labels":[],"label_agreement":null},{"id":"W2055025600","doi":"10.4000/erea.4093","title":"The Postfeminist Masquerade and the Cynical Male Gaze: The Disavowal of Sexual Difference in Lars von Trier’s Breaking the Waves","year":2014,"lang":"en","type":"article","venue":"E-rea","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Phallic stage; Subject (documents); Appropriation; Trilogy; Psychoanalysis; Gaze; Subordination (linguistics); The Symbolic; Psychology; Sociology; Aesthetics; Philosophy; Literature; Art; Epistemology","score_opus":0.01938353511089376,"score_gpt":0.21933665983296996,"score_spread":0.19995312472207621,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2055025600","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14926085,0.025063025,0.0043442296,0.4736273,0.004310147,0.00001979045,0.00008760149,0.00007170994,0.34321547],"genre_scores_gemma":[0.9428587,0.0027460777,0.00042670622,0.010323767,0.0017893633,0.000014058649,0.000009554034,0.00010422667,0.041727584],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971462,0.0019315649,0.000042894484,0.00021948252,0.00036222715,0.00029769592],"domain_scores_gemma":[0.996669,0.0025441258,0.00026974807,0.00011190555,0.00020118983,0.00020413625],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026792688,0.00026964053,0.00021823749,0.0008939924,0.0032892898,0.0067359647,0.0006122085,0.002908784,0.004022826],"category_scores_gemma":[0.0068805804,0.00020709433,0.00013635581,0.0004369833,0.01523868,0.0037818877,0.0022013527,0.0038378702,0.00046957258],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043277,0.000018147644,0.00041120034,0.00003724571,0.0000060222333,0.00046167173,0.058619894,0.000093373455,0.00016729103,0.8930695,0.039575055,0.007497369],"study_design_scores_gemma":[0.00003459289,0.00004231616,0.002252557,0.00041562304,0.000009865443,0.0005533009,0.06415629,0.00054721266,0.0005233429,0.13028786,0.801135,0.000042125266],"about_ca_topic_score_codex":0.006932622,"about_ca_topic_score_gemma":0.012528658,"teacher_disagreement_score":0.006932622,"about_ca_system_score_codex":0.0036328663,"about_ca_system_score_gemma":0.0010105887,"threshold_uncertainty_score":0.026358485},"labels":[],"label_agreement":null},{"id":"W2055856759","doi":"10.1080/01956051.2011.636394","title":"The Asian Renovation of Biracial Buddy Action: Negotiating Globalization in the Millennial Hollywood Cop Action Film","year":2012,"lang":"en","type":"article","venue":"Journal of Popular Film and Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Hollywood; Negotiation; Action (physics); Mythology; Globalization; Media studies; Movie theater; Sociology; Gender studies; Advertising; Art; Political science; Visual arts; Art history; Literature; Law; Social science; Business","score_opus":0.04682978877054129,"score_gpt":0.2815811472100639,"score_spread":0.2347513584395226,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2055856759","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70910645,0.0007247308,0.0013707426,0.0074818414,0.00027139875,0.000037207115,0.000039920567,0.000022516953,0.28094515],"genre_scores_gemma":[0.9894956,0.00021840943,0.00024178048,0.00041678126,0.000029438574,0.000010199959,0.0000111215195,0.000015117781,0.009561523],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9990606,0.00055925944,0.000015957776,0.00007649505,0.00007478564,0.00021289234],"domain_scores_gemma":[0.9986772,0.0004352887,0.00015747306,0.00012957334,0.00013714847,0.0004632199],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021768317,0.00028537697,0.00015612431,0.00040947276,0.0061443057,0.0068046274,0.0005629679,0.000665689,0.005645497],"category_scores_gemma":[0.0018405924,0.00017421262,0.00016943934,0.0004420836,0.006311843,0.00278834,0.005087007,0.0023911416,0.00029918647],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020498644,0.00014625474,0.01677153,0.00016767035,0.000033036784,0.0024084013,0.7170507,0.0002123795,0.0025922812,0.20859343,0.016522223,0.03529714],"study_design_scores_gemma":[0.000021495736,0.00010111565,0.027910488,0.00026795894,0.000029988176,0.00042814467,0.6681936,0.00052960304,0.001649939,0.0070286915,0.29379857,0.000040395706],"about_ca_topic_score_codex":0.014546819,"about_ca_topic_score_gemma":0.034021553,"teacher_disagreement_score":0.014546819,"about_ca_system_score_codex":0.0031043137,"about_ca_system_score_gemma":0.0014760027,"threshold_uncertainty_score":0.028924286},"labels":[],"label_agreement":null},{"id":"W2056887171","doi":"10.1353/utq.0.0509","title":"Cinematic Howling: Women’s Films, Women’s Film Theories (review)","year":2009,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Historiography; Scholarship; Movie theater; Mainstream; Newspaper; History; Film studies; Literature; Art history; Art; Sociology; Gender studies; Media studies; Law; Political science","score_opus":0.010079242992227306,"score_gpt":0.19076671490089497,"score_spread":0.18068747190866766,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2056887171","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000042033367,0.9963624,0.00001043122,0.001603265,0.0010032053,0.0000031971827,0.000013685544,0.0000022929435,0.00095943303],"genre_scores_gemma":[0.0007490753,0.9944864,0.00003066774,0.0015528611,0.0017450405,0.000013526784,0.000043367647,0.000002795667,0.0013763669],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992847,0.00023242859,0.000081215534,0.000119747514,0.00020436752,0.00007751325],"domain_scores_gemma":[0.99662423,0.0017357197,0.00048085817,0.00007038073,0.00078552007,0.00030326998],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013358225,0.0010209093,0.0013097634,0.004864859,0.00092517416,0.00435607,0.0012074421,0.0025971394,0.02789279],"category_scores_gemma":[0.004591636,0.00053104025,0.0005933034,0.008076273,0.0016496064,0.0058371234,0.0015524189,0.003395899,0.0055349446],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006614521,0.000054946653,0.0003881955,0.035735887,0.000104018545,0.0001461649,0.0008767702,0.00007994317,0.00016658609,0.0033702205,0.478846,0.4801651],"study_design_scores_gemma":[0.000022717017,0.000034487522,0.0027437597,0.040379245,0.00010024461,0.00055640936,0.001679618,0.000028729655,0.000054515513,0.0009323757,0.95344985,0.000018036777],"about_ca_topic_score_codex":0.008353179,"about_ca_topic_score_gemma":0.009002505,"teacher_disagreement_score":0.02789279,"about_ca_system_score_codex":0.0017952721,"about_ca_system_score_gemma":0.0030151573,"threshold_uncertainty_score":0.093310714},"labels":[],"label_agreement":null},{"id":"W2057290519","doi":"10.3138/cras-s030-01-04","title":"Take Me Back to the Ball Game: Nostalgia and Hegemonic Masculinity in Field of Dreams","year":2000,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Passion; Fantasy; Art; Field (mathematics); Mirroring; Aesthetics; Literature; Adventure; Character (mathematics); Glory; Psychoanalysis; Art history; Sociology; Psychology; Social psychology","score_opus":0.026403324129207373,"score_gpt":0.26403515687197326,"score_spread":0.2376318327427659,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2057290519","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3254512,0.016660592,0.0032700782,0.09384972,0.0015566126,0.00007550058,0.0000482484,0.000056476187,0.5590315],"genre_scores_gemma":[0.9738947,0.001531363,0.00029561983,0.002761571,0.0001808034,0.000027592254,0.000008630263,0.000035995185,0.021263668],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9953909,0.0035931284,0.00004346682,0.00022445405,0.0002845907,0.00046348962],"domain_scores_gemma":[0.99757236,0.001467908,0.00019763027,0.00013885547,0.00015489693,0.00046821596],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037154215,0.00046981388,0.00033730778,0.0011710001,0.02186182,0.009715673,0.0009744963,0.0024755357,0.0042386577],"category_scores_gemma":[0.0045894897,0.00033469347,0.00019068131,0.0007696452,0.05105083,0.009255994,0.0072276704,0.006815016,0.00035859883],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026934864,0.00002461696,0.0005552485,0.000034892888,0.000003093012,0.000424837,0.38282076,0.00004614448,0.00009038649,0.60174865,0.0094164815,0.0048079155],"study_design_scores_gemma":[0.000030406276,0.000056726876,0.0017873667,0.00030133195,0.000006649463,0.00054572255,0.582564,0.00037353823,0.00030239768,0.11512404,0.29886818,0.00003962316],"about_ca_topic_score_codex":0.036269818,"about_ca_topic_score_gemma":0.06323533,"teacher_disagreement_score":0.036269818,"about_ca_system_score_codex":0.009881255,"about_ca_system_score_gemma":0.0037918575,"threshold_uncertainty_score":0.07211739},"labels":[],"label_agreement":null},{"id":"W2057987093","doi":"10.1080/17449855.2014.925691","title":"Aesthetic solidarities: Ngũgĩ wa Thiong’o and the Cold War","year":2014,"lang":"en","type":"article","venue":"Journal of Postcolonial Writing","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Cold war; Iron Curtain; Style (visual arts); Aesthetics; History; Political science; Art; Art history; Literature; Law","score_opus":0.011427773446943911,"score_gpt":0.21156674618839286,"score_spread":0.20013897274144896,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2057987093","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58315784,0.0096768765,0.002534696,0.050572034,0.0029931916,0.00005518573,0.00007698988,0.000066510984,0.3508667],"genre_scores_gemma":[0.9724085,0.0015559779,0.00045487494,0.0017612742,0.00027699696,0.000028857907,0.000019585937,0.00005556543,0.023438336],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994831,0.00026721187,0.000013776031,0.000043375185,0.000041570187,0.0001508331],"domain_scores_gemma":[0.9991222,0.00046472618,0.000116981435,0.00008396954,0.00005418297,0.00015797773],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015920555,0.0006168546,0.00030813002,0.00069774745,0.008182978,0.0061255298,0.00045682405,0.0016491234,0.0037644694],"category_scores_gemma":[0.002074701,0.00029011795,0.00021220562,0.0011786777,0.012006462,0.0041413857,0.0043739914,0.0032796862,0.00024444947],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018886979,0.000041042873,0.0017380456,0.0002604743,0.000011921,0.0018784491,0.67073774,0.00017338958,0.0014610143,0.2895958,0.01714182,0.016771415],"study_design_scores_gemma":[0.000022671347,0.00007456468,0.0056893397,0.00057910074,0.000029379391,0.0005910256,0.45772335,0.00039588052,0.0011755847,0.044040542,0.48962042,0.00005813897],"about_ca_topic_score_codex":0.003533154,"about_ca_topic_score_gemma":0.010918228,"teacher_disagreement_score":0.008182978,"about_ca_system_score_codex":0.0027952017,"about_ca_system_score_gemma":0.0013426833,"threshold_uncertainty_score":0.020280719},"labels":[],"label_agreement":null},{"id":"W2059145368","doi":"10.1353/crt.2013.0031","title":"At the Intersections of Mode, Genre, and Media: A Dossier of Essays on Melodrama","year":2013,"lang":"en","type":"article","venue":"Criticism","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Movie theater; Art; Literature; Drama; Film genre; Praise; Mode (computer interface); Modernity; Criticism; Aesthetics; Politics; History; Philosophy","score_opus":0.026993432335062524,"score_gpt":0.23327863299957502,"score_spread":0.2062852006645125,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2059145368","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06256468,0.2080446,0.0069053164,0.34322828,0.053377815,0.00016787529,0.0002583947,0.00014838351,0.32530463],"genre_scores_gemma":[0.5931561,0.082025304,0.005198275,0.055393048,0.06709882,0.0005579332,0.00018590501,0.00058566884,0.1957989],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9967451,0.0019567043,0.00012484039,0.0003732399,0.0005322887,0.00026767826],"domain_scores_gemma":[0.9937162,0.0048680063,0.00029027,0.00029014822,0.00044072233,0.000394841],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028907862,0.0009251932,0.00075145316,0.002530204,0.007139023,0.006780574,0.0008613881,0.0033998664,0.0038664625],"category_scores_gemma":[0.0099945385,0.00029275843,0.00039817172,0.00139656,0.013801594,0.0068043433,0.005303253,0.0063751647,0.0010704497],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001358407,0.00013753229,0.000893557,0.0005311668,0.000027387887,0.00082090584,0.1616043,0.00019093887,0.002083631,0.42678362,0.34161952,0.06517155],"study_design_scores_gemma":[0.000008142036,0.000025240259,0.000793793,0.0010875742,0.000005345282,0.00027303945,0.02573672,0.000066692366,0.0002622914,0.01791476,0.95380574,0.000020798554],"about_ca_topic_score_codex":0.0021539489,"about_ca_topic_score_gemma":0.004547655,"teacher_disagreement_score":0.007139023,"about_ca_system_score_codex":0.0042116945,"about_ca_system_score_gemma":0.0011914247,"threshold_uncertainty_score":0.03055811},"labels":[],"label_agreement":null},{"id":"W2060099346","doi":"10.1177/1746847706068905","title":"‘We’re Okay with Fake’: Cybercinematography and the Spectre of Virtual Actors in S1MØNE","year":2006,"lang":"en","type":"article","venue":"Animation","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Hollywood; Movie theater; Fable; Film director; Art; Cinematography; Media studies; Art history; Visual arts; Sociology; Literature","score_opus":0.010461987592516975,"score_gpt":0.1839033622498734,"score_spread":0.1734413746573564,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2060099346","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41275626,0.014123767,0.0057931743,0.07684513,0.0011270461,0.000029996161,0.000104468585,0.00006913116,0.489151],"genre_scores_gemma":[0.9743848,0.0020218918,0.0004856828,0.0014666895,0.0001845171,0.000010405504,0.000016675032,0.00003848556,0.021390717],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980708,0.0013648234,0.000020692349,0.00016052827,0.00019759631,0.00018553252],"domain_scores_gemma":[0.9950606,0.003762368,0.0005078301,0.00021211138,0.0001442651,0.000312874],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018946897,0.00036790225,0.00027297006,0.0010161763,0.005456658,0.008935121,0.0006022382,0.0024899738,0.009180542],"category_scores_gemma":[0.007962089,0.0003194115,0.00014391872,0.0005898775,0.013678178,0.0070410324,0.0033016612,0.002754063,0.0005678117],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015852018,0.00006713742,0.004003577,0.00020682089,0.000024955223,0.0021716717,0.3601686,0.00046945811,0.0007229981,0.54412603,0.05120065,0.036679666],"study_design_scores_gemma":[0.000029163499,0.0000798381,0.006556011,0.00085960655,0.000022201997,0.0020239495,0.19920573,0.0011665255,0.00081141747,0.05074266,0.73844314,0.000059734357],"about_ca_topic_score_codex":0.0040829033,"about_ca_topic_score_gemma":0.007856093,"teacher_disagreement_score":0.009180542,"about_ca_system_score_codex":0.0026630026,"about_ca_system_score_gemma":0.00052038603,"threshold_uncertainty_score":0.030712008},"labels":[],"label_agreement":null},{"id":"W2061556609","doi":"10.1353/utq.0.0110","title":"Film in Canada (review)","year":2008,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.014527400316604036,"score_gpt":0.16552262883308935,"score_spread":0.1509952285164853,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2061556609","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0001078692,0.9839183,0.000032500557,0.0033101286,0.0028049394,0.00003833009,0.0008088054,0.000022821943,0.008956242],"genre_scores_gemma":[0.0013020332,0.9879677,0.00010054685,0.002851892,0.00084853766,0.000032941094,0.00073523284,0.000014747855,0.006146259],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987515,0.00009505191,0.0001715897,0.000144485,0.000641016,0.00019629077],"domain_scores_gemma":[0.9945034,0.0006561631,0.0004535825,0.0000995136,0.0035610166,0.0007263319],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009545893,0.0011072668,0.0020252755,0.0068531274,0.0019262085,0.0052023646,0.002029678,0.0016281488,0.073992774],"category_scores_gemma":[0.0064856326,0.00045345645,0.0008065362,0.014178503,0.0011761934,0.0023542643,0.0017521849,0.0023891735,0.01184594],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043115077,0.000015614902,0.00029412235,0.022581784,0.00007023079,0.00016209275,0.0001582645,0.000039797957,0.00007238197,0.00067306013,0.7120084,0.26388112],"study_design_scores_gemma":[0.000014128604,0.000008525349,0.002225583,0.024080131,0.00012592833,0.00036380198,0.00030660775,0.000012392746,0.000028342454,0.00012235857,0.9726925,0.00001970647],"about_ca_topic_score_codex":0.38282758,"about_ca_topic_score_gemma":0.52370685,"teacher_disagreement_score":0.6171724,"about_ca_system_score_codex":0.009971342,"about_ca_system_score_gemma":0.04021195,"threshold_uncertainty_score":0.7611985},"labels":[],"label_agreement":null},{"id":"W2063230228","doi":"10.7202/1027446ar","title":"Motion/Performance Capture and The Afterlife of The Index. A Reconsideration of André Bazin’s “Myth of Total Cinema”","year":2014,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Teleology; Mythology; Idealism; Afterlife; Aesthetics; Reading (process); Presupposition; Index (typography); Philosophy; Literature; Epistemology; Art history; Art","score_opus":0.04792707213689601,"score_gpt":0.23838703686560206,"score_spread":0.19045996472870605,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2063230228","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03294454,0.09342912,0.02869632,0.20429711,0.0045480942,0.00005806321,0.00036541774,0.0001520214,0.63550925],"genre_scores_gemma":[0.88271075,0.021566756,0.0053244694,0.008252372,0.0027448,0.000076281576,0.00014451465,0.00020994357,0.07897019],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.998128,0.0008877486,0.000058664147,0.00038791742,0.00040127058,0.00013646406],"domain_scores_gemma":[0.99738437,0.0016496507,0.00031377818,0.0002026252,0.0002731401,0.00017649938],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019376267,0.00044601638,0.00040385057,0.0022635874,0.0023484933,0.010416338,0.00057380775,0.002182302,0.004920351],"category_scores_gemma":[0.008522891,0.00028706092,0.00023651886,0.001352546,0.016325105,0.0075516035,0.0018767337,0.0037709628,0.0009547731],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013174461,0.0000038652915,0.00013302524,0.00003128849,0.0000017545487,0.000012398766,0.0017632421,0.000043529508,0.000053267035,0.9874047,0.0064716367,0.004068164],"study_design_scores_gemma":[0.000016052885,0.000026882986,0.0019446394,0.0003752686,0.000012397152,0.00022138485,0.0024444046,0.0008018644,0.0004655894,0.46780637,0.52585477,0.000030262734],"about_ca_topic_score_codex":0.0071550203,"about_ca_topic_score_gemma":0.0053879344,"teacher_disagreement_score":0.010416338,"about_ca_system_score_codex":0.004494883,"about_ca_system_score_gemma":0.001042376,"threshold_uncertainty_score":0.03261286},"labels":[],"label_agreement":null},{"id":"W2063872175","doi":"10.1080/17460654.2014.925252","title":"Subscribing to publicity: Syndicated newspaper features for moviegoing in North America, 1911–15","year":2014,"lang":"en","type":"article","venue":"Early Popular Visual Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Newspaper; Publicity; Advertising; Media studies; Reading (process); History; Sociology; Political science; Law; Business","score_opus":0.025495170323251753,"score_gpt":0.2514013040022137,"score_spread":0.22590613367896198,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2063872175","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.870318,0.0010396055,0.00012846012,0.0052877334,0.0001412315,0.000036298377,0.002068381,0.00005319167,0.12092718],"genre_scores_gemma":[0.9612436,0.00052253477,0.00014762115,0.00037078254,0.00015050586,0.000025978472,0.0012678006,0.000020467576,0.036250796],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997254,0.000041614894,0.000008073727,0.000050681003,0.00008358865,0.000090626185],"domain_scores_gemma":[0.99853504,0.00027236703,0.00036911227,0.00007087806,0.00027296512,0.000479593],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047181302,0.00011100128,0.00008196551,0.0009947603,0.0023990956,0.0021693315,0.00040421746,0.00043297105,0.015758552],"category_scores_gemma":[0.0015272726,0.00014307952,0.00007014107,0.001709015,0.00064923277,0.0019749836,0.0012705439,0.00078419654,0.0009832348],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00042525466,0.00071978726,0.37929788,0.0003209279,0.000035174384,0.0030126474,0.12147825,0.0003245383,0.0033497824,0.03148051,0.25646356,0.20309168],"study_design_scores_gemma":[0.0000131303295,0.00004880287,0.8000783,0.00005297976,0.0000074212758,0.00021275677,0.0303894,0.00014375622,0.00032436432,0.00038166932,0.1683327,0.000014753846],"about_ca_topic_score_codex":0.13582332,"about_ca_topic_score_gemma":0.303241,"teacher_disagreement_score":0.13582332,"about_ca_system_score_codex":0.0031613263,"about_ca_system_score_gemma":0.0011938995,"threshold_uncertainty_score":0.2700655},"labels":[],"label_agreement":null},{"id":"W2065573223","doi":"10.7202/024885ar","title":"L’opérateur de vues animées : deus ex machina des premières salles de cinéma","year":2007,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.030213686192074818,"score_gpt":0.2530368138497048,"score_spread":0.22282312765762996,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2065573223","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83042926,0.003849615,0.0031481022,0.007564951,0.0002488624,0.00005036658,0.0001940917,0.000042595602,0.15447213],"genre_scores_gemma":[0.96559364,0.0010379968,0.00073307136,0.00018356992,0.00006861712,0.000017656954,0.000036347243,0.000015835956,0.03231337],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914277,0.0003542126,0.0000197356,0.00013572174,0.00011487882,0.00023256896],"domain_scores_gemma":[0.99857664,0.000625689,0.00026201791,0.00006967066,0.00013543815,0.00033051774],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014742329,0.00023201446,0.00014447048,0.0006924668,0.0049919165,0.0032881408,0.00041924184,0.0008450682,0.010008533],"category_scores_gemma":[0.0033930081,0.00024075576,0.00012521184,0.00048829004,0.002646576,0.0024957089,0.0022278714,0.0015797751,0.0007391607],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014345115,0.000097450866,0.05051872,0.000209149,0.000012332691,0.0015867371,0.63148415,0.00009990313,0.0043866592,0.17536174,0.0095883515,0.12651125],"study_design_scores_gemma":[0.0000095678015,0.0001203579,0.13107254,0.00035811335,0.000015100662,0.0015156947,0.24266835,0.0004061793,0.001697835,0.006896055,0.6152079,0.00003222307],"about_ca_topic_score_codex":0.01484679,"about_ca_topic_score_gemma":0.026524488,"teacher_disagreement_score":0.01484679,"about_ca_system_score_codex":0.0019975766,"about_ca_system_score_gemma":0.0012603147,"threshold_uncertainty_score":0.033481896},"labels":[],"label_agreement":null},{"id":"W2067174669","doi":"10.1353/flm.2010.0003","title":"The Unseen Alistair Cooke (review)","year":2010,"lang":"en","type":"article","venue":"Film & history","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Lunatic; Shot (pellet); Art history; Procession; Performance art; Visual arts; Cartography; History; Archaeology; Geography; Law","score_opus":0.023414585682483204,"score_gpt":0.20316886941182907,"score_spread":0.17975428372934588,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2067174669","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00007341809,0.9906941,0.000040117535,0.0029533757,0.0028360737,0.000012045905,0.00014038284,0.000019906589,0.0032305932],"genre_scores_gemma":[0.0013114989,0.9798564,0.00010682155,0.0061293105,0.0027875078,0.000031483447,0.00037652176,0.000014791782,0.009385723],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949276,0.000081939936,0.00007211911,0.000103670034,0.00018674189,0.00006276372],"domain_scores_gemma":[0.99882835,0.00027131967,0.00021457583,0.00003691476,0.00044176404,0.00020704609],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000670867,0.0008600123,0.0013691982,0.0016992157,0.0005111692,0.0025810883,0.0014151206,0.0015560351,0.039726816],"category_scores_gemma":[0.0026490465,0.00039702817,0.00063330407,0.0022601257,0.0005099324,0.001726801,0.00089865277,0.0027321307,0.016130261],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007166663,0.00001613557,0.00018446097,0.020619467,0.00009644011,0.00014762366,0.00008558873,0.000040419807,0.00021996282,0.0005547999,0.74333286,0.23463061],"study_design_scores_gemma":[0.000019520805,0.000018506336,0.00083168555,0.008583619,0.00009954295,0.00054244197,0.00007959526,0.0000099134295,0.00006196609,0.00016118186,0.9895802,0.000011716186],"about_ca_topic_score_codex":0.0036030826,"about_ca_topic_score_gemma":0.006177604,"teacher_disagreement_score":0.039726816,"about_ca_system_score_codex":0.00115636,"about_ca_system_score_gemma":0.0032507295,"threshold_uncertainty_score":0.13289946},"labels":[],"label_agreement":null},{"id":"W2067204955","doi":"10.1353/rpc.2012.0043","title":"Reconsidering Apocalyptic Cinema: Pauline Apocalyptic and Paul Thomas Anderson","year":2012,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Apocalypticism; Movie theater; Theme (computing); Conversation; Perspective (graphical); Articulation (sociology); Literature; Plot (graphics); Philosophy; Aesthetics; History; Art; Theology; Law; Visual arts","score_opus":0.045178698576071895,"score_gpt":0.24104362391795295,"score_spread":0.19586492534188105,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2067204955","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22011764,0.043464523,0.0055861347,0.46062925,0.0040012253,0.000038050883,0.00007074579,0.00004783869,0.2660445],"genre_scores_gemma":[0.9733372,0.008267165,0.0009636895,0.004892335,0.00092833553,0.000013815547,0.0000085684,0.000020935453,0.011568026],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989502,0.00074889534,0.000016674017,0.00007662525,0.000114217895,0.00009341879],"domain_scores_gemma":[0.9969584,0.002109351,0.00022282502,0.00011464483,0.0002781167,0.00031666408],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001853571,0.00018433512,0.0001770717,0.0006449933,0.0034086653,0.005451477,0.0005085148,0.0018029321,0.002578584],"category_scores_gemma":[0.0050214548,0.00015636656,0.00010087682,0.00049676985,0.009093769,0.004657709,0.0016665007,0.003032991,0.00025076588],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003910473,0.000028063412,0.0009244039,0.00009801009,0.000005015439,0.0003062161,0.072980046,0.00012347031,0.000336223,0.882534,0.028168902,0.0144564705],"study_design_scores_gemma":[0.00003399679,0.00006594989,0.0031397217,0.00062212895,0.000020071175,0.0006380538,0.086640656,0.0013684462,0.00084637775,0.18267997,0.72390294,0.00004184964],"about_ca_topic_score_codex":0.008363771,"about_ca_topic_score_gemma":0.013479386,"teacher_disagreement_score":0.008363771,"about_ca_system_score_codex":0.0035100821,"about_ca_system_score_gemma":0.0015032291,"threshold_uncertainty_score":0.025467575},"labels":[],"label_agreement":null},{"id":"W2067896732","doi":"10.1353/tam.2007.0147","title":"Killer's Paradise. Directed by Giselle Portenier. Montreal: National Film Board of Canada, 2006. 84 minutes. DVD. Spanish subtitles optional. $248.00 purchase.","year":2007,"lang":"en","type":"article","venue":"The Americas A Quarterly Review of Latin American History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Paradise; Art; Art history; On board; History; Archaeology","score_opus":0.01875343319507517,"score_gpt":0.22259725208045467,"score_spread":0.2038438188853795,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2067896732","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0021053066,0.09259266,0.0006314035,0.021562563,0.008340391,0.0002005434,0.0139552625,0.0012644315,0.85934746],"genre_scores_gemma":[0.005510953,0.020950781,0.00043196886,0.0008298794,0.00046536437,0.000025733889,0.0021067604,0.00026265896,0.9694159],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99984145,0.000013418576,0.0000043170426,0.00002509671,0.000068992165,0.000046646655],"domain_scores_gemma":[0.99940586,0.00004524919,0.000033466513,0.000022056334,0.0003319238,0.00016145295],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00034940877,0.0011327837,0.00044447783,0.0014218782,0.0025827806,0.0026058077,0.0006124595,0.0008547413,0.4940376],"category_scores_gemma":[0.00093964126,0.00058372476,0.00026901657,0.0017548441,0.00040163723,0.0017904064,0.0011148592,0.0014038099,0.1861435],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008201908,0.000002523626,0.00006003537,0.000048967162,9.504009e-7,0.000015116189,0.00005615896,0.000010839928,0.000059494592,0.00029078466,0.9851311,0.014315771],"study_design_scores_gemma":[0.0000029952182,0.0000031861682,0.0014030457,0.000115557035,0.000001711122,0.000035929406,0.00024739452,0.000016252703,0.000044258584,0.00006518869,0.99806124,0.0000032419468],"about_ca_topic_score_codex":0.36965945,"about_ca_topic_score_gemma":0.6667535,"teacher_disagreement_score":0.6303406,"about_ca_system_score_codex":0.003495525,"about_ca_system_score_gemma":0.0030924971,"threshold_uncertainty_score":0.73501563},"labels":[],"label_agreement":null},{"id":"W206907110","doi":"10.3138/cjfs.18.1.71","title":"Capturing “Authenticity”: Digital Aesthetics in the Post-Studio Japanese Cinema","year":2009,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Studio; Humanities; Movie theater; Art history; Visual arts","score_opus":0.03299636555463468,"score_gpt":0.23401456517715497,"score_spread":0.2010181996225203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W206907110","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6233794,0.0023302247,0.015179039,0.0033826996,0.0002882519,0.00006836604,0.00005840768,0.000110489826,0.3552031],"genre_scores_gemma":[0.9865883,0.000285384,0.0019090004,0.000112276306,0.000043833305,0.000015242812,0.000016487305,0.000034738514,0.010994699],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999313,0.00033611662,0.000025261284,0.00009184914,0.00013797278,0.00009577889],"domain_scores_gemma":[0.99895644,0.0003361134,0.00012927748,0.0002087692,0.00020705567,0.00016225086],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016598689,0.00039446275,0.0001658758,0.0010508462,0.0045382353,0.00749864,0.00054920197,0.0008641968,0.005068951],"category_scores_gemma":[0.00292411,0.00028313007,0.0002541164,0.00082398613,0.007350251,0.0044454685,0.0045920475,0.0014908371,0.00036727116],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009728946,0.000027764832,0.0050275833,0.00029224873,0.000012904299,0.0009480032,0.8438337,0.00022394906,0.004744,0.09970247,0.0031463043,0.041943844],"study_design_scores_gemma":[0.00002553392,0.00015761949,0.043147624,0.00042630444,0.00008326735,0.0019766227,0.6018844,0.0016616506,0.0028124866,0.025046643,0.32269856,0.00007929076],"about_ca_topic_score_codex":0.0039344504,"about_ca_topic_score_gemma":0.008633818,"teacher_disagreement_score":0.00749864,"about_ca_system_score_codex":0.001802328,"about_ca_system_score_gemma":0.0009492347,"threshold_uncertainty_score":0.016957343},"labels":[],"label_agreement":null},{"id":"W2070633189","doi":"10.7202/1001028ar","title":"Cronenberg, Flyness, and the Other-self","year":2011,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Disgust; Shadow (psychology); Rationality; Identity (music); Epistemology; Psychoanalysis; Aesthetics; Sociology; Psychology; Philosophy; Social psychology","score_opus":0.045398027460605846,"score_gpt":0.20859121730990748,"score_spread":0.16319318984930165,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2070633189","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.085228115,0.026014319,0.0029920281,0.045374103,0.000999365,0.000036961028,0.000039227947,0.00002945576,0.8392864],"genre_scores_gemma":[0.93153894,0.0062620947,0.00069731445,0.0029320305,0.00029312685,0.000021266544,0.000018614202,0.000034404475,0.058202248],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937755,0.00031003187,0.000009948485,0.00009072451,0.00010525673,0.000106350904],"domain_scores_gemma":[0.9991505,0.00047397736,0.00010741381,0.00006268094,0.00006874339,0.00013662809],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008219852,0.00028846395,0.00020151077,0.00102584,0.0048646,0.0067791706,0.0005777257,0.0013415407,0.00484102],"category_scores_gemma":[0.0019044661,0.000110106994,0.00010538324,0.0007451994,0.019110981,0.0045808842,0.001794346,0.0022731295,0.00025729256],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018050021,0.000023557388,0.0005240467,0.000042100804,0.000002468262,0.00014230247,0.03905633,0.000047510413,0.00017018028,0.93684685,0.0123384,0.0107881725],"study_design_scores_gemma":[0.00002285599,0.00002565084,0.003985051,0.00033188815,0.000007917439,0.00042709408,0.059686966,0.00024928089,0.00037279972,0.24052191,0.6943485,0.000020024445],"about_ca_topic_score_codex":0.028731538,"about_ca_topic_score_gemma":0.042334616,"teacher_disagreement_score":0.028731538,"about_ca_system_score_codex":0.004041863,"about_ca_system_score_gemma":0.0019492806,"threshold_uncertainty_score":0.05712855},"labels":[],"label_agreement":null},{"id":"W2070636425","doi":"10.1386/fiin.5.1.91","title":"Toronto International Film Festival; Take Two","year":2007,"lang":"en","type":"article","venue":"Film International","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Brock University","funders":"","keywords":"Film festival; Art; Visual arts; Advertising; Media studies; Sociology; Business","score_opus":0.027398972438167867,"score_gpt":0.26993696857561444,"score_spread":0.2425379961374466,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2070636425","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0391822,0.016839053,0.0005945174,0.10555906,0.027425773,0.00023115927,0.029216316,0.00045482657,0.7804972],"genre_scores_gemma":[0.22282109,0.007211133,0.00052481826,0.00456184,0.005692818,0.00008036043,0.0067859064,0.00035295385,0.75196904],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99948597,0.00003810742,0.0000116076735,0.00005629141,0.0002159573,0.00019204507],"domain_scores_gemma":[0.9966504,0.00014070053,0.00011901843,0.00013120049,0.0006792589,0.0022794404],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006272571,0.00094254146,0.00031753635,0.0027176673,0.010463456,0.008607207,0.00066897896,0.0019260407,0.10074554],"category_scores_gemma":[0.002469458,0.0003350047,0.00035809373,0.0030927807,0.001427638,0.0016962482,0.0017185229,0.0027726316,0.009504086],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000067322675,0.000023621553,0.0010800331,0.00006618002,0.0000081242315,0.0002305363,0.0009833475,0.00006896678,0.000110934416,0.006699862,0.9839003,0.006760799],"study_design_scores_gemma":[0.000011123793,0.000020632808,0.014079313,0.00008237483,0.0000094449815,0.00006457922,0.0049294527,0.000046726567,0.0002035323,0.0008542602,0.97968376,0.000014804332],"about_ca_topic_score_codex":0.6072826,"about_ca_topic_score_gemma":0.88715506,"teacher_disagreement_score":0.6072826,"about_ca_system_score_codex":0.018860627,"about_ca_system_score_gemma":0.007819265,"threshold_uncertainty_score":0.7900604},"labels":[],"label_agreement":null},{"id":"W2070854035","doi":"10.1177/1354856508097018","title":"Recombinant Poetics, Urban Flânerie, and Experimentation in the Database Narrative Bleeding Through: Layers of Los Angeles 1920—1986","year":2008,"lang":"en","type":"article","venue":"Convergence The International Journal of Research into New Media Technologies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Narrative; Poetics; Newspaper; Set (abstract data type); Resistance (ecology); History; Movie theater; Library science; Visual arts; Art history; Sociology; Literature; Media studies; Art; Computer science; Poetry","score_opus":0.15880126602119718,"score_gpt":0.3651282568364315,"score_spread":0.20632699081523434,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2070854035","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47701594,0.0050531127,0.005023189,0.023980292,0.00012045556,0.0000957535,0.00031230954,0.00011701773,0.48828197],"genre_scores_gemma":[0.9744177,0.0007995646,0.0008510631,0.00036349896,0.000028307502,0.000065190725,0.000039384257,0.000044203487,0.023391083],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974502,0.0018878023,0.000046077454,0.00020883825,0.00017105522,0.0002359565],"domain_scores_gemma":[0.9966282,0.0023820095,0.00027614657,0.00028180663,0.0001502059,0.0002817107],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032782261,0.0002805205,0.00025081635,0.0014649251,0.011721169,0.011804763,0.00081755803,0.000940131,0.007661298],"category_scores_gemma":[0.0065198764,0.00040980178,0.00012257075,0.001929201,0.029748295,0.0055791633,0.0044319555,0.0019707303,0.00037751877],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008735723,0.00002896579,0.0017390623,0.000052090352,0.0000042836737,0.00025521236,0.36841312,0.00022225706,0.0002911047,0.60560536,0.010337235,0.012963965],"study_design_scores_gemma":[0.000037518832,0.000048539638,0.004523724,0.00025000688,0.000013606107,0.00020393256,0.32594118,0.00048160757,0.0010091444,0.04050948,0.62694323,0.000037978727],"about_ca_topic_score_codex":0.07015522,"about_ca_topic_score_gemma":0.13059814,"teacher_disagreement_score":0.07015522,"about_ca_system_score_codex":0.015162168,"about_ca_system_score_gemma":0.003219312,"threshold_uncertainty_score":0.1394937},"labels":[],"label_agreement":null},{"id":"W2073563562","doi":"10.1080/17460654.2014.996329","title":"American Showman: Samuel “Roxy” Rothafel and the Birth of the Entertainment Industry, 1908–1935","year":2015,"lang":"en","type":"article","venue":"Early Popular Visual Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Entertainment; Art; Literature; Visual arts","score_opus":0.0315943320039895,"score_gpt":0.2546159348226196,"score_spread":0.22302160281863012,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2073563562","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10320712,0.14821498,0.0005624136,0.3513109,0.008693719,0.000025354135,0.0008097832,0.00007010563,0.3871055],"genre_scores_gemma":[0.5170942,0.027112398,0.00021876316,0.014830399,0.004197111,0.000015186236,0.00015329132,0.00009337611,0.43628526],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997465,0.00008228944,0.0000055274213,0.000049163707,0.00003515288,0.000081432496],"domain_scores_gemma":[0.999602,0.00012362473,0.00006976443,0.000016934253,0.000090138376,0.00009768158],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006080304,0.0003881118,0.00018551614,0.0012086913,0.006676248,0.0029982661,0.00036317663,0.0017100167,0.01383651],"category_scores_gemma":[0.0014152694,0.00025563495,0.00013134227,0.0013688464,0.0027219094,0.0028863284,0.0012228923,0.0030551157,0.0014878354],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008942965,0.000058170794,0.003170386,0.00010643496,0.000018243934,0.00051727245,0.02315677,0.00012808447,0.00022407158,0.33409685,0.6095864,0.028847853],"study_design_scores_gemma":[0.0000026885034,0.000007794904,0.0035793425,0.000124563,0.0000047935664,0.000100380064,0.004901775,0.000025205492,0.00015754258,0.0028160934,0.98826945,0.000010360593],"about_ca_topic_score_codex":0.08564124,"about_ca_topic_score_gemma":0.2114818,"teacher_disagreement_score":0.08564124,"about_ca_system_score_codex":0.0035920867,"about_ca_system_score_gemma":0.0015740463,"threshold_uncertainty_score":0.17028552},"labels":[],"label_agreement":null},{"id":"W2073782203","doi":"10.4000/belphegor.125","title":"Transnational Fantômas: The Influence of Feuillade’s Series on International Cinema during the 1910s","year":2013,"lang":"en","type":"article","venue":"Belphégor","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Character (mathematics); Assimilation (phonology); Film industry; Feature film; Circulation (fluid dynamics); Literature; Key (lock); Media studies; Art; Political science; Sociology; Aesthetics; History; Linguistics; Engineering; Computer science; Philosophy","score_opus":0.01495241649373227,"score_gpt":0.20796326372291524,"score_spread":0.19301084722918296,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2073782203","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7201704,0.0076006693,0.0008520159,0.011251255,0.00043699864,0.000017132399,0.00014531352,0.000041115225,0.25948516],"genre_scores_gemma":[0.9848087,0.0010762167,0.000071504226,0.0002406006,0.00016060934,0.00000391585,0.000020184663,0.000025167097,0.013593157],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987111,0.0007448265,0.00001733511,0.00016062023,0.00014308,0.00022298783],"domain_scores_gemma":[0.9969332,0.0019422194,0.000311792,0.00012393079,0.00027626718,0.0004124385],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019901262,0.00036552624,0.00023275428,0.001311599,0.0029766299,0.004932449,0.00034822646,0.00088463206,0.005428555],"category_scores_gemma":[0.0050900797,0.00015937534,0.00014474183,0.0007617173,0.0038358239,0.0020048593,0.0022732585,0.0014382901,0.00042364458],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00084630155,0.00019496537,0.027325341,0.00039951663,0.00006174489,0.0060699284,0.44204676,0.0006103738,0.0041154237,0.34515163,0.036480192,0.13669793],"study_design_scores_gemma":[0.000025276844,0.00019585864,0.07045507,0.00037601485,0.000017823568,0.0012542481,0.08842977,0.00036067126,0.001254973,0.004212769,0.8333668,0.00005085133],"about_ca_topic_score_codex":0.01493752,"about_ca_topic_score_gemma":0.021418042,"teacher_disagreement_score":0.01493752,"about_ca_system_score_codex":0.0042154756,"about_ca_system_score_gemma":0.0006907261,"threshold_uncertainty_score":0.030585587},"labels":[],"label_agreement":null},{"id":"W2074448308","doi":"10.1353/vcr.2009.0049","title":"\"Mere Outward Appearances\"?: Household Taste and Social Perception in Elizabeth Gaskell's North and South","year":2009,"lang":"en","type":"article","venue":"Victorian review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Taste; Realm; Criticism; Order (exchange); Argument (complex analysis); Sociology; History; Aesthetics; Literature; Law; Art; Political science; Economics; Psychology","score_opus":0.035963385663197074,"score_gpt":0.22871602947636424,"score_spread":0.19275264381316717,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2074448308","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66812694,0.005145204,0.0005611223,0.065641634,0.00033702177,0.000015004042,0.000048974478,0.000017243792,0.2601068],"genre_scores_gemma":[0.98132885,0.00063770864,0.00012539972,0.0025462578,0.000040901818,0.000008709803,0.0000063341786,0.000016094938,0.015289696],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.999092,0.0005980475,0.000011226552,0.00006972849,0.00011549064,0.00011346822],"domain_scores_gemma":[0.9995877,0.00016665742,0.00006082524,0.00002534952,0.000044529184,0.000114964736],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011724383,0.00021478943,0.00021528888,0.000391815,0.0073393206,0.003812018,0.00039550447,0.0013366351,0.0037132793],"category_scores_gemma":[0.001224088,0.00017657738,0.00012094486,0.00031861558,0.016159285,0.003190197,0.003500427,0.0019993028,0.00033701898],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003755,0.000015590374,0.002286826,0.000039126564,0.0000029172647,0.0002921494,0.9225386,0.000026643118,0.0008782906,0.056766335,0.0106555205,0.0064605647],"study_design_scores_gemma":[0.0000064386086,0.000018618102,0.0088809645,0.00012299568,0.0000034317047,0.00024427415,0.8514952,0.000057190446,0.00018547331,0.012348567,0.12661333,0.000023596956],"about_ca_topic_score_codex":0.03581604,"about_ca_topic_score_gemma":0.085874416,"teacher_disagreement_score":0.03581604,"about_ca_system_score_codex":0.004146313,"about_ca_system_score_gemma":0.0010810379,"threshold_uncertainty_score":0.07121515},"labels":[],"label_agreement":null},{"id":"W2077061613","doi":"10.1177/03058298110390031706","title":"Book Review: William Brown, Dina Iordanova and Leshu Torchin, Moving People, Moving Images: Cinema and Trafficking in the New Europe (St Andrews: St Andrews Film Studies with College Gate Press, 2010, 257 pp., £17.99 pbk)","year":2011,"lang":"en","type":"article","venue":"Millennium Journal of International Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Movie theater; Art history; Media studies; Art; Sociology","score_opus":0.04204386823317341,"score_gpt":0.2536366683665361,"score_spread":0.21159280013336268,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2077061613","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00010357789,0.87254965,0.00031732974,0.050209697,0.03564934,0.00006585544,0.0008153488,0.00010860793,0.040180594],"genre_scores_gemma":[0.0011552462,0.76326114,0.0003998374,0.022467982,0.027054457,0.0001116584,0.0009401034,0.00012242816,0.18448706],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991755,0.000090683425,0.000069082256,0.00013615155,0.0004669325,0.00006160421],"domain_scores_gemma":[0.9962096,0.0012036015,0.0003197339,0.00009528387,0.0017179583,0.00045380704],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011821031,0.0014757912,0.002425919,0.004751234,0.0010148851,0.004713345,0.0026829345,0.0038768344,0.08959223],"category_scores_gemma":[0.005528462,0.00071894453,0.0006020511,0.008577903,0.0010890124,0.004731788,0.0017210314,0.004172885,0.0894667],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004263857,0.0000037235166,0.000015161545,0.00046891297,0.0000029556122,0.000007669178,0.000015813335,0.000021172917,0.00001427239,0.00029842273,0.9739172,0.025230369],"study_design_scores_gemma":[0.0000055188266,0.0000041324247,0.00012266194,0.00084086764,0.000005352,0.000049652626,0.000025536081,0.000010157492,0.0000123787795,0.0002331487,0.9986852,0.000005511058],"about_ca_topic_score_codex":0.015029648,"about_ca_topic_score_gemma":0.030582648,"teacher_disagreement_score":0.08959223,"about_ca_system_score_codex":0.0031933372,"about_ca_system_score_gemma":0.004213141,"threshold_uncertainty_score":0.29971588},"labels":[],"label_agreement":null},{"id":"W2077398421","doi":"10.71781/9506","title":"Histoire(s) et historiographie du cinéma en France : 1896-1953","year":2013,"lang":"fr","type":"dissertation","venue":"IRIS","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University","keywords":"Humanities; Art; Movie theater; Art history","score_opus":0.011357909098872708,"score_gpt":0.2094620192637992,"score_spread":0.1981041101649265,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2077398421","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3032871,0.06853219,0.003515396,0.023951912,0.0021632335,0.00015094396,0.002321194,0.00024921686,0.5958288],"genre_scores_gemma":[0.7907573,0.020667503,0.0011892165,0.001234756,0.0010139783,0.000088500485,0.00037489174,0.00013481759,0.184539],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99933654,0.00029951186,0.000025574142,0.00009818578,0.00011645292,0.00012367064],"domain_scores_gemma":[0.9988979,0.0005264019,0.00016366765,0.000043600503,0.00022185939,0.00014664863],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010357117,0.00035518763,0.00017770124,0.0032754056,0.004118062,0.0039396677,0.00039727555,0.00089271594,0.023836536],"category_scores_gemma":[0.002416635,0.0001698507,0.0002505188,0.0022309632,0.0030953945,0.0018105764,0.0010054609,0.0012352538,0.0012648646],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001332488,0.0000578805,0.015913557,0.0007356063,0.000031710635,0.0011491366,0.3992272,0.0005582424,0.0021713325,0.3449545,0.09886184,0.13620587],"study_design_scores_gemma":[0.000003271967,0.000018981815,0.020934675,0.00023403083,0.0000066819393,0.0001497713,0.015648592,0.00005875339,0.00032401265,0.00068269006,0.9619265,0.000012039598],"about_ca_topic_score_codex":0.16560537,"about_ca_topic_score_gemma":0.18100804,"teacher_disagreement_score":0.16560537,"about_ca_system_score_codex":0.015297883,"about_ca_system_score_gemma":0.0027568555,"threshold_uncertainty_score":0.32928288},"labels":[],"label_agreement":null},{"id":"W2078038672","doi":"10.1353/frm.2013.0028","title":"Around The Clock : Museum and Market","year":2013,"lang":"en","type":"article","venue":"Framework The Journal of Cinema and Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Art history; Visual arts; Art; White (mutation); Publicity; History; Cartography; Geography; Law; Political science","score_opus":0.016680542679185374,"score_gpt":0.20826590289862884,"score_spread":0.19158536021944347,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2078038672","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0021934046,0.03212514,0.0004358924,0.04219735,0.0077887485,0.000050622835,0.0011020657,0.00067783013,0.913429],"genre_scores_gemma":[0.03766353,0.015496034,0.00062613306,0.012059591,0.0048944387,0.00007628578,0.00088216295,0.0008474973,0.9274543],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99820554,0.00023407758,0.000069853435,0.0002783159,0.0006551078,0.00055710686],"domain_scores_gemma":[0.99761343,0.0001120195,0.00014072681,0.00018165454,0.00039513962,0.0015570503],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0012884279,0.00094599527,0.00057947834,0.0019357697,0.008161751,0.033340756,0.001916614,0.004406338,0.33844423],"category_scores_gemma":[0.0034035067,0.0005887892,0.0005245406,0.004058432,0.0040193424,0.021690058,0.010745447,0.0043543805,0.11410484],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002090694,0.0000149913,0.00026896413,0.000088585475,0.0000032635037,0.000103235085,0.0016224046,0.000017469902,0.000107561886,0.037303492,0.91775435,0.04269484],"study_design_scores_gemma":[0.0000013268308,0.000003661398,0.000234528,0.00006250177,8.136855e-7,0.00004059256,0.0010076402,0.0000043186683,0.000011848944,0.0006246716,0.99800354,0.0000045156085],"about_ca_topic_score_codex":0.019636769,"about_ca_topic_score_gemma":0.051955264,"teacher_disagreement_score":0.33844423,"about_ca_system_score_codex":0.0068098563,"about_ca_system_score_gemma":0.006111741,"threshold_uncertainty_score":0.943629},"labels":[],"label_agreement":null},{"id":"W2078344567","doi":"10.5817/bse2013-2-1","title":"The five senses of Canadian cinema: introduction","year":2013,"lang":"en","type":"article","venue":"Brno Studies in English","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Aesthetics; Linguistics; Sociology; Art; Visual arts; Philosophy","score_opus":0.032370365408574776,"score_gpt":0.22617317862611214,"score_spread":0.19380281321753737,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2078344567","genre_codex":"other","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011371157,0.17169473,0.0031842557,0.03672257,0.0071692956,0.000103637205,0.0012839118,0.0001028408,0.76836765],"genre_scores_gemma":[0.5524357,0.22975935,0.00758007,0.012190144,0.006207126,0.00024162416,0.0013259592,0.00036910354,0.18989095],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987534,0.00023980126,0.000038200174,0.00016876905,0.00047914605,0.00032072034],"domain_scores_gemma":[0.99812716,0.00046420557,0.00007346942,0.00007465537,0.0008604675,0.00040011565],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001210849,0.0009844562,0.0005274772,0.00474032,0.009781927,0.012867623,0.001244336,0.0017949808,0.019851133],"category_scores_gemma":[0.0029435977,0.0004874269,0.000295557,0.0057850494,0.013004249,0.004644603,0.0025948468,0.0029241838,0.0014482092],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004144938,0.000019180417,0.0014013256,0.00067128986,0.000008187953,0.00014527535,0.050013285,0.0001514447,0.0005214959,0.7196346,0.15703362,0.070358895],"study_design_scores_gemma":[0.0000016238375,0.00000727977,0.0037161491,0.000699347,0.0000047481176,0.00008566952,0.016424462,0.000057174864,0.000057587145,0.014981638,0.9639409,0.000023421971],"about_ca_topic_score_codex":0.8249487,"about_ca_topic_score_gemma":0.8733812,"teacher_disagreement_score":0.17505127,"about_ca_system_score_codex":0.041517492,"about_ca_system_score_gemma":0.023910042,"threshold_uncertainty_score":0.35216433},"labels":[],"label_agreement":null},{"id":"W2079119704","doi":"10.7202/008962ar","title":"Dispositif(s) et réception 1","year":2004,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Humanities; Philosophy","score_opus":0.032847958113005456,"score_gpt":0.25006310869873316,"score_spread":0.2172151505857277,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2079119704","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20672052,0.0052941698,0.05141035,0.016083645,0.0004124643,0.0001023384,0.0008494462,0.00018209255,0.71894497],"genre_scores_gemma":[0.9640141,0.0020250564,0.0041684383,0.0002610743,0.00019092647,0.000048749313,0.0002016618,0.00005032212,0.02903966],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991217,0.0002944251,0.000045197346,0.00017990294,0.00018808804,0.00017076636],"domain_scores_gemma":[0.9956173,0.0029549815,0.0005556491,0.00025232666,0.0003159017,0.000303749],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013616107,0.00042061973,0.00035447828,0.0012063897,0.0013207789,0.007468942,0.0006809894,0.0014700958,0.034459814],"category_scores_gemma":[0.0063619963,0.000260689,0.00039866904,0.0011640582,0.0048830323,0.0061050337,0.0019117157,0.0017903749,0.0017814975],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008686746,0.000051832805,0.00630525,0.00015502807,0.000017138593,0.00041865287,0.004588772,0.00090420997,0.0004765079,0.9534851,0.0025414797,0.030969253],"study_design_scores_gemma":[0.00004404236,0.00016713541,0.026488943,0.0005490763,0.00005143635,0.0015627274,0.013031188,0.0034870193,0.0011699293,0.8117846,0.14157568,0.00008813233],"about_ca_topic_score_codex":0.0035463667,"about_ca_topic_score_gemma":0.0016622221,"teacher_disagreement_score":0.034459814,"about_ca_system_score_codex":0.0018829562,"about_ca_system_score_gemma":0.0010452052,"threshold_uncertainty_score":0.115279496},"labels":[],"label_agreement":null},{"id":"W2079463165","doi":"10.1007/s10824-012-9181-7","title":"Australian films at the Australian box office: performance, distribution, and subsidies","year":2012,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":41,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Box office; Publicity; Subsidy; Ceteris paribus; Corporation; Cultural economics; Distribution (mathematics); Government (linguistics); Advertising; Economics; Business; Marketing; Finance; The arts; Political science; Law; Market economy","score_opus":0.037672976094256586,"score_gpt":0.23953053144126965,"score_spread":0.20185755534701305,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2079463165","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46987817,0.008280858,0.0017374431,0.034938186,0.00042519526,0.00008141993,0.00220033,0.000069478505,0.48238897],"genre_scores_gemma":[0.9298509,0.0020056954,0.0002359914,0.00048551208,0.00015519038,0.00001649261,0.00024701798,0.00002502344,0.06697821],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.99844104,0.00046142744,0.000042226762,0.000092120696,0.00060827093,0.00035487948],"domain_scores_gemma":[0.99198055,0.0034121238,0.0012329905,0.0003432434,0.0021512946,0.0008797822],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001810665,0.00024351316,0.00028661187,0.0010278833,0.0019779247,0.004416118,0.00044596856,0.001321252,0.025078116],"category_scores_gemma":[0.016014969,0.0002690081,0.00017774665,0.0026456385,0.0013054345,0.0025435584,0.0010039987,0.0018930077,0.0010499511],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007976579,0.00055322115,0.083941005,0.00045491452,0.00010255222,0.0009326214,0.015239578,0.004729569,0.0023181322,0.50931674,0.21351396,0.16810004],"study_design_scores_gemma":[0.000049422917,0.00029141302,0.5413804,0.00059537124,0.00015749663,0.00034442055,0.014930356,0.0073616137,0.0016974376,0.07356904,0.35951784,0.00010509233],"about_ca_topic_score_codex":0.10655753,"about_ca_topic_score_gemma":0.15960719,"teacher_disagreement_score":0.10655753,"about_ca_system_score_codex":0.005880762,"about_ca_system_score_gemma":0.003109907,"threshold_uncertainty_score":0.2118746},"labels":[],"label_agreement":null},{"id":"W2079666748","doi":"","title":"Introduction: Cinema During the Great War","year":2010,"lang":"en","type":"article","venue":"Film History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Parade; Watson; Nothing; History; Spanish Civil War; Movie theater; Theme (computing); Originality; Period (music); Classics; Representation (politics); Art history; Literature; Media studies; Sociology; Law; Social science; Art; Aesthetics; Political science; Politics; Archaeology; Philosophy","score_opus":0.014532280546931649,"score_gpt":0.17437380710698347,"score_spread":0.15984152656005182,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2079666748","genre_codex":"other","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005043306,0.16350585,0.0008841879,0.06234601,0.09267499,0.00009026709,0.0012749997,0.00029891514,0.6738815],"genre_scores_gemma":[0.10404224,0.12571906,0.001473593,0.027101912,0.13328618,0.00018926137,0.0017657905,0.00056114915,0.6058609],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995654,0.00014356163,0.000021895512,0.000073660456,0.00013454018,0.00006087803],"domain_scores_gemma":[0.998825,0.00048945757,0.00008839549,0.000067501416,0.00030750484,0.00022215165],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00060223846,0.0008667764,0.00028350955,0.0018711123,0.0035060714,0.0051895846,0.0006321833,0.0017122355,0.06894982],"category_scores_gemma":[0.0023887,0.00027296174,0.00028435714,0.0014606668,0.0014060409,0.0032552702,0.0017586523,0.0031056716,0.011059794],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002003136,0.00001194848,0.00017495416,0.00033201036,0.0000031289198,0.0001053833,0.004441597,0.000020673178,0.00032863335,0.012548887,0.95864064,0.02337222],"study_design_scores_gemma":[0.000001346388,0.000006347352,0.00054816157,0.00037338457,0.0000016895059,0.000115770395,0.00094837474,0.000008593456,0.000043007214,0.00046797915,0.99748296,0.0000024452886],"about_ca_topic_score_codex":0.0038400772,"about_ca_topic_score_gemma":0.00797314,"teacher_disagreement_score":0.06894982,"about_ca_system_score_codex":0.0020457553,"about_ca_system_score_gemma":0.0010380968,"threshold_uncertainty_score":0.23066014},"labels":[],"label_agreement":null},{"id":"W2080849526","doi":"10.1353/utq.2007.0138","title":"Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (review)","year":2007,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Exhibition; Modern art; Context (archaeology); Hollywood; Art; Visual arts; Art history; History; Performance art; Archaeology","score_opus":0.011547695464357082,"score_gpt":0.18739485735644404,"score_spread":0.17584716189208696,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2080849526","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0000387039,0.99743277,0.000011290299,0.00068256696,0.000599798,0.0000059265662,0.000047403642,0.0000043239274,0.0011772129],"genre_scores_gemma":[0.0005773241,0.99648714,0.00003783576,0.000770331,0.0008392874,0.000014681274,0.000081747225,0.0000035282499,0.0011881891],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943525,0.000103144666,0.000089230656,0.00008189468,0.00022879826,0.00006171014],"domain_scores_gemma":[0.9981963,0.0006384356,0.0003861843,0.000039097344,0.0005312962,0.00020874565],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00073856435,0.0009548522,0.0012643593,0.0039018646,0.0005066164,0.003060929,0.0011097436,0.001743919,0.032002766],"category_scores_gemma":[0.0034933053,0.00048853585,0.0007082995,0.0060671875,0.0006783301,0.0029965178,0.0011470562,0.0020749655,0.0068333945],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000074719894,0.000025624508,0.00046466192,0.04967679,0.00014306822,0.00014486955,0.00023976812,0.00007342473,0.00017913381,0.0014536816,0.44674605,0.5007782],"study_design_scores_gemma":[0.000025622292,0.000029671912,0.003649024,0.033855554,0.00014712391,0.00068054383,0.0003757381,0.00001707433,0.00004808324,0.0002459781,0.96090454,0.000021015729],"about_ca_topic_score_codex":0.00749005,"about_ca_topic_score_gemma":0.010958962,"teacher_disagreement_score":0.032002766,"about_ca_system_score_codex":0.0010861482,"about_ca_system_score_gemma":0.0028519116,"threshold_uncertainty_score":0.107059956},"labels":[],"label_agreement":null},{"id":"W2081596610","doi":"10.1386/sdf.7.1.45_1","title":"Conceptualizing documentary performance","year":2013,"lang":"en","type":"article","venue":"Studies in Documentary Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Documentary film; Visual arts; Media studies; Sociology; Art","score_opus":0.05850609491078622,"score_gpt":0.2796687340083393,"score_spread":0.22116263909755307,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2081596610","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.093482554,0.0069398517,0.040348694,0.020423705,0.00047150545,0.000119386365,0.00020277417,0.00014432915,0.8378672],"genre_scores_gemma":[0.97560215,0.0018459539,0.005484094,0.00032103056,0.0002127905,0.000085058295,0.00013172705,0.00006566393,0.016251452],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99517316,0.0029447908,0.00020153493,0.0004332364,0.0007533198,0.0004939031],"domain_scores_gemma":[0.99201304,0.004431564,0.0010633386,0.0007402508,0.0010632523,0.0006885527],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0053619123,0.0007867275,0.00031000405,0.004055334,0.00554331,0.013201169,0.002431255,0.0026270985,0.00891047],"category_scores_gemma":[0.011850295,0.00023986517,0.00028806436,0.0040840376,0.03519868,0.011809097,0.004954888,0.003425511,0.0007158083],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000049996634,0.000008405526,0.0003498891,0.000034907654,0.0000017353958,0.00006742482,0.019941535,0.00017428411,0.00007835997,0.9747074,0.00086879556,0.003762274],"study_design_scores_gemma":[0.000023879576,0.00008364094,0.0031003573,0.0010938895,0.000025131532,0.000529855,0.094995946,0.003675202,0.00082755624,0.52505255,0.3705465,0.00004558864],"about_ca_topic_score_codex":0.007949214,"about_ca_topic_score_gemma":0.004062948,"teacher_disagreement_score":0.013201169,"about_ca_system_score_codex":0.008376809,"about_ca_system_score_gemma":0.002925156,"threshold_uncertainty_score":0.06077826},"labels":[],"label_agreement":null},{"id":"W2082515961","doi":"10.1080/00210860601005088","title":"Kiarostami and the Aesthetics of Modern Persian Poetry","year":2006,"lang":"en","type":"article","venue":"Iranian Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Poetry; Artificiality; Filmmaking; Humanism; Literature; Amateur; Art; Movie theater; Reflexivity; Aesthetics; Philosophy; History; Sociology; Social science","score_opus":0.027397766449763977,"score_gpt":0.22350342968590603,"score_spread":0.19610566323614206,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2082515961","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11263542,0.02752273,0.006866804,0.02038869,0.0012457159,0.00003382892,0.00008098544,0.00014027757,0.8310855],"genre_scores_gemma":[0.96567464,0.003921091,0.0016435271,0.00072399003,0.00047048676,0.000020538524,0.000027297754,0.00004871505,0.027469788],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99945885,0.0002737171,0.000017218143,0.0000628352,0.00010821699,0.00007911664],"domain_scores_gemma":[0.9996426,0.00014073803,0.00006467337,0.000049202506,0.000063123305,0.00003952808],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009138706,0.00060547236,0.00017457729,0.0012845399,0.0035528704,0.004345618,0.00044826642,0.0007399741,0.0044294293],"category_scores_gemma":[0.0012113855,0.00014559063,0.00014052432,0.0014661965,0.013784385,0.0033701134,0.0011703199,0.0015073244,0.0005565892],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044102264,0.000016600672,0.00056794984,0.000111207715,0.0000064653163,0.0002793246,0.058583163,0.00015563681,0.000660709,0.90147793,0.013965058,0.024131916],"study_design_scores_gemma":[0.000027691805,0.000054233442,0.0051357546,0.0002145944,0.000010442245,0.0012982158,0.051889725,0.0004521288,0.00041730702,0.2656738,0.6748046,0.000021551103],"about_ca_topic_score_codex":0.0022162674,"about_ca_topic_score_gemma":0.0035281663,"teacher_disagreement_score":0.0044294293,"about_ca_system_score_codex":0.0028780086,"about_ca_system_score_gemma":0.00081502536,"threshold_uncertainty_score":0.020881534},"labels":[],"label_agreement":null},{"id":"W2082995703","doi":"10.1017/s1355771811000458","title":"The Ecology of Listening while Looking in the Cinema: Reflective audioviewing in Gus Van Sant's<i>Elephant</i>","year":2012,"lang":"en","type":"article","venue":"Organised Sound","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Soundscape; Film director; Movie theater; Argument (complex analysis); Active listening; Context (archaeology); Composition (language); Visual arts; Aesthetics; Representation (politics); Dialectic; Sociology; Art; Epistemology; Sound (geography); Literature; Acoustics; History; Communication; Philosophy; Medicine; Archaeology","score_opus":0.03171465145614775,"score_gpt":0.2507210639957667,"score_spread":0.21900641253961897,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2082995703","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7109438,0.0023787462,0.013018812,0.010916133,0.0004409389,0.0000716696,0.000037484686,0.00012966504,0.2620627],"genre_scores_gemma":[0.982969,0.00055302936,0.0017313306,0.00053590303,0.00006721945,0.000025596242,0.000014931408,0.00007410616,0.014028829],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9985996,0.00096483127,0.000019936573,0.00013219353,0.00014073192,0.00014276923],"domain_scores_gemma":[0.9991301,0.0005490814,0.00007429096,0.000054617216,0.000054411754,0.00013751787],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014195356,0.00030968295,0.00023365057,0.00073280605,0.006418985,0.0068000755,0.00083635206,0.0014749925,0.0032462876],"category_scores_gemma":[0.00284667,0.000283585,0.00026186605,0.0004224908,0.016768932,0.003786425,0.0051181633,0.002376146,0.00034413248],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005442549,0.000026120262,0.0011932878,0.00010168796,0.00000688085,0.0017594099,0.9123253,0.00014170421,0.0037213245,0.0645237,0.0023586126,0.013787489],"study_design_scores_gemma":[0.000024537949,0.00011815421,0.0063895807,0.00047839404,0.000027890655,0.0021821498,0.6943174,0.00053026323,0.0040218546,0.022906719,0.26894692,0.00005611995],"about_ca_topic_score_codex":0.0058390447,"about_ca_topic_score_gemma":0.008901866,"teacher_disagreement_score":0.0068000755,"about_ca_system_score_codex":0.002041251,"about_ca_system_score_gemma":0.0009272361,"threshold_uncertainty_score":0.014810383},"labels":[],"label_agreement":null},{"id":"W2083102916","doi":"10.4000/belphegor.194","title":"Fantomas 1921 – A Tale of a Lost American Movie Serial","year":2013,"lang":"fr","type":"article","venue":"Belphégor","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Novelis (Canada)","funders":"","keywords":"Character (mathematics); Popularity; Newspaper; TRACE (psycholinguistics); Plot (graphics); Literature; History; Corporation; Art; Art history; Media studies; Sociology; Political science; Philosophy; Law; Linguistics","score_opus":0.01957960981763424,"score_gpt":0.22403216918819313,"score_spread":0.2044525593705589,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2083102916","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06043044,0.016738947,0.001530713,0.06198227,0.014804181,0.00006661217,0.001218378,0.0002443982,0.8429842],"genre_scores_gemma":[0.34819996,0.011489299,0.0010771995,0.006471063,0.0045336545,0.00007453257,0.0009540814,0.00045040634,0.6267498],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995745,0.00013324575,0.000011617064,0.00006733095,0.00013851204,0.00007491615],"domain_scores_gemma":[0.9993549,0.00021462569,0.000050643863,0.000046060206,0.00015541601,0.00017833391],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000728091,0.0005191794,0.00018508786,0.0015040898,0.0034329663,0.0050867973,0.0004524614,0.0007191481,0.01710627],"category_scores_gemma":[0.0030308447,0.00022198542,0.00017550208,0.0009442618,0.0027249425,0.0029457551,0.0013921652,0.0023137236,0.0023361037],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002250124,0.000045147648,0.0011154575,0.00019236146,0.00001244582,0.000934718,0.01870102,0.00008660551,0.000622397,0.19595736,0.72543144,0.056676],"study_design_scores_gemma":[0.000005230558,0.000020014822,0.0014370187,0.000083187464,0.0000023196033,0.0002001327,0.0023058516,0.00003804958,0.00015592936,0.0019378582,0.9938081,0.0000063123025],"about_ca_topic_score_codex":0.013136,"about_ca_topic_score_gemma":0.024532756,"teacher_disagreement_score":0.01710627,"about_ca_system_score_codex":0.0037779843,"about_ca_system_score_gemma":0.0008935265,"threshold_uncertainty_score":0.05722618},"labels":[],"label_agreement":null},{"id":"W2083309387","doi":"10.7202/1000957ar","title":"Farmers, Phantoms and Princes. The Canadian Pacific Railway and Filmmaking from 1899-1919","year":2011,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Library and Archives Canada","funders":"","keywords":"Filmmaking; Publicity; Entertainment; Promotion (chess); Appeal; Immigration; Settlement (finance); Order (exchange); Media studies; Visual arts; Political science; Advertising; Public relations; History; Engineering; Business; Sociology; Art; Law; Movie theater","score_opus":0.05640520415937042,"score_gpt":0.21820931083142314,"score_spread":0.16180410667205272,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2083309387","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36404163,0.04726831,0.00062475813,0.032515813,0.0005013762,0.000081987884,0.0023518996,0.000029163257,0.55258507],"genre_scores_gemma":[0.92024004,0.0136762215,0.00022048852,0.0004757645,0.00012588676,0.00000993696,0.0002088561,0.000011912258,0.065030836],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9992567,0.00009760864,0.000013065782,0.000088508954,0.000282364,0.00026177286],"domain_scores_gemma":[0.9989484,0.00025853555,0.00015312071,0.0000250643,0.00040661945,0.00020815896],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006523525,0.0003165588,0.0001802525,0.0020451301,0.0071735904,0.0045969067,0.0004978373,0.00070093723,0.010378486],"category_scores_gemma":[0.0039685043,0.00022740473,0.0000876652,0.003951738,0.0057945712,0.0015677365,0.0009180199,0.001032528,0.00038210172],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002209861,0.00007691778,0.0471186,0.0006378494,0.000036701356,0.002523174,0.24391687,0.00082165044,0.00069796375,0.39179212,0.13936271,0.17279442],"study_design_scores_gemma":[0.000007790151,0.00002170197,0.1830612,0.00036411802,0.000026571532,0.00034150947,0.077853166,0.00018711096,0.00022377746,0.005065005,0.732812,0.00003599049],"about_ca_topic_score_codex":0.9694716,"about_ca_topic_score_gemma":0.98900235,"teacher_disagreement_score":0.042998992,"about_ca_system_score_codex":0.042998992,"about_ca_system_score_gemma":0.020905038,"threshold_uncertainty_score":0.31198096},"labels":[],"label_agreement":null},{"id":"W2083420428","doi":"10.1353/utq.2007.0004","title":"Robert and Frances Flaherty: A Documentary Life, 1883-1922 (review)","year":2007,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Scholarship; Drama; History; Literature; Art; Art history; Law","score_opus":0.008681174155340173,"score_gpt":0.19322914037855296,"score_spread":0.1845479662232128,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2083420428","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000029771178,0.9946904,0.000016023523,0.0022129507,0.0013240338,0.000002996877,0.0000315634,0.0000040276923,0.001688226],"genre_scores_gemma":[0.0008492548,0.98644376,0.000056693974,0.0038093096,0.0017132413,0.000018798937,0.00010072501,0.000007841842,0.007000382],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99950683,0.00009110754,0.000056715,0.000076987904,0.00021509668,0.000053295633],"domain_scores_gemma":[0.998727,0.00043712044,0.00021512203,0.00003586208,0.00043966115,0.00014512747],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009235668,0.0010325714,0.0010484413,0.0020595882,0.00060195697,0.002621911,0.00096519344,0.0017985462,0.014932307],"category_scores_gemma":[0.0033216577,0.0005318292,0.00049414707,0.0036573207,0.0011973873,0.0029723437,0.0010743196,0.0035132577,0.008613752],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040938794,0.000014008839,0.00013177123,0.008851128,0.000035368535,0.00008267277,0.00023265334,0.00005120234,0.00014961926,0.0016008518,0.7972583,0.19155148],"study_design_scores_gemma":[0.000005298123,0.000009384804,0.00052777876,0.00534662,0.000016525268,0.0002541505,0.000091049646,0.00000464667,0.000027523403,0.00013541114,0.99357504,0.0000065361346],"about_ca_topic_score_codex":0.010996159,"about_ca_topic_score_gemma":0.014643558,"teacher_disagreement_score":0.014932307,"about_ca_system_score_codex":0.0024626954,"about_ca_system_score_gemma":0.0042105587,"threshold_uncertainty_score":0.04995352},"labels":[],"label_agreement":null},{"id":"W2083844114","doi":"10.1093/llc/fql003","title":"Streaming Video Theory","year":2006,"lang":"en","type":"article","venue":"Literary and Linguistic Computing","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Computer science; Resistance (ecology); Context (archaeology); World Wide Web; The Internet; Postmodernism; Subject (documents); Space (punctuation); Multimedia; Internet privacy; Art","score_opus":0.010773238670751563,"score_gpt":0.2040329437718907,"score_spread":0.19325970510113916,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2083844114","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009519194,0.00824709,0.106013715,0.011670192,0.0008168354,0.00019374664,0.0005934678,0.0001666762,0.862779],"genre_scores_gemma":[0.6436089,0.02463329,0.050571244,0.004090436,0.0030657488,0.0007197804,0.0012255559,0.00032334562,0.27176166],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9990196,0.00032604398,0.00004328686,0.00018022076,0.00029669775,0.00013422662],"domain_scores_gemma":[0.9983113,0.0008209663,0.00013797177,0.00016610052,0.00040237655,0.00016137473],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011299471,0.0007629381,0.00041342786,0.0020125888,0.0017597249,0.004325339,0.0015854895,0.0022830367,0.032452356],"category_scores_gemma":[0.0039600558,0.0002730911,0.0004904498,0.0018139939,0.0044189994,0.0064663654,0.0015323609,0.002116675,0.0052002724],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000043534624,0.000005913,0.000092967566,0.000024620262,0.0000014216192,0.00003474279,0.00016266662,0.0002461464,0.000028401355,0.99075294,0.0034153191,0.0052305837],"study_design_scores_gemma":[0.000012859768,0.000022664199,0.00032969913,0.00016694976,0.000007620041,0.00023646929,0.00041255195,0.005489245,0.00014434372,0.8284073,0.16475819,0.000011966566],"about_ca_topic_score_codex":0.00605737,"about_ca_topic_score_gemma":0.0023130311,"teacher_disagreement_score":0.032452356,"about_ca_system_score_codex":0.0038197504,"about_ca_system_score_gemma":0.0017957824,"threshold_uncertainty_score":0.1085639},"labels":[],"label_agreement":null},{"id":"W2083948675","doi":"10.7202/1000973ar","title":"Le public et la critique. Le difficile récit de la réception","year":2011,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Humanities; Art","score_opus":0.04347234370086711,"score_gpt":0.257723203460957,"score_spread":0.2142508597600899,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2083948675","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11844944,0.0139041385,0.008947148,0.09202141,0.0012175897,0.00006126029,0.00012701444,0.0001226317,0.76514935],"genre_scores_gemma":[0.90300447,0.0022808271,0.00057725975,0.002620862,0.0008598066,0.000042904663,0.000036933332,0.0001339289,0.09044295],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.98786587,0.0073931227,0.00021200858,0.00077919225,0.0029558265,0.00079399307],"domain_scores_gemma":[0.98193663,0.010825375,0.0024026618,0.0014867237,0.002449334,0.0008993602],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004904959,0.0006142623,0.00043145157,0.0018057568,0.0070765996,0.011793204,0.0006605343,0.004447442,0.013102341],"category_scores_gemma":[0.023245996,0.00029856898,0.00035276602,0.0014579312,0.025667882,0.0058492343,0.004972599,0.0059218104,0.0019167135],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006620792,0.000031542248,0.002921144,0.00025075336,0.000017507868,0.00063410477,0.21020779,0.00015109526,0.001006762,0.7220452,0.027559064,0.035108864],"study_design_scores_gemma":[0.000019921197,0.000064442705,0.0046509253,0.000567557,0.000013107445,0.001004588,0.06466054,0.00027544904,0.0005475008,0.055049583,0.8731081,0.000038186863],"about_ca_topic_score_codex":0.010701615,"about_ca_topic_score_gemma":0.010594509,"teacher_disagreement_score":0.013102341,"about_ca_system_score_codex":0.005706984,"about_ca_system_score_gemma":0.003966267,"threshold_uncertainty_score":0.043831766},"labels":[],"label_agreement":null},{"id":"W2084581299","doi":"10.1353/rpc.2012.0022","title":"The Horror of (a) Playing God: Job's Nightmare and Michael Haneke's Funny Games","year":2012,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Nightmare; Depiction; Narrative; Entertainment; Adventure; Hollywood; Art; Psychoanalysis; Sociology; Literature; Aesthetics; Art history; Media studies; Psychology; Visual arts","score_opus":0.017812589387640125,"score_gpt":0.23168998865719284,"score_spread":0.2138773992695527,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2084581299","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4392556,0.010715451,0.0022598216,0.24526322,0.002901328,0.000031004085,0.00014157844,0.000042526462,0.29938948],"genre_scores_gemma":[0.9613687,0.0028720847,0.00026721673,0.005843125,0.000556877,0.00001482888,0.000015287642,0.000032667267,0.029029183],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942243,0.0003657377,0.0000070784167,0.000034866414,0.00006404884,0.000105826126],"domain_scores_gemma":[0.99837035,0.001038263,0.00014789117,0.00005107854,0.0001061304,0.00028621397],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00094358996,0.00024209915,0.00019004874,0.0003738013,0.0045577013,0.004866981,0.00044033356,0.0016417361,0.0034253122],"category_scores_gemma":[0.0042221304,0.00017846792,0.00012970662,0.00040087907,0.0069019976,0.0029790692,0.0018050151,0.0029297739,0.00032379746],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021268669,0.00016933339,0.0045655426,0.00021405952,0.000026155967,0.0015840179,0.37768266,0.00028173087,0.0005705116,0.33996162,0.23747145,0.03726035],"study_design_scores_gemma":[0.00004544681,0.000094572526,0.0125110755,0.00052870926,0.00002048198,0.00081498746,0.38735467,0.0006081081,0.000715286,0.041046835,0.5561977,0.00006207354],"about_ca_topic_score_codex":0.011720053,"about_ca_topic_score_gemma":0.02867733,"teacher_disagreement_score":0.011720053,"about_ca_system_score_codex":0.0014775856,"about_ca_system_score_gemma":0.0007034289,"threshold_uncertainty_score":0.023303688},"labels":[],"label_agreement":null},{"id":"W208476176","doi":"","title":"The Unseen Alistair Cooke","year":2010,"lang":"en","type":"article","venue":"Film & history","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Shot (pellet); Art; Art history; Lunatic; Wife; Procession; Visual arts; History; Archaeology; Law","score_opus":0.02201155486457304,"score_gpt":0.18972563360665062,"score_spread":0.16771407874207758,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W208476176","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005989767,0.012283654,0.0010475975,0.025726598,0.0071292864,0.000072575225,0.0006984835,0.0007974331,0.94625455],"genre_scores_gemma":[0.0083426135,0.0017919902,0.0005123363,0.0027879733,0.0002774569,0.000013367633,0.00021851988,0.00027104304,0.9857847],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996551,0.000039879164,0.000006271746,0.000086738786,0.00013324329,0.00007870506],"domain_scores_gemma":[0.9994543,0.000042881817,0.000017236925,0.000048536265,0.00017154872,0.0002654524],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047905833,0.00061679987,0.0001922099,0.00066954794,0.0052641123,0.004454954,0.00048089828,0.0017115339,0.1883587],"category_scores_gemma":[0.0011778454,0.000467815,0.00019576239,0.00042537053,0.0011986415,0.0026197247,0.0032976025,0.0031067908,0.0630023],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015972457,0.000008835714,0.00013898204,0.000047600304,0.0000013736952,0.000091985996,0.001746855,0.0000068997397,0.00042088603,0.005156607,0.96686494,0.025499089],"study_design_scores_gemma":[5.433881e-7,0.0000023436642,0.00025885136,0.00003190733,4.5713378e-7,0.00006247361,0.0005399012,0.0000026327464,0.00005454083,0.000071848284,0.9989723,0.0000022180604],"about_ca_topic_score_codex":0.030097602,"about_ca_topic_score_gemma":0.100528315,"teacher_disagreement_score":0.1883587,"about_ca_system_score_codex":0.0017143111,"about_ca_system_score_gemma":0.002001818,"threshold_uncertainty_score":0.6301226},"labels":[],"label_agreement":null},{"id":"W2085029839","doi":"10.7202/1027441ar","title":"Pulling Apart the Apparatus","year":2014,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Assertion; Embodied cognition; Scholarship; Confusion; Identity (music); Rendering (computer graphics); Film theory; Epistemology; Sociology; Aesthetics; Linguistics; Psychology; Art; Computer science; Visual arts; Philosophy; Movie theater; Psychoanalysis; Law; Artificial intelligence","score_opus":0.15422987554684447,"score_gpt":0.29477650722924825,"score_spread":0.14054663168240378,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2085029839","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08362969,0.019977178,0.11845737,0.27308038,0.0051088394,0.000102475045,0.00033560707,0.0005045271,0.49880385],"genre_scores_gemma":[0.9394551,0.006687127,0.009844267,0.009780503,0.0023781236,0.00012380574,0.00011446796,0.00049455685,0.031122003],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99521184,0.002466881,0.00016892092,0.0008480535,0.000791633,0.00051259773],"domain_scores_gemma":[0.99176615,0.004706995,0.0006095382,0.0015215883,0.00087609683,0.00051960576],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006950309,0.00075826526,0.0010079675,0.0028060393,0.0042894357,0.01219354,0.0016080743,0.003845818,0.010807799],"category_scores_gemma":[0.017110497,0.0005037697,0.0008384099,0.0013640546,0.03280372,0.024108104,0.009191436,0.007118563,0.002309405],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021634929,0.00000614328,0.00038774073,0.000044943976,0.0000066698417,0.000047443737,0.005040546,0.00011741709,0.00011838531,0.9854536,0.002526118,0.006229294],"study_design_scores_gemma":[0.000019744686,0.0000480483,0.0014674391,0.00043589112,0.000019519586,0.00014857615,0.007943385,0.0011146603,0.0004682034,0.8072587,0.18103886,0.00003696844],"about_ca_topic_score_codex":0.0067396443,"about_ca_topic_score_gemma":0.004051595,"teacher_disagreement_score":0.01219354,"about_ca_system_score_codex":0.0050682337,"about_ca_system_score_gemma":0.0029028433,"threshold_uncertainty_score":0.036772728},"labels":[],"label_agreement":null},{"id":"W2086067136","doi":"10.1080/15240657.2014.911054","title":"Discarded Histories and Queer Affects in Anne Carson’s<i>Autobiography of Red</i>","year":2014,"lang":"en","type":"article","venue":"Studies in Gender and Sexuality","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Queer; Biography; Monster; Context (archaeology); Subjectivity; Witness; Mythology; Literature; Identity (music); Vampire; History; Art; Art history; Sociology; Aesthetics; Philosophy; Gender studies","score_opus":0.06439769695482844,"score_gpt":0.28367739991399876,"score_spread":0.21927970295917032,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2086067136","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41050792,0.019733174,0.0021000504,0.04074743,0.0017801223,0.000029537128,0.00008706676,0.000103394326,0.52491134],"genre_scores_gemma":[0.9330319,0.0031646506,0.00027596377,0.0028988281,0.0002387616,0.000012020608,0.00001813369,0.000093348564,0.060266387],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988703,0.0006863965,0.000014359532,0.00009469313,0.00017917954,0.00015491502],"domain_scores_gemma":[0.99863905,0.0008659895,0.00014897765,0.00008074801,0.00010066776,0.00016451241],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012149932,0.00046308272,0.00025712777,0.0008196751,0.0107147135,0.006371879,0.0006066773,0.0015644908,0.0051194993],"category_scores_gemma":[0.002131659,0.00027725115,0.00016315452,0.00043986118,0.018831853,0.005535294,0.0025924747,0.0046989834,0.00044115997],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003172666,0.000019366746,0.00043625495,0.000051265095,0.0000053697463,0.00072635897,0.8079143,0.000053342654,0.0005600975,0.17254499,0.012580935,0.0050759483],"study_design_scores_gemma":[0.000005242494,0.000031817486,0.0019784805,0.00023467884,0.0000101782125,0.0010758355,0.3377763,0.000082759696,0.00081854465,0.0074437675,0.65050465,0.000037689053],"about_ca_topic_score_codex":0.026583228,"about_ca_topic_score_gemma":0.06551711,"teacher_disagreement_score":0.026583228,"about_ca_system_score_codex":0.004651329,"about_ca_system_score_gemma":0.0011210563,"threshold_uncertainty_score":0.05285698},"labels":[],"label_agreement":null},{"id":"W2087225450","doi":"10.7202/1009074ar","title":"Missing Links: Digital Cinema, Analogical Archives, Film Historiography","year":2012,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Digitization; Historiography; Exhibition; Film studies; Visual arts; Motion picture; Art; History; Computer science; Archaeology; Telecommunications; Artificial intelligence","score_opus":0.041600210757090174,"score_gpt":0.2677749756184283,"score_spread":0.2261747648613381,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2087225450","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013200834,0.22660647,0.0027522114,0.17117743,0.0479483,0.00014344485,0.01168543,0.00045991474,0.526026],"genre_scores_gemma":[0.26841184,0.2552022,0.0055312575,0.019563051,0.06387943,0.00019618239,0.009944212,0.0004046806,0.37686715],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99900347,0.00039520278,0.00008413831,0.0001647103,0.00027426088,0.00007813527],"domain_scores_gemma":[0.9910607,0.005501986,0.0009554023,0.00041326808,0.0011494161,0.0009192388],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0017640011,0.00058565603,0.0006879158,0.00796693,0.0024662449,0.006871362,0.0012929818,0.003171894,0.32171467],"category_scores_gemma":[0.012371218,0.00020682615,0.00023314051,0.014940705,0.0020706484,0.0073918174,0.0024696693,0.0014620745,0.03614115],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007060332,0.00007851965,0.0037641982,0.0026505378,0.000026072506,0.0002602419,0.0014980545,0.00011906672,0.00013254205,0.08095788,0.73459065,0.17585161],"study_design_scores_gemma":[0.000025119689,0.00003255243,0.009513604,0.0032851263,0.000041957297,0.00088699505,0.00447938,0.000239934,0.000118637494,0.033788756,0.947559,0.000028996696],"about_ca_topic_score_codex":0.006230414,"about_ca_topic_score_gemma":0.00770153,"teacher_disagreement_score":0.32171467,"about_ca_system_score_codex":0.0017165175,"about_ca_system_score_gemma":0.0018412969,"threshold_uncertainty_score":0.9674917},"labels":[],"label_agreement":null},{"id":"W2088855761","doi":"10.7202/024880ar","title":"Scene and Surface in the Cinema : Implications for Realism","year":2007,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Realism; Movie theater; sort; Event (particle physics); Surface (topology); Set (abstract data type); Motion (physics); Separable space; The arts; Computer science; Art; Visual arts; Aesthetics; Computer graphics (images); Artificial intelligence; Mathematics; Physics; Information retrieval; Geometry","score_opus":0.05992890142166111,"score_gpt":0.278337780774619,"score_spread":0.2184088793529579,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2088855761","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16578037,0.009085426,0.07583715,0.079628386,0.0010560561,0.00014302175,0.00042382732,0.000119439785,0.6679264],"genre_scores_gemma":[0.9825797,0.001104676,0.007491064,0.001312872,0.0003970671,0.000053250456,0.00010192024,0.000051755094,0.006907689],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978878,0.0012650859,0.00006431158,0.00031061537,0.00027393707,0.00019820889],"domain_scores_gemma":[0.99427927,0.0041725696,0.00042808885,0.00047259836,0.00029906488,0.00034844593],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021622344,0.0004780561,0.00059746834,0.0014634926,0.0020741404,0.012181124,0.00091651717,0.0025647408,0.013550239],"category_scores_gemma":[0.014222988,0.00052672124,0.00074390636,0.0010473017,0.017465381,0.012677329,0.00399574,0.0034729969,0.00053857075],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045438246,0.000009469263,0.00036528785,0.00003259525,0.0000038573257,0.000039553444,0.0018288185,0.00032461685,0.00010337639,0.9946373,0.0006713609,0.0019383177],"study_design_scores_gemma":[0.00003845491,0.000018726563,0.0011449173,0.00007861667,0.000008779466,0.000104553816,0.002552989,0.0021273184,0.00010589769,0.98268145,0.011125934,0.00001227317],"about_ca_topic_score_codex":0.002793852,"about_ca_topic_score_gemma":0.0019340152,"teacher_disagreement_score":0.013550239,"about_ca_system_score_codex":0.0026248507,"about_ca_system_score_gemma":0.000827973,"threshold_uncertainty_score":0.045330107},"labels":[],"label_agreement":null},{"id":"W2088939265","doi":"10.3138/md.48.3.565","title":"Fixing the TV: Televisual Geography in the Wooster Group’s <i>Brace Up!</i>","year":2005,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Brace; Politics; Reading (process); Sociology; Aesthetics; Art; Law; Political science; Engineering","score_opus":0.02515994350617932,"score_gpt":0.2282077745923026,"score_spread":0.2030478310861233,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2088939265","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1113959,0.005762149,0.0027716658,0.036543246,0.000931331,0.000021892458,0.00007217814,0.00007669187,0.8424249],"genre_scores_gemma":[0.9403701,0.0012862267,0.00046522793,0.0017988982,0.00034040195,0.00001748084,0.00002915904,0.0001081478,0.055584364],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99920195,0.00041751776,0.000011674696,0.00009227191,0.00007318338,0.00020345453],"domain_scores_gemma":[0.99941134,0.0002859122,0.00006752636,0.000061062725,0.000043703112,0.00013044577],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00082013605,0.00032319792,0.00019164663,0.0010688702,0.0066568065,0.011263424,0.0004790394,0.002016835,0.010382546],"category_scores_gemma":[0.002091002,0.00021404443,0.00018235878,0.0012060497,0.016101228,0.0059283655,0.0039382568,0.002639636,0.0009138646],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050416846,0.000018103441,0.00076479814,0.000044950557,0.0000035851535,0.000402231,0.100517325,0.000083877356,0.0003067454,0.8587933,0.023240266,0.015774352],"study_design_scores_gemma":[0.000026963084,0.000039685965,0.0031743643,0.00029566663,0.0000097706725,0.00032830096,0.099509105,0.00018143163,0.0006651383,0.07660766,0.8191316,0.000030360545],"about_ca_topic_score_codex":0.015620698,"about_ca_topic_score_gemma":0.018800661,"teacher_disagreement_score":0.015620698,"about_ca_system_score_codex":0.0034417294,"about_ca_system_score_gemma":0.0009136078,"threshold_uncertainty_score":0.034733057},"labels":[],"label_agreement":null},{"id":"W2089716979","doi":"10.1386/fiin.1.1.27","title":"Genre Films and Cultural Myth","year":2003,"lang":"en","type":"article","venue":"Film International","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Zeitgeist; Mythology; Ideology; Aesthetics; Set (abstract data type); Film genre; Sociology; Art; Media studies; Literature; Epistemology; Movie theater; Philosophy; Law; Political science; Politics; Computer science","score_opus":0.028401141696175875,"score_gpt":0.23402822947831406,"score_spread":0.20562708778213817,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2089716979","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05488151,0.02389632,0.001872656,0.08592229,0.0029506285,0.000028518369,0.00013807513,0.000038626218,0.8302713],"genre_scores_gemma":[0.93224186,0.011979482,0.00083155866,0.009530522,0.0026563716,0.00006184264,0.00007956847,0.000082259685,0.042536356],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.997378,0.0016956222,0.0000642756,0.0002586789,0.00031085726,0.00029253375],"domain_scores_gemma":[0.9977457,0.00097172084,0.00030689905,0.0002560318,0.00027458067,0.00044507082],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021171435,0.0004235079,0.0002573512,0.0020341547,0.006448936,0.013578573,0.000783606,0.0015761475,0.008089998],"category_scores_gemma":[0.0059624366,0.00020768952,0.00020383217,0.0012138145,0.022068758,0.0071523623,0.0035443874,0.0035445557,0.00046809958],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001683788,0.000016667822,0.0008082444,0.00005448365,0.000007166308,0.00010885134,0.030337933,0.000039006023,0.00008946296,0.94450206,0.015358423,0.008660862],"study_design_scores_gemma":[0.000026163765,0.00003723106,0.0041642115,0.000800985,0.000015730651,0.00045167777,0.0657817,0.00018927734,0.00025241973,0.23862083,0.68963915,0.000020647954],"about_ca_topic_score_codex":0.0053852084,"about_ca_topic_score_gemma":0.005420191,"teacher_disagreement_score":0.013578573,"about_ca_system_score_codex":0.003995055,"about_ca_system_score_gemma":0.001218867,"threshold_uncertainty_score":0.028986335},"labels":[],"label_agreement":null},{"id":"W2091298128","doi":"10.1177/000842980803700338","title":"Film reviews / Revues de films: Fish Can't Fly","year":2008,"lang":"en","type":"article","venue":"Studies in Religion/Sciences Religieuses","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Fish <Actinopterygii>; On the fly; Fishery; Art; Computer science; Biology; Operating system","score_opus":0.14912766051661158,"score_gpt":0.3268814846676074,"score_spread":0.17775382415099583,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2091298128","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03085542,0.13421908,0.0010255016,0.21814649,0.124819934,0.00020077228,0.004802189,0.0005816989,0.48534894],"genre_scores_gemma":[0.20084968,0.077404685,0.0018893087,0.03527349,0.09405342,0.00018890889,0.004060578,0.0010483795,0.58523154],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985257,0.00047438708,0.000078181074,0.0001630352,0.0006104737,0.0001481878],"domain_scores_gemma":[0.99266374,0.0024505185,0.00088958454,0.00060560496,0.0023749585,0.0010155074],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016353958,0.0006097935,0.0003343452,0.0027274902,0.0021471013,0.0038200773,0.0005584531,0.0016931285,0.06930774],"category_scores_gemma":[0.011079979,0.00027760558,0.00033535477,0.0025783316,0.00092912326,0.0034015663,0.0012714427,0.0025413663,0.010521379],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003896083,0.00001598376,0.00047292036,0.000395507,0.000012676419,0.0000948919,0.0011064318,0.000012392848,0.0006854602,0.0020180084,0.96052325,0.034623496],"study_design_scores_gemma":[0.0000049820874,0.000019740426,0.0030815545,0.00036234953,0.000011611362,0.0001195538,0.0022045088,0.000026589703,0.00034047788,0.00025984718,0.9935607,0.0000080670225],"about_ca_topic_score_codex":0.009093623,"about_ca_topic_score_gemma":0.027862113,"teacher_disagreement_score":0.06930774,"about_ca_system_score_codex":0.0013898496,"about_ca_system_score_gemma":0.0012026145,"threshold_uncertainty_score":0.23185748},"labels":[],"label_agreement":null},{"id":"W2091966993","doi":"10.7202/1001069ar","title":"24-Track Narrative? Robert Altman’s Nashville","year":2011,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Track (disk drive); Film director; Openness to experience; Simple (philosophy); Sound (geography); Computer science; Art; Visual arts; Psychology; Literature; Epistemology; Acoustics; Philosophy; Physics; Social psychology","score_opus":0.060338872197102975,"score_gpt":0.23110212775992559,"score_spread":0.17076325556282262,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2091966993","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.065395154,0.007103293,0.0036965376,0.091195986,0.0012954163,0.00002370393,0.00030992788,0.00008095514,0.83089894],"genre_scores_gemma":[0.6233203,0.0038041149,0.0019875334,0.003702252,0.00032029598,0.000025184218,0.00012224913,0.00007136879,0.36664674],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993243,0.00040065474,0.000008352218,0.000082681756,0.000092945906,0.00009115391],"domain_scores_gemma":[0.99958044,0.00015509289,0.000053539763,0.000031536027,0.00009226928,0.00008715567],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00090177025,0.00025194496,0.00011288076,0.0003644886,0.0020658977,0.003843088,0.00046564473,0.00079045555,0.018534174],"category_scores_gemma":[0.0022841177,0.00009757964,0.00011046183,0.00044210174,0.0014177355,0.0029411817,0.0007211555,0.0010155143,0.0018565878],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006797022,0.00003314652,0.001508488,0.0000377509,0.00000867874,0.0005306104,0.0089011155,0.0005437039,0.00031332806,0.7941722,0.1586433,0.035239562],"study_design_scores_gemma":[0.000004730807,0.00002013524,0.0021356673,0.00012051755,0.0000037466257,0.00017751612,0.010081259,0.0005977167,0.00023493529,0.03159488,0.95500857,0.000020331265],"about_ca_topic_score_codex":0.0680499,"about_ca_topic_score_gemma":0.12863657,"teacher_disagreement_score":0.0680499,"about_ca_system_score_codex":0.0038976432,"about_ca_system_score_gemma":0.0014707246,"threshold_uncertainty_score":0.13530761},"labels":[],"label_agreement":null},{"id":"W2093161413","doi":"10.7202/024855ar","title":"What is wrong with the beard : Eisenstein’s Ivan the Terrible as an eccentric tragedy","year":2007,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Tragedy (event); Art; Aesthetics; Division (mathematics); Literature; Philosophy; Mathematics","score_opus":0.027562792607143304,"score_gpt":0.241848614907018,"score_spread":0.2142858222998747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2093161413","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10955464,0.019055733,0.013396213,0.23549171,0.0034099317,0.000025224774,0.00005097542,0.00011571018,0.6188998],"genre_scores_gemma":[0.95751536,0.0028217204,0.0013417449,0.005628072,0.00057303766,0.000013960005,0.000007729707,0.00007946153,0.032019123],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99809355,0.0011669478,0.000032896744,0.00019649697,0.0002906525,0.00021954233],"domain_scores_gemma":[0.9973797,0.0017260518,0.00022866044,0.00019927141,0.00024033948,0.00022602428],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027911365,0.0003034119,0.00026923057,0.0011608208,0.005765916,0.008574988,0.0007562826,0.0029717488,0.00389365],"category_scores_gemma":[0.011069926,0.00017768922,0.00018805708,0.0008641256,0.019999567,0.0071725715,0.0024737348,0.004121893,0.00042886185],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010554151,0.000006941691,0.00016891281,0.000009285891,0.0000020884381,0.00007615044,0.005749387,0.00010768911,0.00005037626,0.98088545,0.008441675,0.004491516],"study_design_scores_gemma":[0.000010706219,0.000019969753,0.0006692702,0.00019032051,0.000009215872,0.00014735849,0.007974877,0.0007165152,0.0003344239,0.8199172,0.16998395,0.00002620547],"about_ca_topic_score_codex":0.00921687,"about_ca_topic_score_gemma":0.0074125896,"teacher_disagreement_score":0.00921687,"about_ca_system_score_codex":0.0056870664,"about_ca_system_score_gemma":0.001612649,"threshold_uncertainty_score":0.041262805},"labels":[],"label_agreement":null},{"id":"W2093555753","doi":"10.1163/156851506776145733","title":"History and Pseudo-History in the Jesus Film Genre","year":2006,"lang":"en","type":"article","venue":"Biblical Interpretation","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Faith; Temptation; Historicity (philosophy); Historical Jesus; New Testament; Literature; Philosophy; Irony; Biblical studies; History; Art; Theology; Religious studies","score_opus":0.03112747467999609,"score_gpt":0.22000323245789064,"score_spread":0.18887575777789456,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2093555753","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7822021,0.014033428,0.0032234308,0.008021137,0.00018930055,0.00008833569,0.00082514674,0.000031431107,0.1913857],"genre_scores_gemma":[0.9934216,0.0018802998,0.00022592998,0.000078733436,0.00016759151,0.00002141159,0.000117728276,0.0000075121475,0.004079093],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9988385,0.00069144793,0.000041204596,0.00008608816,0.00021735352,0.00012553236],"domain_scores_gemma":[0.9821876,0.01426909,0.0020115927,0.00030138541,0.0006106633,0.00061966025],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019498921,0.00018093648,0.00029341676,0.0030116532,0.0009683855,0.004640689,0.00042666742,0.00071556895,0.01197436],"category_scores_gemma":[0.0126355225,0.00017905307,0.0001453163,0.00422354,0.0022579986,0.0034519092,0.0010537239,0.0008658956,0.0003556301],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030126784,0.00044850804,0.19262134,0.00063581154,0.00011900219,0.0013697298,0.017128069,0.0030153992,0.0005897295,0.714299,0.0115739275,0.05789812],"study_design_scores_gemma":[0.00007492961,0.00025927613,0.6266632,0.0012288281,0.00013627809,0.000595383,0.07010945,0.023773585,0.0008674457,0.17211926,0.10408542,0.00008697386],"about_ca_topic_score_codex":0.013739226,"about_ca_topic_score_gemma":0.0129016405,"teacher_disagreement_score":0.013739226,"about_ca_system_score_codex":0.003177056,"about_ca_system_score_gemma":0.00067329674,"threshold_uncertainty_score":0.040058255},"labels":[],"label_agreement":null},{"id":"W2094876537","doi":"10.1353/utq.2005.0179","title":"Candid Eyes: Essays on Canadian Documentaries (review)","year":2004,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; Filmography; Ideology; Movie theater; Media studies; History; Art history; Film studies; Sociology; Law; Political science; Politics","score_opus":0.010606390657714486,"score_gpt":0.1866318123631732,"score_spread":0.1760254217054587,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2094876537","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000111959926,0.9748721,0.00004917204,0.012669187,0.0059305285,0.000046354195,0.00025400188,0.00001774622,0.0060488703],"genre_scores_gemma":[0.0027834142,0.9714192,0.00027413946,0.014183166,0.0024501616,0.0001241618,0.00047542874,0.0000286448,0.008261701],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.994662,0.00063298305,0.0004946805,0.00024345696,0.0034416975,0.000525215],"domain_scores_gemma":[0.9686821,0.00400571,0.0021056095,0.0003651339,0.021773163,0.0030682373],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0058245165,0.0015244125,0.0019244765,0.012228575,0.0030742413,0.006051473,0.0031542028,0.0025350787,0.017619735],"category_scores_gemma":[0.025950283,0.0007696878,0.000806914,0.019843698,0.0029202963,0.0028685988,0.0021104137,0.0028073897,0.0043774396],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020846717,0.0000061634237,0.00011823925,0.0072717452,0.000039135415,0.00006956385,0.0002912856,0.000021467456,0.00008049049,0.00065008464,0.9064622,0.08496871],"study_design_scores_gemma":[0.000008485144,0.000006217829,0.0009220376,0.013332333,0.00004273715,0.000086092645,0.00044510435,0.0000052816754,0.000029294817,0.0000823469,0.9850214,0.000018551349],"about_ca_topic_score_codex":0.4652214,"about_ca_topic_score_gemma":0.69811946,"teacher_disagreement_score":0.5347786,"about_ca_system_score_codex":0.024184356,"about_ca_system_score_gemma":0.07740225,"threshold_uncertainty_score":0.925027},"labels":[],"label_agreement":null},{"id":"W2095000647","doi":"10.3138/seminar.46.3.276","title":"Domesticating the Vamp: Jazz and the Dance Melodrama in Weimar Cinema","year":2010,"lang":"en","type":"article","venue":"Seminar A Journal of Germanic Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Jazz; Dance; Jazz dance; Art; Art history; Literature; Weimar Republic; History; Concert dance; German; Archaeology","score_opus":0.022443516760407078,"score_gpt":0.2629458682726434,"score_spread":0.2405023515122363,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2095000647","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.77752763,0.0023312126,0.00068163074,0.0075247693,0.0003509238,0.000021792648,0.00010197496,0.000038934755,0.21142112],"genre_scores_gemma":[0.9877351,0.0003410883,0.00010274678,0.00019649038,0.00006622636,0.0000050404483,0.000021857866,0.000023040364,0.011508455],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99928695,0.00037697726,0.000011363239,0.00006976891,0.00005286229,0.00020217299],"domain_scores_gemma":[0.9993043,0.00027038498,0.00010979877,0.000055100674,0.000062093546,0.00019825944],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007801809,0.00026059136,0.00020302682,0.0007824953,0.0071707787,0.0054545444,0.00045607242,0.0013401124,0.011635193],"category_scores_gemma":[0.00258492,0.00021169917,0.0001286451,0.0006609934,0.0030374408,0.0029089607,0.0026417647,0.0020361284,0.00084093417],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00046045028,0.0002630678,0.015917722,0.00029631858,0.000044559663,0.0023856123,0.6583747,0.000214454,0.0037025874,0.19964261,0.048266493,0.07043136],"study_design_scores_gemma":[0.000016316228,0.00012869496,0.043838106,0.00038479114,0.000043622156,0.0008120719,0.5915005,0.0004307418,0.0010873917,0.007784022,0.35393304,0.000040701834],"about_ca_topic_score_codex":0.0076886113,"about_ca_topic_score_gemma":0.027860878,"teacher_disagreement_score":0.011635193,"about_ca_system_score_codex":0.0019091353,"about_ca_system_score_gemma":0.0006346155,"threshold_uncertainty_score":0.03892356},"labels":[],"label_agreement":null},{"id":"W2095430361","doi":"10.1177/000842980803700336","title":"Film reviews / Revues de films: Wandering Souls","year":2008,"lang":"en","type":"article","venue":"Studies in Religion/Sciences Religieuses","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.19171664629453158,"score_gpt":0.34172272364567013,"score_spread":0.15000607735113855,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2095430361","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.37017205,0.18505076,0.002555405,0.069252595,0.015660092,0.00015884287,0.0026991924,0.0004203963,0.35403064],"genre_scores_gemma":[0.83257353,0.0617094,0.0018491426,0.0071258377,0.0122197615,0.00009461891,0.0013767083,0.00046186705,0.08258918],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99700934,0.0016803836,0.00014696667,0.00026978203,0.0006638682,0.00022964508],"domain_scores_gemma":[0.9792013,0.009936581,0.0045936704,0.0013054097,0.0028766273,0.0020864625],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030750907,0.0005344997,0.00032659265,0.0047747875,0.002535777,0.005422593,0.000590492,0.0014000563,0.018011738],"category_scores_gemma":[0.022472525,0.00032764178,0.0002861068,0.0046050255,0.001544741,0.0045131827,0.001804675,0.0021411648,0.002425684],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004029217,0.00020615125,0.022754773,0.0032279205,0.00020270226,0.0015600148,0.08722483,0.00014697481,0.006662261,0.03312241,0.47104466,0.3734445],"study_design_scores_gemma":[0.000013478935,0.0001263942,0.052079994,0.0018793263,0.000087876935,0.001436643,0.06269439,0.00014883392,0.0018842139,0.002124664,0.87747824,0.00004591795],"about_ca_topic_score_codex":0.0030362166,"about_ca_topic_score_gemma":0.01003665,"teacher_disagreement_score":0.018011738,"about_ca_system_score_codex":0.0012576478,"about_ca_system_score_gemma":0.0008918879,"threshold_uncertainty_score":0.06025529},"labels":[],"label_agreement":null},{"id":"W2095514572","doi":"10.3384/cu.2000.1525.09122367","title":"\"Quit stalling…!\": Destiny and Destination on L.A.s Inner City Roads ","year":2009,"lang":"en","type":"article","venue":"Culture Unbound Journal of Current Cultural Research","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Sociology; Hollywood; Context (archaeology); Ideology; Aesthetics; Media studies; Law; Politics; History; Political science; Art","score_opus":0.2633318449774836,"score_gpt":0.41220962009577916,"score_spread":0.14887777511829559,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2095514572","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28686142,0.0038794933,0.0012263375,0.10346969,0.0020447257,0.00002504636,0.000111862515,0.0001195742,0.60226184],"genre_scores_gemma":[0.8722434,0.0015515325,0.00019573212,0.0067358008,0.00026189952,0.000023605984,0.00003185773,0.00011530874,0.11884075],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993223,0.00043658045,0.000006368506,0.00004252108,0.000046617188,0.00014571713],"domain_scores_gemma":[0.9993407,0.00035508783,0.000051353116,0.000026508793,0.00006421944,0.00016214942],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008015846,0.00037336882,0.00018049656,0.00038112074,0.013734916,0.0083213365,0.0005744384,0.0022403265,0.0072602574],"category_scores_gemma":[0.0015992549,0.00019862424,0.00014368877,0.0004234203,0.009677653,0.0042743064,0.0028714302,0.0059592496,0.00087894895],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027462876,0.00003331735,0.0013089379,0.000045967372,0.0000037640236,0.0006409568,0.7325014,0.00005581692,0.00022436096,0.14848402,0.10689009,0.009783935],"study_design_scores_gemma":[0.0000050139743,0.000020901884,0.002268654,0.00014240647,0.0000054410607,0.00016923432,0.5027864,0.000084754814,0.00016842717,0.0045154807,0.48981842,0.000014900654],"about_ca_topic_score_codex":0.038181987,"about_ca_topic_score_gemma":0.10439694,"teacher_disagreement_score":0.038181987,"about_ca_system_score_codex":0.004118919,"about_ca_system_score_gemma":0.00142374,"threshold_uncertainty_score":0.07591951},"labels":[],"label_agreement":null},{"id":"W2097506800","doi":"10.7202/011662ar","title":"Bemberg’s Third Sex: Argentine Mothers at the Dawn of Democracy","year":2005,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dictatorship; Ideology; Bourgeoisie; Radicalization; Institution; Democracy; Sociology; Gender studies; Political science; Humanities; History; Art; Social science; Law; Politics","score_opus":0.029519211281784058,"score_gpt":0.23419435605223068,"score_spread":0.20467514477044663,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2097506800","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6288761,0.011496258,0.0012100517,0.08447529,0.0016996452,0.000047765774,0.00021107853,0.0000719881,0.2719118],"genre_scores_gemma":[0.9483904,0.0024446994,0.00027650193,0.002641557,0.0002892023,0.000028743221,0.00003196749,0.00005154892,0.045845352],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996898,0.00014816163,0.0000031381107,0.000030667394,0.000030178353,0.00009818509],"domain_scores_gemma":[0.9995851,0.00017795939,0.00007018405,0.000016006647,0.000046047408,0.00010470855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00063336804,0.00026981748,0.00017101866,0.0002627203,0.0049880645,0.0031339803,0.00021994521,0.0012949401,0.0062632686],"category_scores_gemma":[0.0016041099,0.00021118588,0.00009567594,0.00029809115,0.0017734152,0.0014383859,0.0011116561,0.0019002651,0.00033611845],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000490379,0.00011493275,0.015274981,0.00023809577,0.000018178102,0.006427575,0.6042155,0.0001757756,0.0029837782,0.14155781,0.15864207,0.06986092],"study_design_scores_gemma":[0.000023985851,0.00007760662,0.039929405,0.00035856751,0.0000137564175,0.0012184327,0.18214598,0.00028276167,0.000721488,0.0038447075,0.77135146,0.000031808533],"about_ca_topic_score_codex":0.028266506,"about_ca_topic_score_gemma":0.04497931,"teacher_disagreement_score":0.028266506,"about_ca_system_score_codex":0.0033786672,"about_ca_system_score_gemma":0.00071080413,"threshold_uncertainty_score":0.05620396},"labels":[],"label_agreement":null},{"id":"W2099201152","doi":"10.7202/031147ar","title":"The Display of a Tourist Nation: Canada in Government Film, 1945-1959","year":2006,"lang":"en","type":"article","venue":"Journal of the Canadian Historical Association","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Tourism; Citizenship; Commodity; Government (linguistics); Consumption (sociology); Politics; Administration (probate law); State (computer science); Political science; Production (economics); Economy; Business; Sociology; Economics; Law; Social science","score_opus":0.007717569037251325,"score_gpt":0.1534666970372427,"score_spread":0.14574912799999137,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2099201152","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7308889,0.009519005,0.0002829525,0.028806247,0.0008988529,0.00008330963,0.005258218,0.00007234091,0.22419006],"genre_scores_gemma":[0.9585405,0.00442809,0.00020646166,0.0013419536,0.00008971967,0.000018309247,0.00071998104,0.000044280776,0.034610704],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.999446,0.00005330428,0.0000100090465,0.000055083263,0.00019887672,0.00023673096],"domain_scores_gemma":[0.998694,0.00018663074,0.00009471814,0.00002860367,0.00051105936,0.00048486647],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047267575,0.00036222575,0.0002785972,0.0021384037,0.01664415,0.0069121732,0.0008619612,0.0011600688,0.00772245],"category_scores_gemma":[0.0022612324,0.00032641366,0.00018921988,0.00565323,0.003981829,0.0012834411,0.0018483564,0.0025262968,0.00033666912],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003691436,0.000117338815,0.047460157,0.0005596027,0.0000856607,0.003305301,0.59571993,0.00042967117,0.0028162338,0.02532142,0.2735164,0.05029904],"study_design_scores_gemma":[0.000015477272,0.000027520502,0.12942378,0.0003926703,0.000052219806,0.00043208813,0.24866925,0.00021159452,0.00077598204,0.00047401863,0.6194471,0.0000783637],"about_ca_topic_score_codex":0.99312204,"about_ca_topic_score_gemma":0.99833006,"teacher_disagreement_score":0.07736596,"about_ca_system_score_codex":0.07736596,"about_ca_system_score_gemma":0.037948616,"threshold_uncertainty_score":0.5613319},"labels":[],"label_agreement":null},{"id":"W2099623226","doi":"10.7202/024882ar","title":"Silence Fiction : Rethinking (Under) Representations of the “Feminine” Through Social Cognition","year":2007,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Psychology; Social cognition; Cognition; Scholarship; Stereotype (UML); Normative; Perception; Attribution; Social psychology; Schema (genetic algorithms); Silence; Cognitive psychology; Sociology; Epistemology; Aesthetics","score_opus":0.06316702238801074,"score_gpt":0.27835466723783747,"score_spread":0.21518764484982672,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2099623226","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18051493,0.013851211,0.052374378,0.13643996,0.0037690199,0.00003743014,0.00024244694,0.00025923728,0.61251146],"genre_scores_gemma":[0.9795008,0.0014378837,0.0016332866,0.0024643154,0.00062113797,0.000021230957,0.00005019468,0.00009486532,0.014176295],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9985656,0.0009884685,0.00002506942,0.00016231874,0.00016590217,0.000092577764],"domain_scores_gemma":[0.9961171,0.0030261006,0.00025186897,0.0002406869,0.00023780909,0.00012644228],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022768257,0.00043126877,0.00023784154,0.0012481879,0.0027813695,0.006457607,0.00084527,0.0022240968,0.003815632],"category_scores_gemma":[0.00733725,0.00014598224,0.00020670806,0.00056829094,0.028969306,0.0071477955,0.0027569262,0.0033017506,0.0005078292],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021319674,0.0000053012764,0.00036836127,0.000055180863,0.0000036358115,0.0001421479,0.19432865,0.00008028768,0.00049749383,0.79137236,0.0047833575,0.008341912],"study_design_scores_gemma":[0.00001575097,0.000054789743,0.0020216934,0.00035486967,0.000022420763,0.0005294341,0.10896895,0.0014395246,0.0016453642,0.38797012,0.49694425,0.000032854772],"about_ca_topic_score_codex":0.0044475603,"about_ca_topic_score_gemma":0.0038892822,"teacher_disagreement_score":0.006457607,"about_ca_system_score_codex":0.0029004165,"about_ca_system_score_gemma":0.00084005523,"threshold_uncertainty_score":0.021044135},"labels":[],"label_agreement":null},{"id":"W2100973335","doi":"10.7202/024795ar","title":"Cinéma structurel et musique répétitive : correspondances","year":2007,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Mathematics","score_opus":0.029538375185707164,"score_gpt":0.26152680325912614,"score_spread":0.23198842807341896,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2100973335","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.61792725,0.0046178913,0.028968804,0.0056478647,0.00042548217,0.00016660597,0.00035879147,0.0002245402,0.3416628],"genre_scores_gemma":[0.96262544,0.0018302877,0.0063152905,0.00021995869,0.00024804648,0.000061737526,0.00021891735,0.000094894196,0.028385358],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988765,0.00047643136,0.000041615145,0.00024348937,0.00024817814,0.000113852446],"domain_scores_gemma":[0.9963994,0.0018113465,0.0007157652,0.00032507037,0.00049015356,0.000258147],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00096107594,0.00040908536,0.0002674053,0.0019093868,0.00182797,0.004411045,0.00063571235,0.00084847765,0.014736172],"category_scores_gemma":[0.008600443,0.0002274121,0.00022097265,0.0024873673,0.0021392014,0.0028073913,0.0019573718,0.0011721379,0.0007451124],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039403533,0.00022434012,0.043907896,0.0009331095,0.0000696164,0.0012099945,0.24989651,0.0017019137,0.009925908,0.37438983,0.010216738,0.30713007],"study_design_scores_gemma":[0.000057437646,0.00034411653,0.15707135,0.00084365334,0.000099996265,0.002766184,0.18997322,0.0062590693,0.0035788072,0.06760223,0.57131237,0.00009166814],"about_ca_topic_score_codex":0.005562321,"about_ca_topic_score_gemma":0.0069870017,"teacher_disagreement_score":0.014736172,"about_ca_system_score_codex":0.001801029,"about_ca_system_score_gemma":0.00087790104,"threshold_uncertainty_score":0.049297392},"labels":[],"label_agreement":null},{"id":"W2101014110","doi":"10.1353/crv.0.0038","title":"Neo-liberalism and the Western: HBO's Deadwood as National Allegory","year":2009,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Liberalism; Meditation; Allegory; Politics; Aesthetics; Sociology; Philosophy; Art; Literature; Political science; Law; Theology","score_opus":0.032848866507713334,"score_gpt":0.276591980502502,"score_spread":0.24374311399478865,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2101014110","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15028189,0.0037545874,0.0025835151,0.021283496,0.0005463718,0.000009952062,0.00002056622,0.000022410557,0.8214973],"genre_scores_gemma":[0.93965757,0.0011125199,0.0006572029,0.0035664658,0.000114329414,0.000018506906,0.000013520416,0.000033626602,0.05482619],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995072,0.000289946,0.000006387344,0.00004445385,0.000065800734,0.0000862358],"domain_scores_gemma":[0.9995523,0.00022364076,0.000044669243,0.00004710845,0.00004890461,0.00008335815],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00085548364,0.00020067365,0.00012744185,0.00063399225,0.004814669,0.0043043694,0.0003323035,0.00101314,0.0028280255],"category_scores_gemma":[0.000844677,0.00011047773,0.0000993781,0.00057877257,0.015232469,0.0033570603,0.0022602978,0.0023344604,0.00024332169],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002205947,0.000020304738,0.00077974476,0.000022731123,0.0000022122028,0.00009325619,0.064663604,0.000042198295,0.00016559947,0.9210665,0.0060814563,0.0070402804],"study_design_scores_gemma":[0.000019816865,0.000037429763,0.004118429,0.00031073406,0.000013024133,0.00023688532,0.09699196,0.000510363,0.00078916975,0.3372795,0.55966586,0.00002684517],"about_ca_topic_score_codex":0.011639898,"about_ca_topic_score_gemma":0.024258759,"teacher_disagreement_score":0.011639898,"about_ca_system_score_codex":0.0026686217,"about_ca_system_score_gemma":0.0008316506,"threshold_uncertainty_score":0.023144305},"labels":[],"label_agreement":null},{"id":"W2101807385","doi":"10.18146/2213-0969.2015.jethc085","title":"Streaming","year":2015,"lang":"en","type":"article","venue":"VIEW Journal of European Television History and Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":20,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University; Université de Montréal","funders":"","keywords":"Metaphor; Topos theory; Digital media; Mass media; Sociology; Vocabulary; Epistemology; Multimedia; Computer science; Media studies; Linguistics; Art; Literature; Advertising; Philosophy; World Wide Web","score_opus":0.05426822118179551,"score_gpt":0.22182294994055665,"score_spread":0.16755472875876115,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2101807385","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01750506,0.0029155666,0.047343377,0.0040617725,0.0035534555,0.00050890946,0.013174961,0.005368406,0.9055685],"genre_scores_gemma":[0.22103588,0.0062934537,0.03826321,0.0036086447,0.003309193,0.00067909755,0.024822772,0.0028413888,0.69914633],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988833,0.00014222808,0.00008943911,0.0002697082,0.00045031178,0.00016497565],"domain_scores_gemma":[0.99828964,0.00037670773,0.00018287169,0.00040108516,0.0004973685,0.0002523764],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007525112,0.0006791021,0.00042051487,0.0017238279,0.0016326654,0.004720244,0.0012511583,0.0011606341,0.19200833],"category_scores_gemma":[0.004921315,0.00026635313,0.00047794337,0.002664618,0.0007580872,0.0054489234,0.0028045932,0.0013076084,0.06498523],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005691653,0.00009070345,0.0027911665,0.000775574,0.000037256727,0.0008051848,0.001934923,0.001056282,0.004882401,0.3577245,0.2676636,0.36166918],"study_design_scores_gemma":[0.000029419884,0.0000543761,0.0016646936,0.00014850599,0.000016625834,0.00058938557,0.00049147423,0.0012770102,0.0016661412,0.034557723,0.95946825,0.000036431193],"about_ca_topic_score_codex":0.0027402577,"about_ca_topic_score_gemma":0.0020632148,"teacher_disagreement_score":0.19200833,"about_ca_system_score_codex":0.0008615625,"about_ca_system_score_gemma":0.0010052798,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W2103050391","doi":"10.1177/0263276410372237","title":"Global Trauma and Narrative Cinema","year":2010,"lang":"en","type":"article","venue":"Theory Culture & Society","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Movie theater; Depiction; Narrative; Complicity; Film theory; Sociology; Film industry; Genocide; Terrorism; Aesthetics; Pleasure; Media studies; Psychology; Gender studies; History; Literature; Art; Political science; Law","score_opus":0.012804986807235585,"score_gpt":0.22993941522264155,"score_spread":0.21713442841540598,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2103050391","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3785705,0.02617764,0.0065059606,0.0214616,0.0013170582,0.000075214724,0.00050031405,0.00012082616,0.5652709],"genre_scores_gemma":[0.9751701,0.0074882223,0.00075290824,0.00086682674,0.0004224681,0.000038363927,0.00014401964,0.0000702749,0.015046838],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9988397,0.0006990138,0.000029936476,0.00012398613,0.00013262517,0.00017480495],"domain_scores_gemma":[0.9985769,0.00077035575,0.00026803595,0.00012712264,0.000091057336,0.00016644032],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009788717,0.00061332656,0.00023200607,0.0022168178,0.0031777886,0.0074140527,0.00051235943,0.0009780197,0.010045685],"category_scores_gemma":[0.0031087766,0.00021327133,0.000195134,0.0019438779,0.009504248,0.0044148704,0.005565215,0.0016097915,0.00053141546],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010683451,0.000046650868,0.0065206187,0.0004619648,0.00003499972,0.0013585212,0.38715288,0.00045194925,0.00092982146,0.5327952,0.025302565,0.044838056],"study_design_scores_gemma":[0.00001616606,0.00007028252,0.011397681,0.0008765849,0.00002564812,0.0019041162,0.26315576,0.00028281505,0.000517469,0.035914734,0.68581283,0.000025891373],"about_ca_topic_score_codex":0.0035558091,"about_ca_topic_score_gemma":0.0039592283,"teacher_disagreement_score":0.010045685,"about_ca_system_score_codex":0.0027692323,"about_ca_system_score_gemma":0.0006913198,"threshold_uncertainty_score":0.033606112},"labels":[],"label_agreement":null},{"id":"W2103093042","doi":"10.7202/013049ar","title":"Past Imperfect: Feminism and Social Histories of Silent Film","year":2006,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Contextualization; Feminism; Ideology; Sociology; Human sexuality; Power (physics); Movie theater; Confusion; Gender studies; Order (exchange); Aesthetics; Politics; History; Art; Political science; Art history; Psychoanalysis; Interpretation (philosophy); Psychology; Law","score_opus":0.020916724798074254,"score_gpt":0.21022344042426366,"score_spread":0.18930671562618942,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2103093042","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15935525,0.026541911,0.0040593073,0.053438205,0.000995015,0.00004216123,0.000288944,0.000057631798,0.7552216],"genre_scores_gemma":[0.9435199,0.00426865,0.00043736573,0.0011633332,0.00036326543,0.000037218033,0.000054180437,0.000062518026,0.05009357],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99746644,0.0018381265,0.000039348106,0.00024498283,0.00018294845,0.0002281412],"domain_scores_gemma":[0.9963211,0.002678069,0.00027560373,0.00018108904,0.00020784943,0.00033637122],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00243545,0.0004297614,0.00032279606,0.0023675065,0.009577683,0.008091915,0.00094147155,0.0019326461,0.012446136],"category_scores_gemma":[0.005826751,0.00029789,0.00016302435,0.0013930723,0.020806111,0.0068952586,0.003650797,0.0026435757,0.00065636344],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032648844,0.000024667917,0.0009803546,0.00008188264,0.00000586807,0.00047406828,0.33435702,0.000065021195,0.00027797127,0.64055896,0.009808661,0.013332853],"study_design_scores_gemma":[0.000009795074,0.00004047215,0.0028962425,0.0006246328,0.000009064208,0.00067240803,0.23704703,0.00019628502,0.00060700154,0.06455145,0.6933264,0.000019234072],"about_ca_topic_score_codex":0.0069336165,"about_ca_topic_score_gemma":0.00979663,"teacher_disagreement_score":0.012446136,"about_ca_system_score_codex":0.0062056636,"about_ca_system_score_gemma":0.0009617131,"threshold_uncertainty_score":0.045025468},"labels":[],"label_agreement":null},{"id":"W2104149423","doi":"10.5195/contemp.2014.80","title":"Unfolding the In-between Image: The Emergence of an Incipient Image at the Intersection of Still and Moving Images","year":2014,"lang":"en","type":"article","venue":"Contemporaneity Historical Presence in Visual Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Intersection (aeronautics); Image (mathematics); Variety (cybernetics); Boundary (topology); Computer vision; Artificial intelligence; Visual arts; Aesthetics; Computer science; Art; Cartography; Geography; Mathematics","score_opus":0.03366622022111438,"score_gpt":0.27927616203962724,"score_spread":0.24560994181851287,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2104149423","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6027852,0.0030162963,0.023379423,0.017172925,0.00065921474,0.000039259827,0.00008897506,0.000097137316,0.3527615],"genre_scores_gemma":[0.9889576,0.0006075577,0.0021980489,0.00038709017,0.00009769594,0.000012715751,0.000021068852,0.00007086576,0.0076473528],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987035,0.0006216046,0.000028480907,0.00021485491,0.00024051183,0.00019106347],"domain_scores_gemma":[0.9974216,0.0011570373,0.00031907076,0.00030865526,0.0003492601,0.00044447332],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017009953,0.00034078833,0.0002778354,0.0019430816,0.005928236,0.009886635,0.0008566864,0.0013387149,0.0046805916],"category_scores_gemma":[0.0059086992,0.00035837054,0.00028763732,0.0010336067,0.020863863,0.011111524,0.0055488674,0.0030614121,0.00039710975],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059238253,0.000025141106,0.0024658882,0.00005913772,0.000006907721,0.00072622637,0.45664462,0.00006539641,0.0015217807,0.5174605,0.0027411731,0.01822407],"study_design_scores_gemma":[0.000023334704,0.000106974905,0.011052879,0.0004380566,0.000034097422,0.0017854624,0.5561071,0.0013443576,0.0028225519,0.17087816,0.25533098,0.00007600284],"about_ca_topic_score_codex":0.003355159,"about_ca_topic_score_gemma":0.0043665594,"teacher_disagreement_score":0.009886635,"about_ca_system_score_codex":0.00251563,"about_ca_system_score_gemma":0.0013033648,"threshold_uncertainty_score":0.018252254},"labels":[],"label_agreement":null},{"id":"W2105155407","doi":"10.1177/1527476409357641","title":"The Synthespian’s Animated Prehistory: The Monkees, The Archies, Don Kirshner, and the Politics of “Virtual Labor”","year":2010,"lang":"en","type":"article","venue":"Television & New Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Agency (philosophy); Entertainment; Politics; Capital (architecture); Sociology; Prehistory; Action (physics); Media studies; Advertising; Law; Political science; Visual arts; Art; History; Social science; Business","score_opus":0.017790955968062957,"score_gpt":0.2103230508388824,"score_spread":0.19253209487081943,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2105155407","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2381336,0.02375448,0.0030509091,0.082985096,0.0006526046,0.000016770873,0.00012628216,0.000030296156,0.65125],"genre_scores_gemma":[0.9551659,0.0043138633,0.0004531539,0.0016800347,0.00019111013,0.000012026945,0.000031908115,0.000033963875,0.038118176],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9992545,0.00044147903,0.000011235961,0.000103840626,0.000106787506,0.00008224025],"domain_scores_gemma":[0.9987758,0.00083443307,0.000103577295,0.00008537426,0.00007270351,0.00012805394],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013684748,0.00022663201,0.00013921676,0.0008778408,0.003700788,0.0047183135,0.00033378336,0.000930508,0.0059551103],"category_scores_gemma":[0.003262147,0.00018893088,0.00007317958,0.0011302921,0.017743494,0.0040887296,0.0021189807,0.0025244602,0.00033170782],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036990914,0.000013623233,0.00079262257,0.000025838772,0.000002187374,0.00014526115,0.024442492,0.00011443443,0.00012155405,0.95595694,0.0079653915,0.010382534],"study_design_scores_gemma":[0.000016856824,0.000028022121,0.0031689454,0.00024256135,0.0000044409035,0.00020699977,0.02540916,0.00017764149,0.0004813867,0.29415336,0.6760966,0.000014099226],"about_ca_topic_score_codex":0.013543784,"about_ca_topic_score_gemma":0.026747769,"teacher_disagreement_score":0.013543784,"about_ca_system_score_codex":0.00623218,"about_ca_system_score_gemma":0.00294404,"threshold_uncertainty_score":0.04521787},"labels":[],"label_agreement":null},{"id":"W2105534811","doi":"10.1017/cbo9780511606953.006","title":"Millions like Us: National Cinema as Popular Cinema","year":2004,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Movie theater; National cinema; Art; Art history; History","score_opus":0.03373397715624116,"score_gpt":0.19800225593297963,"score_spread":0.16426827877673847,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2105534811","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017166693,0.031019824,0.002256716,0.011776174,0.0010618271,0.000017153443,0.000113549664,0.000061665036,0.93652636],"genre_scores_gemma":[0.6893384,0.027147915,0.0021417541,0.004773928,0.0016524831,0.000083874096,0.00018842756,0.00014166361,0.27453154],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993843,0.0003775204,0.000014282917,0.00006033622,0.00009858033,0.00006503898],"domain_scores_gemma":[0.99888164,0.0006081736,0.00009270543,0.000078332174,0.00017725524,0.00016182149],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00070226076,0.0002557254,0.00021399731,0.0008470156,0.0013615374,0.006300915,0.00036994476,0.0010413622,0.013444563],"category_scores_gemma":[0.0021731332,0.00014864063,0.00013009383,0.0014004849,0.001967767,0.005740234,0.0011517949,0.0016081509,0.0011198454],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039646275,0.00006409697,0.0015974258,0.00015028159,0.0000071758336,0.00010720472,0.012604296,0.0001735651,0.0002056805,0.7970375,0.10721092,0.080802254],"study_design_scores_gemma":[0.000006052646,0.000030686293,0.0061760875,0.0004468593,0.000010019417,0.00030042487,0.007639924,0.0005962913,0.00020517678,0.047776446,0.9367995,0.000012460746],"about_ca_topic_score_codex":0.0045643477,"about_ca_topic_score_gemma":0.009060208,"teacher_disagreement_score":0.013444563,"about_ca_system_score_codex":0.0023950236,"about_ca_system_score_gemma":0.0011721228,"threshold_uncertainty_score":0.044976592},"labels":[],"label_agreement":null},{"id":"W2105958555","doi":"10.7202/1020624ar","title":"Le cinéma d’Ozu et les images animées comme tiers destructeur","year":2013,"lang":"fr","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Art; Humanities","score_opus":0.03916221659852012,"score_gpt":0.26928723878180055,"score_spread":0.23012502218328043,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2105958555","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4408725,0.02706595,0.021149112,0.016249042,0.0020827474,0.00012288445,0.00056219596,0.00013656216,0.49175894],"genre_scores_gemma":[0.93092203,0.0061811046,0.004978477,0.00060493714,0.0005443041,0.00006363999,0.00009148231,0.000055594985,0.056558415],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967754,0.00014185629,0.000010411304,0.00006520726,0.000051803458,0.00005321605],"domain_scores_gemma":[0.9990268,0.0005538111,0.00014192247,0.00007600592,0.00010221795,0.00009925102],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006229518,0.0004660764,0.00016525536,0.0010279318,0.0018225791,0.0049223723,0.00035052496,0.00092493487,0.0066579133],"category_scores_gemma":[0.0016684397,0.00020520088,0.00021215927,0.001245508,0.002940937,0.0026807142,0.0011449778,0.0011769375,0.0003352702],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030680094,0.000057901707,0.009254255,0.0011407918,0.000039707877,0.0018036054,0.2092188,0.00059744524,0.010355007,0.63018215,0.020699209,0.11634425],"study_design_scores_gemma":[0.00001967066,0.00017086262,0.07404401,0.0008681764,0.00007766272,0.0017164748,0.07493444,0.0019678148,0.003408432,0.0345653,0.8081494,0.00007780045],"about_ca_topic_score_codex":0.006986939,"about_ca_topic_score_gemma":0.010672768,"teacher_disagreement_score":0.006986939,"about_ca_system_score_codex":0.0012584422,"about_ca_system_score_gemma":0.0007231609,"threshold_uncertainty_score":0.022273004},"labels":[],"label_agreement":null},{"id":"W2107016061","doi":"10.1093/es/2.1.72","title":"True Womanhood in Hollywood: Gendered Business Strategies and the Rise and Fall of the Woman Filmmaker, 1896–1928","year":2001,"lang":"en","type":"article","venue":"Enterprise & Society","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Hollywood; Screenwriting; Studio; Film industry; Context (archaeology); Argument (complex analysis); Gender studies; Quarter (Canadian coin); Visual arts; Sociology; Art; Movie theater; Art history; History; Medicine","score_opus":0.01614658041277506,"score_gpt":0.2067193741453158,"score_spread":0.19057279373254074,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2107016061","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5417309,0.022882825,0.000969004,0.036062635,0.0005637852,0.00002335931,0.000056429642,0.000014808655,0.39769632],"genre_scores_gemma":[0.94751936,0.0035393343,0.00012506323,0.0009688994,0.00017735988,0.000008435036,0.000008853155,0.0000102745125,0.047642373],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993844,0.00029813233,0.000012539109,0.00007645463,0.000068410205,0.00016011075],"domain_scores_gemma":[0.9989644,0.00061667105,0.00014778778,0.000025348067,0.00007414856,0.00017156883],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014465379,0.00022114295,0.0001517182,0.00073031365,0.006314855,0.0056166532,0.0003686622,0.0010688377,0.003992339],"category_scores_gemma":[0.0023639414,0.00023898925,0.000066859255,0.0005323673,0.011241311,0.0030556181,0.001596271,0.0018975639,0.00040453914],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009719373,0.000055637756,0.0053401226,0.00005949998,0.0000070854035,0.00090015185,0.61167824,0.000051791983,0.00040207306,0.32943115,0.02019903,0.031778015],"study_design_scores_gemma":[0.00001324314,0.0000700715,0.022792375,0.00026298524,0.000011300687,0.0005738164,0.2749327,0.000116808624,0.00065830705,0.01803134,0.6825146,0.000022459508],"about_ca_topic_score_codex":0.017279679,"about_ca_topic_score_gemma":0.041835833,"teacher_disagreement_score":0.017279679,"about_ca_system_score_codex":0.0038412737,"about_ca_system_score_gemma":0.00097214285,"threshold_uncertainty_score":0.034358203},"labels":[],"label_agreement":null},{"id":"W2107617304","doi":"10.7202/024820ar","title":"L’historiographie parallaxiale et la flâneuse : le cinéma pré- et postclassique","year":2007,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.027765644854012627,"score_gpt":0.26263819453298304,"score_spread":0.23487254967897042,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2107617304","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16378297,0.044472773,0.004114641,0.05206329,0.0015340542,0.00004861997,0.00023115771,0.000066180626,0.73368627],"genre_scores_gemma":[0.8569716,0.015360983,0.00066030695,0.0016263578,0.0009772134,0.000049589475,0.00008748401,0.00007973003,0.12418667],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9991872,0.0002893803,0.000017016375,0.00012708575,0.00017123157,0.00020803545],"domain_scores_gemma":[0.9987363,0.0006189852,0.0002033293,0.000099160956,0.00013178578,0.00021035902],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009521341,0.0003564388,0.00022913239,0.0015275824,0.0043946416,0.0078352,0.000516467,0.0011447062,0.01573242],"category_scores_gemma":[0.0024761374,0.00018533297,0.00014558675,0.0016135335,0.011097799,0.0051591997,0.0025149062,0.0029322598,0.0007788464],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005599755,0.000028831832,0.0028572006,0.00019124943,0.0000053283143,0.00027509182,0.089456625,0.00013177277,0.0009310935,0.84426326,0.013968422,0.047835246],"study_design_scores_gemma":[0.000008432952,0.00003717299,0.013080857,0.00037926176,0.0000049398254,0.00026701327,0.0268831,0.00015374692,0.0004960329,0.011222307,0.9474496,0.000017518465],"about_ca_topic_score_codex":0.061088383,"about_ca_topic_score_gemma":0.080162935,"teacher_disagreement_score":0.061088383,"about_ca_system_score_codex":0.011562966,"about_ca_system_score_gemma":0.0050210375,"threshold_uncertainty_score":0.12146562},"labels":[],"label_agreement":null},{"id":"W2109195380","doi":"10.22230/cjc.2005v30n1a1479","title":"For a Political Economy of Indymedia Practice","year":2005,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Dissent; Politics; Democracy; Field (mathematics); Sociology; Political economy; Phenomenon; Social practice; Political communication; Political science; Social science; Media studies; Epistemology; Law","score_opus":0.043071568645482644,"score_gpt":0.2642786111211631,"score_spread":0.22120704247568043,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2109195380","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08088062,0.0012429074,0.055796724,0.092210285,0.00032998025,0.00015478894,0.0001617464,0.00008977782,0.7691331],"genre_scores_gemma":[0.96431446,0.0004951399,0.004460354,0.002161904,0.00029292764,0.0001494756,0.000037723494,0.000035568268,0.02805247],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99715424,0.0009797441,0.000055213844,0.00055662607,0.000614298,0.0006398914],"domain_scores_gemma":[0.99532723,0.0023461836,0.0007410898,0.0004770654,0.0006230653,0.0004853981],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029692505,0.00019559168,0.00028908893,0.0011836449,0.0043815314,0.006111686,0.00073231314,0.0032765155,0.017632186],"category_scores_gemma":[0.0075407326,0.0002550616,0.0002957247,0.0011720759,0.015655115,0.0064308867,0.0033470988,0.0034634531,0.0012462758],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000048575607,0.000011827068,0.0004105848,0.000007987993,0.0000012447772,0.000028028986,0.00051226595,0.00017969379,0.00005633491,0.99570423,0.0010708696,0.0020119692],"study_design_scores_gemma":[0.000027350521,0.000020349347,0.002235575,0.000057657224,0.000002407554,0.000077146244,0.002415856,0.001595278,0.00020083091,0.89375657,0.09959671,0.000014263695],"about_ca_topic_score_codex":0.004564909,"about_ca_topic_score_gemma":0.0046601347,"teacher_disagreement_score":0.017632186,"about_ca_system_score_codex":0.00530441,"about_ca_system_score_gemma":0.003779614,"threshold_uncertainty_score":0.05898553},"labels":[],"label_agreement":null},{"id":"W2109988241","doi":"","title":"Ve Festival international du film pour enfants de Montréal : Heureuses surprises","year":2002,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.012014144338807205,"score_gpt":0.1599591203802443,"score_spread":0.14794497604143708,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2109988241","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24387833,0.080324,0.0048211417,0.32829115,0.028952766,0.00019441804,0.012126643,0.00068439066,0.30072725],"genre_scores_gemma":[0.7391095,0.014367827,0.0012667339,0.0071338126,0.0072114808,0.00008233966,0.0026412962,0.0003107837,0.22787611],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998754,0.00017761312,0.000021827096,0.00013466671,0.0004907448,0.00042110786],"domain_scores_gemma":[0.9964101,0.0005815548,0.00027614352,0.00016581804,0.0011194453,0.0014470259],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001979272,0.0010051228,0.00034410605,0.0019246212,0.0056086318,0.008357,0.0009515724,0.0021039136,0.033123143],"category_scores_gemma":[0.0076109604,0.00038555585,0.00037666035,0.0021909238,0.0019742262,0.0020077645,0.0023909814,0.0030690415,0.0015742666],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003317493,0.000117967684,0.01846376,0.00040982803,0.00012717536,0.0015879145,0.021568516,0.0008256118,0.0028218047,0.047116905,0.8103349,0.096293926],"study_design_scores_gemma":[0.000019323961,0.000040331863,0.06003065,0.00026737055,0.00003576369,0.00024890323,0.01629871,0.00038087336,0.000736381,0.0016522073,0.92022586,0.00006361379],"about_ca_topic_score_codex":0.68674964,"about_ca_topic_score_gemma":0.82044375,"teacher_disagreement_score":0.31325036,"about_ca_system_score_codex":0.016115738,"about_ca_system_score_gemma":0.007936365,"threshold_uncertainty_score":0.63019025},"labels":[],"label_agreement":null},{"id":"W2110717420","doi":"10.7202/014614ar","title":"Choisir de choisir — croire en ce monde","year":2007,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Faith; Philosophy; Aesthetics; Nothing; Rationality; Epistemology; Postmodernism; Literature; Art","score_opus":0.025998833649328815,"score_gpt":0.24582740405428338,"score_spread":0.21982857040495457,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2110717420","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033588763,0.0287116,0.013343832,0.12429799,0.022918176,0.00017836891,0.00018348996,0.00062761735,0.77615017],"genre_scores_gemma":[0.5185995,0.009433645,0.008519525,0.019908804,0.0043341,0.00014198861,0.00014150386,0.0007703291,0.43815064],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981572,0.00085328094,0.000040003513,0.0002763356,0.00035241406,0.00032068972],"domain_scores_gemma":[0.9985474,0.0003094566,0.00010673239,0.00016863385,0.0003913682,0.00047638704],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026462097,0.00066881004,0.00037659696,0.0007404993,0.0081185475,0.00869423,0.00070945127,0.002412501,0.018715447],"category_scores_gemma":[0.0054401653,0.00036526116,0.0003576848,0.0003965998,0.010708226,0.007385281,0.0043492382,0.0064737033,0.004064889],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015108795,0.000060867747,0.0009458928,0.00018754002,0.000013064223,0.00038309608,0.04007986,0.00007463172,0.0016285582,0.6968507,0.20703936,0.05258535],"study_design_scores_gemma":[0.000009077226,0.000022294003,0.00036718498,0.00010377454,0.000002734963,0.0001558882,0.007777147,0.000042585205,0.00023836216,0.007853127,0.983412,0.000015835463],"about_ca_topic_score_codex":0.010824369,"about_ca_topic_score_gemma":0.021075262,"teacher_disagreement_score":0.018715447,"about_ca_system_score_codex":0.0035456491,"about_ca_system_score_gemma":0.0026208574,"threshold_uncertainty_score":0.062609375},"labels":[],"label_agreement":null},{"id":"W2111959163","doi":"10.7202/024762ar","title":"Are We in the Movies Now ?","year":2007,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Popularity; Photography; Period (music); Point (geometry); Visual arts; Popular culture; Tracing; History; Art; Media studies; Sociology; Political science; Aesthetics; Computer science; Law","score_opus":0.06411249512599003,"score_gpt":0.26202294176927976,"score_spread":0.19791044664328972,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2111959163","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.053599447,0.06418109,0.0024657256,0.5265475,0.014087666,0.000040043404,0.0009811122,0.00011994413,0.33797744],"genre_scores_gemma":[0.6548215,0.07633103,0.0026411247,0.08299605,0.008862751,0.000063183266,0.0007535097,0.00017698969,0.17335393],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99875796,0.00049190264,0.000043894095,0.00020618012,0.00023800383,0.000262017],"domain_scores_gemma":[0.9971318,0.0005615443,0.00044135028,0.00020920947,0.0007046186,0.0009514438],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018226288,0.00029447494,0.00038445037,0.000736002,0.004548473,0.008330266,0.0005065937,0.0019318655,0.04768656],"category_scores_gemma":[0.00876981,0.00021082113,0.0002176052,0.0014499043,0.0038709259,0.014600301,0.0015458151,0.0039755558,0.008070691],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022588934,0.00013890488,0.028344229,0.00038279826,0.00005496932,0.0007875948,0.024679577,0.000071108116,0.000692983,0.2488355,0.4553312,0.24045524],"study_design_scores_gemma":[0.00000699608,0.00003173408,0.0103027485,0.00051175436,0.000015420253,0.00036187665,0.021208785,0.000036420166,0.00016410479,0.016410276,0.95092773,0.000022168073],"about_ca_topic_score_codex":0.012813443,"about_ca_topic_score_gemma":0.018996822,"teacher_disagreement_score":0.04768656,"about_ca_system_score_codex":0.0020714535,"about_ca_system_score_gemma":0.0015017606,"threshold_uncertainty_score":0.15952742},"labels":[],"label_agreement":null},{"id":"W2113705670","doi":"10.1017/s0269889712000166","title":"Self-Projection: Hugo Münsterberg on Empathy and Oscillation in Cinema Spectatorship","year":2012,"lang":"en","type":"article","venue":"Science in Context","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Movie theater; German; Film theory; Aesthetics; Empathy; Trope (literature); Psychoanalysis; Art; Psychology; Literature; Art history; Philosophy; Social psychology","score_opus":0.045652116940097444,"score_gpt":0.261464545567728,"score_spread":0.2158124286276306,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2113705670","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17382179,0.016921952,0.018030262,0.10968865,0.0017369704,0.00007875391,0.000048446564,0.00010597315,0.6795672],"genre_scores_gemma":[0.984983,0.0012620826,0.0007800647,0.0025424832,0.0002307662,0.000042679156,0.0000050637695,0.000030482686,0.010123277],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9973137,0.0018954738,0.000030390884,0.00023702226,0.00029986203,0.00022349],"domain_scores_gemma":[0.99781394,0.0016588357,0.00014178142,0.00011813845,0.00013868422,0.00012854111],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002210425,0.00042301687,0.00025325656,0.0011072172,0.0043664705,0.0046828603,0.00088432117,0.00333856,0.0053737075],"category_scores_gemma":[0.0053711594,0.00020138342,0.00026460667,0.0005245706,0.030746257,0.008757739,0.005160948,0.0030639207,0.0003497909],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000179137,0.000013954822,0.00016894011,0.000023229499,0.0000022321137,0.00014740137,0.033842754,0.00007226826,0.00018165779,0.9595179,0.0025940998,0.003417646],"study_design_scores_gemma":[0.00006407835,0.000094344505,0.0014463605,0.00060659915,0.00001625015,0.00073986413,0.06469612,0.0014520977,0.0012059932,0.62415636,0.3054724,0.0000494705],"about_ca_topic_score_codex":0.0022170332,"about_ca_topic_score_gemma":0.0012097891,"teacher_disagreement_score":0.0053737075,"about_ca_system_score_codex":0.0033434378,"about_ca_system_score_gemma":0.0011464423,"threshold_uncertainty_score":0.024258435},"labels":[],"label_agreement":null},{"id":"W2113721250","doi":"","title":"Yoruba Filmmakers in Search of a Language","year":2011,"lang":"en","type":"article","venue":"Studies in literature and language","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Yoruba; Indigenous; Key (lock); Literature; Transformation (genetics); History; Aesthetics; Art; Linguistics; Sociology; Philosophy; Computer science","score_opus":0.04331553772192798,"score_gpt":0.280046293550761,"score_spread":0.23673075582883302,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2113721250","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47783864,0.07535868,0.0033262824,0.05932787,0.002005851,0.00010225806,0.0001500312,0.000086534536,0.38180387],"genre_scores_gemma":[0.88325906,0.020731065,0.0013234701,0.0026176462,0.0005642373,0.000064434695,0.00008093074,0.00005487214,0.09130426],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9997116,0.0001311044,0.000010174644,0.000031524763,0.000032720785,0.00008292294],"domain_scores_gemma":[0.9996451,0.00016154013,0.000060364746,0.000019662057,0.000076670214,0.000036675556],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006084624,0.00022619744,0.00018585751,0.0009099104,0.0039501525,0.0034001411,0.0003396065,0.0007604336,0.004030831],"category_scores_gemma":[0.0012166452,0.00015953773,0.00009666896,0.0011666535,0.0031191423,0.0020053505,0.0012190295,0.0016250677,0.00036969146],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017938598,0.00006119165,0.0034156125,0.00054585416,0.000014506678,0.0013487351,0.3294482,0.00015332126,0.006673415,0.54098874,0.03655483,0.08061628],"study_design_scores_gemma":[0.000011024668,0.000054717744,0.013554097,0.0007385701,0.000015972777,0.00031383065,0.097301975,0.00024730735,0.0009758861,0.0072495495,0.8795206,0.000016500471],"about_ca_topic_score_codex":0.030625798,"about_ca_topic_score_gemma":0.0571399,"teacher_disagreement_score":0.030625798,"about_ca_system_score_codex":0.0037141438,"about_ca_system_score_gemma":0.0015827753,"threshold_uncertainty_score":0.060895085},"labels":[],"label_agreement":null},{"id":"W2114227653","doi":"10.7202/037552ar","title":"Refiguring the Primitive: Institutional Legacies of the Filmology Movement","year":2009,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Institution; Meaning (existential); Object (grammar); Epistemology; Movie theater; Sociology; Aesthetics; Movement (music); Space (punctuation); Causation; Philosophy; History; Art history; Social science; Linguistics","score_opus":0.03345048076191238,"score_gpt":0.22857838335538294,"score_spread":0.19512790259347057,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2114227653","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16391961,0.011240161,0.044695638,0.11301342,0.00070736586,0.00010884221,0.000061068924,0.00014898804,0.6661049],"genre_scores_gemma":[0.990827,0.00090546324,0.0021030114,0.0009153828,0.00017083385,0.000030654803,0.000008369598,0.000032363878,0.005006973],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9931359,0.0045059137,0.00017243248,0.00091066497,0.0007452611,0.0005298812],"domain_scores_gemma":[0.9916285,0.004868145,0.0009931114,0.0012590078,0.00063029124,0.0006209332],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00801613,0.0003265444,0.00036358854,0.0023423654,0.008504682,0.016783562,0.0013504145,0.002702799,0.004467699],"category_scores_gemma":[0.014502079,0.00038514627,0.0002865441,0.0013568992,0.06514398,0.012226777,0.0072541875,0.005552739,0.0003358598],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000062370996,0.000005800978,0.00012625793,0.000012911806,0.0000016051349,0.000021458372,0.004233096,0.0000534066,0.000040501465,0.9927458,0.00033160992,0.0024213172],"study_design_scores_gemma":[0.000033806227,0.000028501903,0.0012123443,0.00016367726,0.000009427539,0.000073509924,0.0076560723,0.000728836,0.0004054369,0.9041515,0.08551784,0.000019108755],"about_ca_topic_score_codex":0.005294376,"about_ca_topic_score_gemma":0.005206596,"teacher_disagreement_score":0.016783562,"about_ca_system_score_codex":0.010551295,"about_ca_system_score_gemma":0.0045828978,"threshold_uncertainty_score":0.07655531},"labels":[],"label_agreement":null},{"id":"W211435681","doi":"10.3138/cjfs.16.1.25","title":"Now and Then: Conceptual Problems in Historicizlng Documentary Imaging","year":2007,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Art history","score_opus":0.03366185410622808,"score_gpt":0.23708547827134163,"score_spread":0.20342362416511356,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W211435681","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.067705475,0.047591504,0.1515677,0.11552205,0.0028527838,0.00017168143,0.00043305007,0.00018554338,0.6139703],"genre_scores_gemma":[0.9384641,0.008124339,0.023607777,0.0026908244,0.0010481104,0.0002654265,0.00019247603,0.00022341071,0.025383443],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9947195,0.0031063852,0.00024357627,0.0009756708,0.00056122825,0.00039360975],"domain_scores_gemma":[0.98866475,0.0070038387,0.0008160988,0.001695157,0.0013669247,0.00045325613],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.011793565,0.0005947489,0.0005980643,0.0055215457,0.008294779,0.020477872,0.0033407756,0.0049684597,0.008205525],"category_scores_gemma":[0.02492618,0.0006900954,0.0006382345,0.0048536616,0.067339696,0.03222365,0.005046094,0.007012632,0.00078043144],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005258576,0.000002285131,0.00010303283,0.000019069628,0.0000012369565,0.000023410632,0.00860665,0.000048273934,0.00001771957,0.98761,0.00054487836,0.0030181832],"study_design_scores_gemma":[0.000013334382,0.000016240829,0.0006171677,0.00045556854,0.000011111868,0.00025202686,0.034282666,0.00058274105,0.00021944952,0.8510473,0.1124759,0.000026556923],"about_ca_topic_score_codex":0.017598964,"about_ca_topic_score_gemma":0.017572872,"teacher_disagreement_score":0.020477872,"about_ca_system_score_codex":0.013448852,"about_ca_system_score_gemma":0.0053066676,"threshold_uncertainty_score":0.097578704},"labels":[],"label_agreement":null},{"id":"W2114567615","doi":"10.3138/jrpc.8.1.002","title":"Mel Gibson’s <i>The Passion Of The Christ</i>: Market Segmentation, Mass Marketing and Promotion, and the Internet","year":2004,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Publicity; Passion; Promotion (chess); The Internet; Market segmentation; Advertising; Marketing; Order (exchange); Business; Sociology; Computer science; Political science; Psychology; World Wide Web; Law; Social psychology","score_opus":0.010178982504715179,"score_gpt":0.2125585654980192,"score_spread":0.202379582993304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2114567615","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21686572,0.06873762,0.0026009665,0.15888554,0.002551883,0.000049856062,0.00012059032,0.00006434158,0.55012345],"genre_scores_gemma":[0.9266827,0.023217726,0.00095505384,0.0054321843,0.0014012025,0.000017439417,0.000038771377,0.00004733437,0.042207655],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.9995654,0.00023897736,0.000010655197,0.000034969748,0.00008771713,0.00006236262],"domain_scores_gemma":[0.9990717,0.0005544213,0.00012893767,0.000040673967,0.00006978882,0.00013437195],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007738401,0.00017721765,0.00016777925,0.0006958058,0.0022073572,0.006110855,0.00031660893,0.0010655782,0.0032617655],"category_scores_gemma":[0.0024408868,0.0001423048,0.000115084935,0.0009160753,0.004126848,0.0034152078,0.0009481221,0.0021497,0.0003437644],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017954988,0.00010487034,0.005978122,0.0005853073,0.000030213836,0.001006295,0.09690205,0.00018291736,0.001717455,0.63018394,0.19138838,0.07174086],"study_design_scores_gemma":[0.000013663863,0.000088968816,0.018855553,0.000790538,0.00003354785,0.0006541592,0.050720908,0.00038523978,0.0011490533,0.024501253,0.90277034,0.00003684019],"about_ca_topic_score_codex":0.01597993,"about_ca_topic_score_gemma":0.030345654,"teacher_disagreement_score":0.01597993,"about_ca_system_score_codex":0.0021978961,"about_ca_system_score_gemma":0.00065750454,"threshold_uncertainty_score":0.031773865},"labels":[],"label_agreement":null},{"id":"W2115883431","doi":"10.7202/024878ar","title":"Cognitive Film Theory : An Insider’s Appraisal","year":2007,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":40,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cognitivism (psychology); Rationality; Cognition; Insider; Psychology; Epistemology; Rational analysis; Cognitive science; Sociology; Cognitive psychology; Philosophy","score_opus":0.04872112172586093,"score_gpt":0.28593297633716797,"score_spread":0.23721185461130703,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2115883431","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04749459,0.18630572,0.05069386,0.21139808,0.012191203,0.00014432805,0.00014779932,0.00009586341,0.49152854],"genre_scores_gemma":[0.8557938,0.082601264,0.008549779,0.013326722,0.02504184,0.00014778385,0.00010744031,0.00020476627,0.014226622],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99531,0.00274365,0.000176513,0.00042919832,0.0010718676,0.000268708],"domain_scores_gemma":[0.9817302,0.014251378,0.00074646453,0.0008320992,0.0019869676,0.0004528534],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0071465,0.001021581,0.0009881387,0.00649907,0.004549315,0.009915748,0.0023640583,0.003985106,0.004769334],"category_scores_gemma":[0.016630093,0.00039779817,0.0007573344,0.003282014,0.022956485,0.016444566,0.0033212139,0.0057228296,0.000638004],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024351768,0.000052189833,0.000508899,0.00034280488,0.000017620161,0.0002302809,0.017481089,0.00031997557,0.00013087482,0.94081765,0.011295728,0.028778564],"study_design_scores_gemma":[0.000017943099,0.00007701706,0.0021302686,0.0014449648,0.000030184805,0.0004635406,0.019994877,0.0028084277,0.00036131596,0.7584676,0.21416886,0.000034856028],"about_ca_topic_score_codex":0.0031710588,"about_ca_topic_score_gemma":0.0018481587,"teacher_disagreement_score":0.009915748,"about_ca_system_score_codex":0.0048376396,"about_ca_system_score_gemma":0.0015244518,"threshold_uncertainty_score":0.03779471},"labels":[],"label_agreement":null},{"id":"W2116853904","doi":"10.3138/topia.27.29","title":"The NFB’s Turn to Heritage: Revisiting Montreal in Luc Bourdon’s <i>La mémoire des anges</i>","year":2012,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Trademark; Visual arts; Art; Art history; History; Political science; Archaeology; Law","score_opus":0.045000131642683655,"score_gpt":0.26217674003818503,"score_spread":0.21717660839550137,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2116853904","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15918055,0.07019213,0.0026537478,0.23644583,0.004705888,0.000102659375,0.0014696943,0.00018393609,0.5250655],"genre_scores_gemma":[0.8760497,0.023895765,0.0013159084,0.0103636775,0.001261465,0.00005561371,0.00021985835,0.00019389446,0.08664405],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99874806,0.00044363,0.000021305714,0.00014819043,0.00032858268,0.0003102245],"domain_scores_gemma":[0.99818146,0.0008079584,0.00014875866,0.000083323255,0.0003602489,0.00041835936],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022676468,0.00048510308,0.0002644271,0.0020361014,0.011535471,0.012969556,0.001568778,0.0016329234,0.010252124],"category_scores_gemma":[0.0054889307,0.0003785253,0.00020820742,0.0028380314,0.013771569,0.003841646,0.0026091347,0.0030163715,0.00037132806],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010604781,0.000048886704,0.004891536,0.00040302542,0.00003468114,0.0014859247,0.2120607,0.00059259887,0.0009941541,0.4175055,0.29908106,0.06279592],"study_design_scores_gemma":[0.0000081455555,0.000011201111,0.0077585992,0.0004882326,0.000011906135,0.00010708545,0.043946736,0.00016669731,0.00030905812,0.0033225832,0.9438299,0.000039951155],"about_ca_topic_score_codex":0.9325238,"about_ca_topic_score_gemma":0.96797156,"teacher_disagreement_score":0.06747621,"about_ca_system_score_codex":0.062777594,"about_ca_system_score_gemma":0.02120907,"threshold_uncertainty_score":0.45548546},"labels":[],"label_agreement":null},{"id":"W2116891463","doi":"","title":"The Market for Motion Pictures in Thailand: Rank, Revenue, and Survival at the Box Office","year":2009,"lang":"en","type":"preprint","venue":"RePEc: Research Papers in Economics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Box office; Revenue; Hollywood; Tournament; Sample (material); Rank (graph theory); Distribution (mathematics); Contrast (vision); Motion picture; Film industry; Economics; Advertising; Business; Econometrics; Art; Mathematics; Finance; Combinatorics; Movie theater; Visual arts; Art history; Computer science","score_opus":0.035198356620450344,"score_gpt":0.2861895338766865,"score_spread":0.25099117725623615,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2116891463","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99550265,0.00017865874,0.000096880474,0.00013005547,0.0000026162766,0.000009070374,0.0008645884,0.0000037220873,0.0032118056],"genre_scores_gemma":[0.99750704,0.00013041246,0.000040763724,0.000010538499,0.00000788502,0.000005413643,0.00070503604,0.00000261982,0.0015903171],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99962485,0.00009103604,0.000018707487,0.00004092635,0.000095413416,0.00012900193],"domain_scores_gemma":[0.99487066,0.001725115,0.0022016645,0.00008157968,0.00039453382,0.0007264609],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005581886,0.00021340091,0.00024999646,0.0017111672,0.00060707907,0.002779303,0.0003462221,0.00036455027,0.00945765],"category_scores_gemma":[0.0032174366,0.00016094801,0.00022340847,0.0025677837,0.00056538533,0.0014037049,0.00070128636,0.00069664314,0.0012025102],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00047193893,0.00027276535,0.96737623,0.000084526,0.00009724162,0.0010020103,0.0026132483,0.0024638854,0.00082126725,0.0025430308,0.0036408063,0.018613093],"study_design_scores_gemma":[0.000021982578,0.00013224699,0.978246,0.000027941942,0.000032474636,0.00034553465,0.009158735,0.008048833,0.0004223143,0.00083998445,0.0026900389,0.000034033907],"about_ca_topic_score_codex":0.029130468,"about_ca_topic_score_gemma":0.038836576,"teacher_disagreement_score":0.029130468,"about_ca_system_score_codex":0.00080528477,"about_ca_system_score_gemma":0.00037975112,"threshold_uncertainty_score":0.057921827},"labels":[],"label_agreement":null},{"id":"W21249078","doi":"","title":"Le masque de blackface dans Bamboozled de Spike Lee","year":2006,"lang":"en","type":"article","venue":"CinémAction","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Blackface; Spike (software development); Art; Computer science; Art history","score_opus":0.011765954936124529,"score_gpt":0.19343687805879636,"score_spread":0.18167092312267183,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W21249078","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.64074016,0.01742522,0.0021196997,0.04756725,0.0017102563,0.00007669882,0.0016072135,0.00014807623,0.28860542],"genre_scores_gemma":[0.857388,0.0043188133,0.0012062711,0.0015002082,0.00013740339,0.000018917206,0.0001939956,0.000073914125,0.13516246],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999699,0.000057342757,0.0000056638787,0.00003172596,0.00009057791,0.00011571442],"domain_scores_gemma":[0.9995425,0.000094023395,0.000059947688,0.000015344303,0.00014217908,0.00014611485],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00041944731,0.00030865867,0.0002489449,0.0007670775,0.0059421733,0.0017859626,0.00040578764,0.00056809816,0.025400994],"category_scores_gemma":[0.0013550081,0.00017955399,0.00017114656,0.0010999128,0.0022493748,0.00079297274,0.0007162013,0.0010302799,0.00096295675],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010122859,0.00012049526,0.0998272,0.0008880163,0.00007536411,0.022930404,0.22672878,0.0005632779,0.00879151,0.15690891,0.23427953,0.24787427],"study_design_scores_gemma":[0.00002174142,0.000053007814,0.11618059,0.00034050082,0.000025481426,0.0027746614,0.08833432,0.00039703105,0.0010244653,0.0016378523,0.7891517,0.000058627094],"about_ca_topic_score_codex":0.8385478,"about_ca_topic_score_gemma":0.9394896,"teacher_disagreement_score":0.8385478,"about_ca_system_score_codex":0.014618761,"about_ca_system_score_gemma":0.0070013884,"threshold_uncertainty_score":0.32480597},"labels":[],"label_agreement":null},{"id":"W2126628534","doi":"10.1525/var.2007.23.1.111","title":"Looking at European Societies: The European Research Film Seminars—<i>Regards sur les Sociétés Européennes</i>, 1983–1992","year":2007,"lang":"en","type":"article","venue":"Visual Anthropology Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Institut National de la Recherche Scientifique","funders":"","keywords":"Theme (computing); Political science; Raising (metalworking); Media studies; Scale (ratio); Library science; Sociology; Geography; Engineering; Cartography","score_opus":0.15022478655320512,"score_gpt":0.40443607261787384,"score_spread":0.2542112860646687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2126628534","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27118087,0.17840089,0.0012057687,0.12348348,0.010187434,0.00012039014,0.0007549131,0.000076908,0.4145894],"genre_scores_gemma":[0.82442284,0.037410717,0.0008195195,0.00864722,0.003358612,0.000119716344,0.00047976582,0.00010270267,0.12463892],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99875414,0.0006309322,0.00005270628,0.00013404501,0.00012721107,0.00030102517],"domain_scores_gemma":[0.9980532,0.0007582696,0.00033153177,0.00009558337,0.00024442215,0.00051704363],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005349263,0.00045275997,0.00031787375,0.0015369831,0.0030303507,0.004589851,0.0005316325,0.0023956697,0.008222523],"category_scores_gemma":[0.006532596,0.0002617702,0.000288448,0.003184443,0.002183506,0.0035829232,0.0023096818,0.0024149616,0.000723073],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010011095,0.00036988422,0.008455246,0.0011859955,0.000053416417,0.0023312424,0.14510213,0.00047400207,0.0023545434,0.1836792,0.40816632,0.24682684],"study_design_scores_gemma":[0.00003413001,0.000055538978,0.021211457,0.0004715544,0.00001254668,0.0002281343,0.02513662,0.00004280577,0.0004594244,0.0021088948,0.9502222,0.000016710308],"about_ca_topic_score_codex":0.010596433,"about_ca_topic_score_gemma":0.023697402,"teacher_disagreement_score":0.010596433,"about_ca_system_score_codex":0.004094732,"about_ca_system_score_gemma":0.0017953354,"threshold_uncertainty_score":0.029709518},"labels":[],"label_agreement":null},{"id":"W2127234797","doi":"10.3138/utq.83.3.625","title":"The Actor Who Wasn’t There: Economies of Absence in Virtual Ecologies","year":2014,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"University of Toronto","keywords":"Illusion; Movie theater; Wonder; Nothing; Perception; Spectacle; Aesthetics; Optical illusion; Sound (geography); History; Computer science; Sociology; Visual arts; Cognitive science; Art; Epistemology; Psychology; Cognitive psychology; Philosophy; Acoustics; Political science; Law","score_opus":0.0109809398857698,"score_gpt":0.17885792833396977,"score_spread":0.16787698844819998,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2127234797","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6701412,0.003527439,0.014040807,0.023844229,0.00011213508,0.000021232336,0.00014392388,0.000045281267,0.28812373],"genre_scores_gemma":[0.997145,0.00030324186,0.0003168113,0.00014885595,0.000020616668,0.000006500018,0.000010150537,0.000010721993,0.002038083],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99790776,0.0013056891,0.000041661944,0.00018537081,0.00020021891,0.0003593867],"domain_scores_gemma":[0.9922218,0.004119496,0.0011838616,0.0005563134,0.00041545602,0.0015031123],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026541904,0.000218579,0.00047517914,0.001292684,0.003914701,0.009244204,0.00079101656,0.0012313694,0.008198775],"category_scores_gemma":[0.012099052,0.0003626919,0.00026051732,0.0009056424,0.01579994,0.010608989,0.0073300996,0.0017755404,0.00036475153],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013799235,0.000045672426,0.0041200835,0.000039870334,0.000015277994,0.00040295173,0.0058481647,0.002036092,0.00014660896,0.9756983,0.0033576076,0.008151389],"study_design_scores_gemma":[0.000080777696,0.00007449834,0.011088916,0.00020196072,0.00003739259,0.00049490103,0.024121433,0.00824313,0.00021906474,0.90332264,0.052057132,0.000058151767],"about_ca_topic_score_codex":0.0066436487,"about_ca_topic_score_gemma":0.006870412,"teacher_disagreement_score":0.009244204,"about_ca_system_score_codex":0.0037256961,"about_ca_system_score_gemma":0.0010220429,"threshold_uncertainty_score":0.027427614},"labels":[],"label_agreement":null},{"id":"W2128949261","doi":"10.7202/017463ar","title":"Le temps décomposé","year":2008,"lang":"fr","type":"article","venue":"Protée","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.04413475592002863,"score_gpt":0.21953076646288225,"score_spread":0.17539601054285361,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2128949261","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015545455,0.0033017162,0.009256518,0.0056875846,0.0022688697,0.00013865935,0.0025070256,0.0003320547,0.96096206],"genre_scores_gemma":[0.22103786,0.0036719015,0.009976239,0.0019655342,0.001283032,0.0002622651,0.003937062,0.0007211606,0.757145],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99891186,0.00018865227,0.00005259218,0.00027935664,0.00036011887,0.00020745497],"domain_scores_gemma":[0.9988607,0.00025073253,0.00011678541,0.00021366366,0.00034983022,0.00020821576],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009963585,0.00079568784,0.0004506095,0.002067613,0.0030882321,0.007731045,0.00090133207,0.0014023407,0.20754868],"category_scores_gemma":[0.0038401429,0.00031976466,0.0006342113,0.0021225885,0.002200177,0.005667801,0.0033909355,0.0019234327,0.044190682],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019926541,0.000062923704,0.0024989361,0.0003148866,0.000028362801,0.00043431149,0.0061587216,0.0004518406,0.001226847,0.73462504,0.12305061,0.13094822],"study_design_scores_gemma":[0.000015233186,0.000033412118,0.0027315768,0.00016874977,0.000012256399,0.00030367917,0.0028643117,0.00038079987,0.0003581356,0.046880152,0.946235,0.000016685193],"about_ca_topic_score_codex":0.0055235806,"about_ca_topic_score_gemma":0.0048840865,"teacher_disagreement_score":0.20754868,"about_ca_system_score_codex":0.002784813,"about_ca_system_score_gemma":0.0018641106,"threshold_uncertainty_score":0.6943195},"labels":[],"label_agreement":null},{"id":"W2129877856","doi":"10.7202/1001014ar","title":"Top Hat et l’intermédialité de la comédie musicale","year":2011,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.05232108356029069,"score_gpt":0.259558700707081,"score_spread":0.2072376171467903,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2129877856","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12697089,0.0193043,0.01340286,0.013534393,0.001018758,0.00004315452,0.00020128489,0.000055918095,0.8254685],"genre_scores_gemma":[0.9287487,0.005358765,0.0018340927,0.00046247296,0.000581339,0.000024573364,0.000058654146,0.000027889759,0.0629034],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992022,0.00031734954,0.000027719752,0.00011743872,0.0002048271,0.00013040505],"domain_scores_gemma":[0.998694,0.0006738628,0.00022812023,0.00008352552,0.00018065909,0.00013988305],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011526698,0.00039738318,0.00021851544,0.0011028239,0.0017191145,0.0063309944,0.00036455723,0.0010507161,0.014119301],"category_scores_gemma":[0.0033336165,0.00022402129,0.00018885778,0.0010660645,0.0059321746,0.0034145974,0.0015611285,0.0019063161,0.0008076202],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000073538205,0.000013676825,0.0018162751,0.00010873839,0.000010012555,0.00023764426,0.010405619,0.00017288131,0.00076276873,0.95574987,0.005339829,0.025309134],"study_design_scores_gemma":[0.000040774834,0.00014182267,0.03019032,0.0006043231,0.000035237168,0.0012094725,0.018258035,0.0014510569,0.0016046892,0.20021068,0.74619013,0.00006351273],"about_ca_topic_score_codex":0.007925679,"about_ca_topic_score_gemma":0.0073401197,"teacher_disagreement_score":0.014119301,"about_ca_system_score_codex":0.0027270035,"about_ca_system_score_gemma":0.0008764911,"threshold_uncertainty_score":0.04723376},"labels":[],"label_agreement":null},{"id":"W212990327","doi":"10.3138/cjfs.12.1.38","title":"The Rhythm of Happening: Antagonism and Community in Brenda Longfellow's <i>Our Marilyn</i> and <i>A Balkan Journey</i>","year":2003,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Ethnology; Art history; Sociology","score_opus":0.04619872601861465,"score_gpt":0.24729874358631182,"score_spread":0.2011000175676972,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W212990327","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.74139494,0.0035746444,0.0012059455,0.04598023,0.00046718688,0.000043860422,0.000102725164,0.000039576364,0.20719095],"genre_scores_gemma":[0.9799738,0.0006354933,0.0001940109,0.0011866821,0.000056747467,0.000025047912,0.000025844472,0.000033466258,0.017868813],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99783224,0.0012138769,0.000038213962,0.00024969067,0.00020260602,0.00046347533],"domain_scores_gemma":[0.99677736,0.000985458,0.0004513787,0.00013706484,0.00022515695,0.001423536],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002381666,0.00029854052,0.00036814576,0.0014804335,0.02299248,0.012436727,0.0013119089,0.0018033956,0.008212648],"category_scores_gemma":[0.0043199803,0.0003710756,0.00016719522,0.0015725797,0.020763429,0.0054415716,0.008589769,0.004000409,0.0005123517],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048049096,0.000041561576,0.0044924733,0.000039734317,0.0000068258682,0.0005421844,0.9142464,0.000036398713,0.00019867254,0.062415093,0.010493471,0.0074391263],"study_design_scores_gemma":[0.000009275622,0.00001759962,0.009366483,0.000101509155,0.0000052503865,0.00014097572,0.8595047,0.00007138615,0.00006680168,0.0060120136,0.124682754,0.000021202062],"about_ca_topic_score_codex":0.101203986,"about_ca_topic_score_gemma":0.2150728,"teacher_disagreement_score":0.101203986,"about_ca_system_score_codex":0.010111609,"about_ca_system_score_gemma":0.0043932204,"threshold_uncertainty_score":0.20122981},"labels":[],"label_agreement":null},{"id":"W2131299846","doi":"10.7202/1000937ar","title":"Remains of the Body in the Classical Hollywood Musical","year":2011,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hollywood; Spectacle; Narrative; Musical; Movie theater; Art; Human body; Literature; Aesthetics; Visual arts; Art history; Computer science; Artificial intelligence","score_opus":0.0606789399746515,"score_gpt":0.23053308313367038,"score_spread":0.16985414315901887,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2131299846","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.56437874,0.018528989,0.009215702,0.0071919407,0.0003932895,0.000027329594,0.00013408421,0.0000453677,0.4000846],"genre_scores_gemma":[0.98124605,0.0016383524,0.00067400496,0.0001930356,0.00011836208,0.0000081566695,0.000020218433,0.000014663549,0.016087014],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9996735,0.00017087045,0.0000064544342,0.000057689598,0.000045153913,0.000046341454],"domain_scores_gemma":[0.99971193,0.00014922918,0.000046282377,0.000025884383,0.000023144532,0.000043564516],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00048158938,0.00019035976,0.00014419797,0.00065180165,0.002318598,0.003693325,0.0002911221,0.0006241888,0.0030215082],"category_scores_gemma":[0.0012101243,0.00011253148,0.00009074865,0.00050217204,0.014491161,0.0024477118,0.0017213123,0.0008433982,0.00026848336],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017454459,0.000022741135,0.0017832656,0.00014206623,0.0000070242118,0.0004675693,0.18889442,0.00026181614,0.0021125155,0.775654,0.004369297,0.026110651],"study_design_scores_gemma":[0.000032009186,0.00021508352,0.038886692,0.00076726463,0.00003931899,0.0016522487,0.23907968,0.00094932754,0.0021731826,0.18719094,0.5289446,0.00006963302],"about_ca_topic_score_codex":0.002833032,"about_ca_topic_score_gemma":0.0039728396,"teacher_disagreement_score":0.003693325,"about_ca_system_score_codex":0.0011255183,"about_ca_system_score_gemma":0.0003675531,"threshold_uncertainty_score":0.0101079345},"labels":[],"label_agreement":null},{"id":"W2131540049","doi":"10.1017/s0012217311000217","title":"Hollywood Westerns and American Myth: The Importance of Howard Hawks and John Ford for Political PhilosophyRobert B. Pippin New Haven and London: Yale University Press, 2010, x + 198 pp., $35.00 (hardcover)","year":2011,"lang":"en","type":"article","venue":"Dialogue","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Haven; Hollywood; Mythology; Art history; Art; Politics; History; Classics; Political science; Law","score_opus":0.05388277704963501,"score_gpt":0.21459569891567548,"score_spread":0.16071292186604047,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2131540049","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0039611277,0.3522819,0.0009338099,0.42013702,0.010490309,0.0000146518005,0.00006886602,0.000047106176,0.21206512],"genre_scores_gemma":[0.15765212,0.3166963,0.0018274696,0.07706927,0.021563968,0.00008906218,0.00009191236,0.00017731075,0.4248326],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99890125,0.0005566383,0.000018875653,0.00009525046,0.00030659532,0.000121295205],"domain_scores_gemma":[0.9982821,0.0009466481,0.00013712548,0.000068101916,0.00023989231,0.00032625196],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020493718,0.0005599238,0.0003396826,0.0013606825,0.0047437833,0.00613298,0.00050763175,0.0025752357,0.020458652],"category_scores_gemma":[0.0030271786,0.0003765939,0.00019020755,0.0013392199,0.007837554,0.008052647,0.0019306502,0.0048770583,0.002932561],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021013537,0.000024129387,0.00019952495,0.00008168286,0.0000030120011,0.000043591623,0.005403972,0.000033808,0.000071333445,0.16745947,0.8012714,0.025387041],"study_design_scores_gemma":[0.0000032807206,0.000003813176,0.00060870434,0.00026708702,0.0000020315147,0.000044378772,0.002698497,0.00002911686,0.000030356805,0.028469618,0.96783555,0.0000076280935],"about_ca_topic_score_codex":0.018512778,"about_ca_topic_score_gemma":0.03230983,"teacher_disagreement_score":0.020458652,"about_ca_system_score_codex":0.004402311,"about_ca_system_score_gemma":0.0032632202,"threshold_uncertainty_score":0.068440974},"labels":[],"label_agreement":null},{"id":"W2132417543","doi":"10.7202/039276ar","title":"The Staged Realism of Michael Haneke’s Caché","year":2010,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Realism; Filmmaking; Narrative; Style (visual arts); Order (exchange); Subject (documents); Social realism; Mode (computer interface); Literature; Aesthetics; Art history; Art; Sociology; Computer science; Movie theater","score_opus":0.024511363566362618,"score_gpt":0.22768833018843856,"score_spread":0.20317696662207596,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2132417543","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.055214964,0.004421399,0.033499822,0.05711006,0.00081841025,0.000077486555,0.00020336368,0.00012618398,0.84852827],"genre_scores_gemma":[0.9042148,0.0016344046,0.007301536,0.0029988384,0.00028159822,0.00009714092,0.000042387364,0.00009382424,0.083335556],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985857,0.000863382,0.000026375383,0.00017476852,0.0002216936,0.00012803798],"domain_scores_gemma":[0.99867886,0.0007262795,0.00011570157,0.00018020862,0.0001716114,0.00012736341],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001234144,0.00027991406,0.00019592505,0.0006121898,0.002334376,0.0062002162,0.0006007703,0.0019656462,0.0062663294],"category_scores_gemma":[0.0045864997,0.00021198396,0.00017019229,0.00053469156,0.008778657,0.0044908607,0.0017355293,0.002384508,0.00065134524],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016546916,0.000005608075,0.00009946459,0.000016250748,0.0000013671034,0.00004194716,0.004609836,0.0001064938,0.00011516074,0.9848936,0.007422649,0.0026709316],"study_design_scores_gemma":[0.000029280649,0.00003991628,0.0006125144,0.0001649318,0.0000068021363,0.00030108253,0.004582621,0.0014453871,0.0005260085,0.38399652,0.6082613,0.000033583558],"about_ca_topic_score_codex":0.004919942,"about_ca_topic_score_gemma":0.007880826,"teacher_disagreement_score":0.0062663294,"about_ca_system_score_codex":0.0032170087,"about_ca_system_score_gemma":0.0012104132,"threshold_uncertainty_score":0.023341179},"labels":[],"label_agreement":null},{"id":"W2132582168","doi":"10.7202/1005493ar","title":"Transmettre l’expérience d’une rencontre : le cas du cinéma léger synchrone","year":2011,"lang":"fr","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art","score_opus":0.032661340050812594,"score_gpt":0.25317265217773427,"score_spread":0.22051131212692168,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2132582168","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6565321,0.0019099248,0.017845785,0.008561408,0.00041436282,0.000079490695,0.00013096828,0.00011232876,0.31441358],"genre_scores_gemma":[0.98081255,0.00051566795,0.0013709152,0.0001901289,0.00008223492,0.000017331893,0.000034868106,0.00004294097,0.0169335],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976712,0.0013275399,0.00004959157,0.00027755482,0.00039612484,0.00027798183],"domain_scores_gemma":[0.9948718,0.0030613781,0.0005581988,0.00047549157,0.00045689262,0.0005761893],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026141927,0.00038168416,0.00028363257,0.0012415586,0.004818772,0.009301563,0.00093844545,0.0018011137,0.01267049],"category_scores_gemma":[0.010632739,0.00039703515,0.0002685535,0.0011835509,0.0062736706,0.007347819,0.005395058,0.002566901,0.0009074749],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018612725,0.00008378938,0.0069842404,0.00015838984,0.000030653777,0.0028787486,0.7002602,0.0003821251,0.0034269334,0.24435303,0.0052585765,0.035997212],"study_design_scores_gemma":[0.0000677991,0.0002644966,0.021148108,0.00043686852,0.00008118182,0.0032510671,0.5166564,0.0022795107,0.002361771,0.039191924,0.4141384,0.00012253823],"about_ca_topic_score_codex":0.007962541,"about_ca_topic_score_gemma":0.008062419,"teacher_disagreement_score":0.01267049,"about_ca_system_score_codex":0.0022527904,"about_ca_system_score_gemma":0.0013255589,"threshold_uncertainty_score":0.04238701},"labels":[],"label_agreement":null},{"id":"W2135442246","doi":"10.3138/md.49.3.327","title":"<i>John Gabriel Borkman’s </i> Avant-Garde Continuity","year":2006,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Film director; Avant garde; Surprise; Movie theater; Art; Literature; Art history; History; Sociology","score_opus":0.01726759219890838,"score_gpt":0.20605146460644075,"score_spread":0.18878387240753236,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2135442246","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0024012201,0.15108702,0.0031579041,0.34418422,0.014048879,0.000028957422,0.0001707513,0.00012197833,0.48479906],"genre_scores_gemma":[0.17806287,0.0889512,0.0041846177,0.070707984,0.010990047,0.00011240153,0.00015200763,0.00054872443,0.6462901],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992392,0.00029572187,0.000023072687,0.00015026011,0.00020412818,0.000087605506],"domain_scores_gemma":[0.99915373,0.0004226067,0.00006721024,0.000060573067,0.00015134495,0.00014452831],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009041184,0.0005041742,0.00021865737,0.001039368,0.0030596356,0.005513916,0.00081234146,0.0020985194,0.012845123],"category_scores_gemma":[0.0031314967,0.00022801635,0.00011702799,0.0007678223,0.0052198307,0.006010326,0.0019366643,0.0036517163,0.003945776],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001634193,0.000008053047,0.00007891502,0.00006360314,0.000002499583,0.00009016049,0.0019241025,0.00004559635,0.0001256256,0.40188518,0.5828021,0.012957713],"study_design_scores_gemma":[0.0000016784612,0.0000015859541,0.0001094191,0.0001112109,7.282706e-7,0.000068621644,0.00055173464,0.000037938775,0.000060305836,0.017734695,0.98131883,0.0000033630731],"about_ca_topic_score_codex":0.01131577,"about_ca_topic_score_gemma":0.019375838,"teacher_disagreement_score":0.012845123,"about_ca_system_score_codex":0.0037280647,"about_ca_system_score_gemma":0.0013906758,"threshold_uncertainty_score":0.042971253},"labels":[],"label_agreement":null},{"id":"W2136881710","doi":"10.1111/j.1540-6245.2012.01531_5.x","title":"<i>New Philosophies of Film: Thinking Images</i> by <scp>sinnerbrink, robert</scp>","year":2012,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Philosophy","score_opus":0.016192350109910707,"score_gpt":0.218436429169209,"score_spread":0.20224407905929828,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2136881710","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003023957,0.10007944,0.00308775,0.6451875,0.018053679,0.000025996425,0.00015810913,0.00009067426,0.23029286],"genre_scores_gemma":[0.3399821,0.12174892,0.0065733003,0.14390846,0.065635026,0.0001937524,0.00031427832,0.00105436,0.32058978],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99898905,0.00050638383,0.000035510962,0.00010518621,0.0002869857,0.00007684316],"domain_scores_gemma":[0.9964588,0.0020395282,0.00022210993,0.00019342717,0.00084149564,0.00024463265],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015638354,0.0006540134,0.0003268677,0.002154486,0.0050153574,0.009790563,0.00092745613,0.0037666378,0.01545803],"category_scores_gemma":[0.0064058327,0.0003204904,0.0003316335,0.0024235707,0.010901186,0.011590095,0.0019603728,0.006052832,0.0021123425],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017088942,0.000013356156,0.00014885758,0.00012153458,0.000008137108,0.000047498717,0.0074224933,0.000040251096,0.00015789269,0.2128862,0.7579519,0.021184808],"study_design_scores_gemma":[0.00001160592,0.000008596883,0.0009085269,0.0005285379,0.000011321867,0.00015832843,0.008101899,0.00014089735,0.00035958883,0.06886763,0.92088425,0.000018857356],"about_ca_topic_score_codex":0.01628755,"about_ca_topic_score_gemma":0.02824441,"teacher_disagreement_score":0.01628755,"about_ca_system_score_codex":0.0034964057,"about_ca_system_score_gemma":0.0018002918,"threshold_uncertainty_score":0.051712215},"labels":[],"label_agreement":null},{"id":"W2137430882","doi":"10.7202/1025924ar","title":"“Based on the True Story of”: Political Filmmaking and Analogical Thinking","year":2014,"lang":"en","type":"article","venue":"Recherches sémiotiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Filmmaking; Politics; Power (physics); Aesthetics; Subjectivity; Luck; Negotiation; Epistemology; Sociology; Hindsight bias; Analogy; Media studies; Literature; Psychology; Social psychology; Political science; Social science; Art; Law; Philosophy","score_opus":0.16363171310780375,"score_gpt":0.30336744197119697,"score_spread":0.13973572886339322,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2137430882","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32883957,0.0045671496,0.03457512,0.043866973,0.0011373556,0.00016927333,0.00008569509,0.00008014649,0.58667874],"genre_scores_gemma":[0.9932156,0.0005179587,0.0016900884,0.0005576729,0.00021523335,0.000027818765,0.000018157514,0.000019307538,0.0037379786],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9876867,0.010079471,0.00020106803,0.0008000246,0.0007850693,0.00044754113],"domain_scores_gemma":[0.9692974,0.025277583,0.0018909997,0.0016221284,0.0011268783,0.0007850529],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009370105,0.00045070963,0.00037216998,0.0025907946,0.0042846464,0.0128813,0.0015302743,0.0021752797,0.0064692795],"category_scores_gemma":[0.032737866,0.00035456443,0.00036530275,0.0015872922,0.03464725,0.013533874,0.004135629,0.0033631537,0.00033073555],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000091095055,0.00007491289,0.001751533,0.0001857873,0.000021007583,0.00029645977,0.12916413,0.00027859752,0.00031058196,0.8471373,0.0027307272,0.0179579],"study_design_scores_gemma":[0.000075455704,0.0001911422,0.006204201,0.00062175875,0.000045808858,0.0008257765,0.24841516,0.003210068,0.0013041003,0.603701,0.13534957,0.000055943317],"about_ca_topic_score_codex":0.0017330511,"about_ca_topic_score_gemma":0.0013127538,"teacher_disagreement_score":0.0128813,"about_ca_system_score_codex":0.0036879682,"about_ca_system_score_gemma":0.0011437088,"threshold_uncertainty_score":0.049554408},"labels":[],"label_agreement":null},{"id":"W2137840793","doi":"10.1177/1470412909354254","title":"Nancy on Film: Regarding Kiarostami, Re-Thinking Representation (with a Coda on Claire Denis)","year":2010,"lang":"en","type":"article","venue":"Journal of Visual Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Representation (politics); Coda; Gaze; Presentation (obstetrics); Principal (computer security); Art history; Movie theater; Epistemology; Art; Aesthetics; Sociology; Philosophy; Psychoanalysis; Psychology; Computer science","score_opus":0.028357714821601668,"score_gpt":0.29038010121830776,"score_spread":0.2620223863967061,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2137840793","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.109855935,0.012824998,0.009424191,0.32680714,0.0033077572,0.00006228433,0.000072326366,0.00007615648,0.53756917],"genre_scores_gemma":[0.91046226,0.0055319145,0.0024824818,0.01680493,0.0011575575,0.00006376248,0.000029699122,0.00010862782,0.06335887],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998381,0.00095979247,0.00003051471,0.00023290883,0.00021729479,0.00017847882],"domain_scores_gemma":[0.9985165,0.0009084535,0.00013414623,0.00009925493,0.00018853894,0.00015315058],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002077128,0.00039323184,0.0002450347,0.00058159395,0.004922609,0.009768333,0.00083392137,0.0026035432,0.00376919],"category_scores_gemma":[0.0066003436,0.00015369189,0.00015312433,0.0006249704,0.013050828,0.008170541,0.002514454,0.006125274,0.0003708678],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004188753,0.000016098755,0.00055714656,0.00006221292,0.0000056461304,0.0004648322,0.13283539,0.00011436338,0.00049148744,0.8279169,0.026308054,0.011186048],"study_design_scores_gemma":[0.000016940423,0.000040298415,0.0016770242,0.00051493896,0.00001473683,0.00058389525,0.086816475,0.0008136472,0.0010804702,0.13318412,0.7752154,0.000042055293],"about_ca_topic_score_codex":0.019759823,"about_ca_topic_score_gemma":0.023031153,"teacher_disagreement_score":0.019759823,"about_ca_system_score_codex":0.004873972,"about_ca_system_score_gemma":0.0014595337,"threshold_uncertainty_score":0.039289653},"labels":[],"label_agreement":null},{"id":"W2138054096","doi":"10.1162/dram_a_00121","title":"From Event to Extreme Reality: The Aesthetic of Shock","year":2011,"lang":"en","type":"article","venue":"TDR/The Drama Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Event (particle physics); Representation (politics); Aesthetics; Shock (circulatory); Visual arts; Art; History; Politics; Political science; Law; Physics","score_opus":0.15105664350427866,"score_gpt":0.2703672844535742,"score_spread":0.11931064094929555,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2138054096","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.027712679,0.06933884,0.02362811,0.10435594,0.0074433098,0.000042510717,0.00021743939,0.0002962926,0.76696473],"genre_scores_gemma":[0.8524822,0.0391315,0.004017454,0.013629863,0.0054567778,0.00009543213,0.00012714039,0.000260349,0.08479928],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9975916,0.0016262147,0.000044314314,0.00015302857,0.0003618338,0.00022296698],"domain_scores_gemma":[0.99868506,0.00078655384,0.00013625524,0.00012767236,0.00013543993,0.00012904753],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019343209,0.0005634586,0.00034163066,0.0012550798,0.00249431,0.010477729,0.0009299279,0.0019909106,0.010115738],"category_scores_gemma":[0.004456752,0.00017544153,0.00034193875,0.0014228494,0.011275506,0.006161574,0.004097574,0.0035668332,0.0010946227],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005838574,0.000009189022,0.00021186231,0.00019249816,0.000010621015,0.00022474324,0.011654857,0.0003022123,0.00017970047,0.92991203,0.037299063,0.019944916],"study_design_scores_gemma":[0.00002152398,0.000049123162,0.0007041646,0.00038399437,0.000012357246,0.00048284544,0.014786898,0.00034184774,0.00020135596,0.18781416,0.79518044,0.000021335187],"about_ca_topic_score_codex":0.0017397443,"about_ca_topic_score_gemma":0.0017782071,"teacher_disagreement_score":0.010477729,"about_ca_system_score_codex":0.0024287284,"about_ca_system_score_gemma":0.0010017491,"threshold_uncertainty_score":0.033840537},"labels":[],"label_agreement":null},{"id":"W2138177628","doi":"10.3138/md.0757","title":"Kinetic Texts: From Performance to Poetry","year":2015,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Poetry; Marginalia; Representation (politics); Literature; Computer science; Art; Politics; Visual arts; Linguistics; Philosophy; Law","score_opus":0.04240268190670571,"score_gpt":0.22473996886556588,"score_spread":0.18233728695886017,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2138177628","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29356742,0.0029278276,0.015551249,0.0126177175,0.0009975127,0.0000578831,0.00018389862,0.00018810476,0.67390835],"genre_scores_gemma":[0.98618394,0.00045484447,0.0006339331,0.00017319457,0.00019327774,0.000019377521,0.000053515407,0.00006701167,0.0122208325],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99790835,0.0014162362,0.000055981684,0.0001494929,0.00031188808,0.00015801334],"domain_scores_gemma":[0.99602544,0.0026244037,0.00038933946,0.00029075702,0.0003215902,0.00034850207],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001636483,0.0005573409,0.00021760231,0.0015893688,0.0031290252,0.007972605,0.0007888881,0.0009859063,0.008751641],"category_scores_gemma":[0.008100987,0.00014464554,0.00013558762,0.0014623522,0.016083779,0.0062060338,0.004222086,0.0018062374,0.00087959494],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023137842,0.00006456122,0.0017370876,0.00035037234,0.000010409413,0.00072358846,0.18205899,0.00052265305,0.0013602173,0.7572105,0.016160069,0.039570186],"study_design_scores_gemma":[0.00004847262,0.00022558495,0.0094295535,0.0009388394,0.0000194257,0.0013003424,0.2858167,0.0020011428,0.0035267659,0.17630997,0.5203231,0.00006008056],"about_ca_topic_score_codex":0.0008435762,"about_ca_topic_score_gemma":0.00083429413,"teacher_disagreement_score":0.008751641,"about_ca_system_score_codex":0.0020285288,"about_ca_system_score_gemma":0.0006252031,"threshold_uncertainty_score":0.029277146},"labels":[],"label_agreement":null},{"id":"W2140087682","doi":"10.7202/045145ar","title":"The Old Dark House and the Space of Attraction1","year":2011,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Movie theater; Thunder; Whale; Art; Visual arts; Aesthetics; Literature; Art history","score_opus":0.04529150118318408,"score_gpt":0.21588745610330848,"score_spread":0.17059595492012442,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2140087682","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07088771,0.024877833,0.0032532443,0.020064957,0.0017773939,0.00002131567,0.000090437556,0.00006614579,0.878961],"genre_scores_gemma":[0.90808254,0.0039543076,0.00056067324,0.0016075267,0.000710014,0.000020001375,0.00004043013,0.000049441314,0.084975064],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990049,0.00059471617,0.000017633985,0.00010634359,0.000099654106,0.0001767359],"domain_scores_gemma":[0.999424,0.00017870395,0.00006666575,0.000043308803,0.000057336274,0.00022994804],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007315302,0.0003146458,0.00015651542,0.0008192194,0.007710868,0.0074109086,0.0006445371,0.001294826,0.012849986],"category_scores_gemma":[0.0011113124,0.00019753164,0.00014634195,0.0006180757,0.015833803,0.005072557,0.006377358,0.0020884452,0.0011585928],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057794587,0.000018107685,0.0008219683,0.000089486355,0.000004546499,0.00044453962,0.05889641,0.000068972666,0.00023142519,0.8888623,0.031818487,0.018685997],"study_design_scores_gemma":[0.000012313394,0.00004112336,0.0015437403,0.00020682631,0.0000043192344,0.0005212835,0.031993967,0.00010615017,0.00017767893,0.050665725,0.9147071,0.000019732144],"about_ca_topic_score_codex":0.0065272073,"about_ca_topic_score_gemma":0.015327678,"teacher_disagreement_score":0.012849986,"about_ca_system_score_codex":0.0031133534,"about_ca_system_score_gemma":0.0010288719,"threshold_uncertainty_score":0.042987466},"labels":[],"label_agreement":null},{"id":"W2140144315","doi":"","title":"32nd Cleveland Annual International Film Festival","year":2008,"lang":"en","type":"article","venue":"Women in Judaism A Multidisciplinary e-Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.030068678001830097,"score_gpt":0.2467471103085031,"score_spread":0.216678432306673,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2140144315","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.038365386,0.016785894,0.00056427944,0.12493486,0.109485544,0.00029500376,0.005752297,0.00054717145,0.7032696],"genre_scores_gemma":[0.08455558,0.0032904665,0.0004972326,0.004858039,0.01153349,0.00012128412,0.0015930923,0.00035544357,0.8931954],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99927574,0.000106124084,0.000020650697,0.0000805221,0.00021159668,0.0003055014],"domain_scores_gemma":[0.9984366,0.0001402125,0.00006912472,0.000089230285,0.0003865979,0.00087814365],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001621607,0.0010453465,0.00045005683,0.0021756515,0.010175169,0.007089675,0.00087637414,0.0028909594,0.15449688],"category_scores_gemma":[0.0026212316,0.00027234954,0.00046641126,0.0011324341,0.0008188639,0.0020199644,0.0030519583,0.0029791086,0.013404157],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000075637705,0.00005864874,0.00072761095,0.0000571256,0.000009657483,0.00014233058,0.0007860945,0.000023118278,0.00025009492,0.0035700386,0.98226327,0.0120363915],"study_design_scores_gemma":[0.000008388458,0.000019536437,0.003074164,0.00008562406,0.000006870241,0.000028033135,0.0017879946,0.000020607748,0.00010957815,0.00038957925,0.99446326,0.000006329574],"about_ca_topic_score_codex":0.026900763,"about_ca_topic_score_gemma":0.18282144,"teacher_disagreement_score":0.15449688,"about_ca_system_score_codex":0.0043732747,"about_ca_system_score_gemma":0.0026875802,"threshold_uncertainty_score":0.51684356},"labels":[],"label_agreement":null},{"id":"W2142902326","doi":"10.1080/13504850500166246","title":"Demand stochastics, supply adaptation, and the distribution of film earnings","year":2005,"lang":"en","type":"article","venue":"Applied Economics Letters","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":21,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"University of Hong Kong","keywords":"Econometrics; Economics; Supply and demand; Sample (material); Earnings; Power law; Exponential distribution; Pareto distribution; Exponential function; Microeconomics; Distribution (mathematics); Mathematics; Statistics","score_opus":0.011497445498471006,"score_gpt":0.1711779109341923,"score_spread":0.15968046543572129,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2142902326","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.89141005,0.00072688074,0.08861429,0.0027710975,0.000047121706,0.000081765735,0.00059221074,0.00010440747,0.01565224],"genre_scores_gemma":[0.9955629,0.00023172794,0.001358476,0.000038065584,0.00003295615,0.000021957341,0.00012587637,0.000015707266,0.0026123025],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.99929607,0.0002960474,0.000033564662,0.00012263379,0.000118562755,0.00013313637],"domain_scores_gemma":[0.9911412,0.0061466857,0.0015339744,0.00045660627,0.00046384986,0.00025764274],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024249628,0.00028611117,0.0005233837,0.0009564989,0.00045801568,0.001924243,0.000825311,0.0012446268,0.0062537817],"category_scores_gemma":[0.018475037,0.00048161435,0.0005358515,0.0009167307,0.0016324407,0.0026953225,0.00090793415,0.0014615622,0.00044246658],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00047173272,0.00020202501,0.03361154,0.00012512894,0.00008495343,0.0010643644,0.0012745793,0.33035928,0.0029879336,0.6036167,0.0031885456,0.023013148],"study_design_scores_gemma":[0.000042278913,0.00008148424,0.026123963,0.000030051142,0.000020651229,0.00026380998,0.0008654283,0.7339947,0.00045574695,0.2357119,0.0023445608,0.00006530612],"about_ca_topic_score_codex":0.0049914923,"about_ca_topic_score_gemma":0.0028127613,"teacher_disagreement_score":0.0062537817,"about_ca_system_score_codex":0.0017074911,"about_ca_system_score_gemma":0.00036842944,"threshold_uncertainty_score":0.020920992},"labels":[],"label_agreement":null},{"id":"W2145959248","doi":"10.7202/008961ar","title":"Ideals of Immersion in Early Cinema1","year":2004,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Spectacle; Immersion (mathematics); Aesthetics; Style (visual arts); Stereoscopy; Art; Visual arts; Computer science; Artificial intelligence; Political science; Mathematics","score_opus":0.031624970803790696,"score_gpt":0.23420235698176126,"score_spread":0.20257738617797055,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2145959248","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1026259,0.0066782674,0.031434562,0.013091378,0.00041420577,0.00005264378,0.00007340285,0.00008026468,0.8455494],"genre_scores_gemma":[0.9805282,0.00077619316,0.0024284553,0.00029698605,0.00018134528,0.00003531989,0.000018966572,0.000034586068,0.01570001],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9965084,0.0023630096,0.00007766811,0.00027799408,0.0004210375,0.00035187905],"domain_scores_gemma":[0.9974124,0.0011459312,0.00025549607,0.00030528932,0.00043559418,0.00044529527],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029800138,0.0004076267,0.0002143234,0.0014264976,0.004088868,0.01101543,0.00066037953,0.0014856361,0.004293766],"category_scores_gemma":[0.0059507247,0.00023623196,0.00025196632,0.0006901208,0.027504114,0.0071078273,0.0065120757,0.0025261703,0.00049329316],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016813394,0.0000072529347,0.00016629983,0.000020990223,0.0000018332886,0.00003791589,0.020155694,0.000060412447,0.00018249819,0.9751663,0.00078691804,0.003397125],"study_design_scores_gemma":[0.000029329532,0.00007596656,0.0013140519,0.00024155506,0.000008399366,0.0003530562,0.02227608,0.0006312603,0.00052788155,0.77172595,0.20278585,0.00003051293],"about_ca_topic_score_codex":0.00169047,"about_ca_topic_score_gemma":0.0012918556,"teacher_disagreement_score":0.01101543,"about_ca_system_score_codex":0.0030388476,"about_ca_system_score_gemma":0.0012031152,"threshold_uncertainty_score":0.022048533},"labels":[],"label_agreement":null},{"id":"W2146071515","doi":"10.7202/1014518ar","title":"The Celluloid Waltz: Memories of the Fairground Carousel","year":2013,"lang":"en","type":"article","venue":"Canadian University Music Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Waltz; Art; Space (punctuation); Attendance; Odds; Visual arts; Sociology; Computer science; Law; Political science","score_opus":0.023163229284430233,"score_gpt":0.15752598853962071,"score_spread":0.13436275925519048,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2146071515","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32362175,0.16318513,0.0018974598,0.1274946,0.0035625838,0.000034574066,0.0006238125,0.00005109199,0.37952894],"genre_scores_gemma":[0.9382373,0.026736272,0.00020674067,0.0054113707,0.0015738242,0.0000112189455,0.00010555878,0.0000362741,0.027681436],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992132,0.0003045674,0.000017526945,0.000091267546,0.0002604008,0.000113085815],"domain_scores_gemma":[0.9975199,0.0010601599,0.0005372168,0.00016801317,0.00042026959,0.00029437526],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012740623,0.00028152255,0.0002330103,0.0018093807,0.0047251116,0.0057646013,0.0006329969,0.0015675133,0.005511446],"category_scores_gemma":[0.0063782795,0.00019142947,0.00013861022,0.002008246,0.008041118,0.0047903387,0.0021241778,0.0024958989,0.00053943694],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039397494,0.000035200268,0.0066244295,0.0005310016,0.000072100185,0.0033109311,0.43246815,0.00018272303,0.0012163727,0.309318,0.16224179,0.083605334],"study_design_scores_gemma":[0.000018808974,0.000031474843,0.009451097,0.0007889804,0.000025826825,0.002075775,0.16739535,0.000100017205,0.0003814583,0.014235907,0.805448,0.000047209338],"about_ca_topic_score_codex":0.056560714,"about_ca_topic_score_gemma":0.090287745,"teacher_disagreement_score":0.056560714,"about_ca_system_score_codex":0.0053863456,"about_ca_system_score_gemma":0.0017709217,"threshold_uncertainty_score":0.112463},"labels":[],"label_agreement":null},{"id":"W2147706808","doi":"10.1525/aa.2000.102.1.159","title":"Oka: Behind the Barricades: Kanehsatake: 270 Years of Resistance: Spudwrench: Kahnawake Man: My Name is Kahentiiosta: Acts of Defiance","year":2000,"lang":"en","type":"article","venue":"American Anthropologist","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Trent University","funders":"","keywords":"Resistance (ecology); History; Art","score_opus":0.026135226601904392,"score_gpt":0.2607643880168445,"score_spread":0.23462916141494009,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2147706808","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0037847687,0.0046725343,0.0004704921,0.01201745,0.0033108557,0.00016582634,0.004077323,0.0009917088,0.9705091],"genre_scores_gemma":[0.0075828303,0.001156147,0.0001980081,0.0004450469,0.00010794433,0.000030604384,0.00067840586,0.00023840531,0.9895627],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9998499,0.000013705891,0.000004289378,0.00002383396,0.000047997433,0.000060162205],"domain_scores_gemma":[0.999393,0.00004702926,0.000027581686,0.000026386686,0.000221981,0.00028396674],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002950249,0.00091530103,0.00032816382,0.00060572167,0.004899372,0.0026195892,0.000665512,0.0014480705,0.69848377],"category_scores_gemma":[0.00097035366,0.0005547855,0.00023547391,0.0007257956,0.00055315916,0.0021136315,0.0016703828,0.0022634864,0.35108826],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023857809,0.000007228477,0.00010694633,0.0000285728,9.558789e-7,0.00006958852,0.0002778552,0.000009065452,0.00023832738,0.00031092082,0.9871405,0.011786276],"study_design_scores_gemma":[0.0000042163624,0.000005827493,0.0017940608,0.00005817562,0.0000014468584,0.000040821225,0.0009664899,0.000016658552,0.000077031444,0.00007945108,0.9969506,0.000005170732],"about_ca_topic_score_codex":0.14722246,"about_ca_topic_score_gemma":0.42106366,"teacher_disagreement_score":0.85277754,"about_ca_system_score_codex":0.0021593773,"about_ca_system_score_gemma":0.001408955,"threshold_uncertainty_score":0.4300763},"labels":[],"label_agreement":null},{"id":"W2147728444","doi":"10.7202/1001145ar","title":"Le tapis incertain. Métamorphose et hors-champ dans Cat People","year":2011,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.04407350298900165,"score_gpt":0.23114571534253703,"score_spread":0.18707221235353538,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2147728444","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50617075,0.010643977,0.0037616235,0.020281253,0.0009797418,0.00012240064,0.0005637938,0.00009867505,0.45737785],"genre_scores_gemma":[0.8655165,0.0013093676,0.00054544443,0.00063497445,0.00005764102,0.000035398705,0.00006537928,0.000024718502,0.13181065],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961215,0.00014039272,0.00000950149,0.00007397499,0.000100725796,0.00006329516],"domain_scores_gemma":[0.9996486,0.00013194101,0.000058485068,0.000020905465,0.00006383348,0.00007624487],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005206954,0.00027238097,0.00016078175,0.000683605,0.003682324,0.0024188245,0.00032180053,0.0009356483,0.009994434],"category_scores_gemma":[0.001316149,0.0001740164,0.00009070375,0.00082946866,0.0038365563,0.0018623327,0.0013005603,0.0013802632,0.0007281458],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016841636,0.000043941236,0.014705259,0.0003534721,0.000014710219,0.0037684764,0.48533344,0.00012026307,0.0025270442,0.36846256,0.043062173,0.08144031],"study_design_scores_gemma":[0.000010552352,0.00007560225,0.038979005,0.00027542506,0.000010743324,0.0021063054,0.10639409,0.00023783371,0.0008391666,0.009738167,0.8413043,0.00002879703],"about_ca_topic_score_codex":0.06698939,"about_ca_topic_score_gemma":0.15603828,"teacher_disagreement_score":0.06698939,"about_ca_system_score_codex":0.0035382577,"about_ca_system_score_gemma":0.0017397966,"threshold_uncertainty_score":0.13319892},"labels":[],"label_agreement":null},{"id":"W2148849466","doi":"10.1177/1470412909354267","title":"Us to-Come: Francesco Vezzoli’s Nonconsensual Futures","year":2010,"lang":"en","type":"article","venue":"Journal of Visual Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"University of Toronto","keywords":"Spectacle; Publicity; Appropriation; Futures contract; Politics; Media studies; Presidential election; Performance art; Political science; Art; Sociology; Aesthetics; Art history; Law; Business","score_opus":0.016364142322058267,"score_gpt":0.28014524341511693,"score_spread":0.26378110109305863,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2148849466","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04292795,0.016956478,0.0020150146,0.3152647,0.0054692924,0.000022423934,0.000051749834,0.000079502024,0.6172129],"genre_scores_gemma":[0.85539204,0.0068399836,0.0010523909,0.019400846,0.0028581861,0.000048714035,0.00004131248,0.00013716472,0.114229366],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998694,0.0007554611,0.000010788023,0.0001357145,0.00017483182,0.00022911683],"domain_scores_gemma":[0.99852484,0.0008130143,0.00008973914,0.00012890519,0.00019881113,0.0002446956],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020798855,0.0004187458,0.00020454728,0.00087886356,0.0077997423,0.0063097076,0.00067863823,0.0029682328,0.004869076],"category_scores_gemma":[0.00471281,0.00016555566,0.00019005217,0.00066008844,0.008283752,0.0050223507,0.0019158481,0.0041487804,0.0008495382],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000069911104,0.000041665724,0.0007128002,0.000048539794,0.0000045675497,0.00050574087,0.055331733,0.000117541334,0.00022542135,0.72297823,0.19456123,0.02540263],"study_design_scores_gemma":[0.00000796398,0.000014590922,0.0008072218,0.00011952005,0.000003175287,0.00030017726,0.012809454,0.00020659763,0.00021339819,0.034803193,0.9506969,0.000017789143],"about_ca_topic_score_codex":0.015107411,"about_ca_topic_score_gemma":0.024090637,"teacher_disagreement_score":0.015107411,"about_ca_system_score_codex":0.0044742725,"about_ca_system_score_gemma":0.001236167,"threshold_uncertainty_score":0.032463253},"labels":[],"label_agreement":null},{"id":"W2149319488","doi":"10.7202/013051ar","title":"Une excentrique au coeur de l’industrie : Ray Lewis et le Canadian Moving Picture Digest1","year":2006,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Concordia University","funders":"","keywords":"Humanities; Art","score_opus":0.02015332361722274,"score_gpt":0.21634789956468223,"score_spread":0.19619457594745948,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2149319488","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0140476525,0.15241581,0.0022660352,0.40431222,0.01934423,0.000044094802,0.00068605936,0.00014357742,0.40674028],"genre_scores_gemma":[0.18732645,0.08682737,0.0020826533,0.026551582,0.00694052,0.000043008484,0.00032851842,0.00038484397,0.68951505],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99846977,0.0003799257,0.000023047623,0.00018106625,0.00062235893,0.00032378378],"domain_scores_gemma":[0.9974341,0.00076072995,0.0001338449,0.00012790851,0.0010136501,0.0005297844],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018593522,0.0006830023,0.00026851997,0.002397569,0.008323386,0.00842427,0.0008745585,0.0027935305,0.018140025],"category_scores_gemma":[0.004776541,0.00041734418,0.00019439732,0.0031094458,0.008183415,0.004549259,0.0018470391,0.0034123913,0.0025663443],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003614322,0.000009411176,0.0006301966,0.000079981335,0.0000034972077,0.00022425845,0.013563497,0.000060145565,0.0003087344,0.14616983,0.8143379,0.024576426],"study_design_scores_gemma":[0.0000011958105,0.0000017800472,0.00067784404,0.00008480707,0.0000013757251,0.000051125775,0.0028111013,0.000022008138,0.000055438948,0.0013053468,0.9949792,0.00000875308],"about_ca_topic_score_codex":0.80761915,"about_ca_topic_score_gemma":0.88395905,"teacher_disagreement_score":0.19238085,"about_ca_system_score_codex":0.030588316,"about_ca_system_score_gemma":0.019885471,"threshold_uncertainty_score":0.38702762},"labels":[],"label_agreement":null},{"id":"W2151096142","doi":"10.7202/039369ar","title":"Complicity Through Montage","year":2010,"lang":"en","type":"article","venue":"Ethnologies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Complicity; Filmmaking; Representation (politics); Aesthetics; Citizen journalism; Foundation (evidence); Sociology; Epistemology; Computer science; Linguistics; Visual arts; Art; History; Philosophy; Political science; Archaeology; Law","score_opus":0.060649130601293656,"score_gpt":0.2688379819624351,"score_spread":0.20818885136114143,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2151096142","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09492979,0.0010059553,0.1607664,0.007292907,0.00038535165,0.00014952233,0.00017485999,0.0007623465,0.73453283],"genre_scores_gemma":[0.90707296,0.00049437216,0.036277343,0.00044424876,0.0001908208,0.00016987094,0.00010907339,0.0003549593,0.054886393],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99747473,0.0015233253,0.0000602577,0.00037368858,0.00035681203,0.00021109589],"domain_scores_gemma":[0.9944845,0.003464938,0.00031306373,0.0012953763,0.00026692828,0.00017510427],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002655631,0.000504341,0.00025855654,0.0012968286,0.003648945,0.0056878137,0.00091672066,0.0012066627,0.025237774],"category_scores_gemma":[0.010780661,0.0002815768,0.0004037928,0.00094331853,0.008699838,0.008047605,0.0063557667,0.0018023435,0.0016548464],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007019878,0.000029075465,0.00046878587,0.000074248004,0.0000070683705,0.0004702416,0.03315013,0.00051820267,0.0019185443,0.9230204,0.0053038197,0.034969162],"study_design_scores_gemma":[0.000044214063,0.00007100451,0.00080994057,0.00018822892,0.000024211438,0.0008616652,0.019828346,0.0044359057,0.006384455,0.56242585,0.40488973,0.00003641583],"about_ca_topic_score_codex":0.0013153858,"about_ca_topic_score_gemma":0.0027442258,"teacher_disagreement_score":0.025237774,"about_ca_system_score_codex":0.0012907855,"about_ca_system_score_gemma":0.00070810615,"threshold_uncertainty_score":0.08442873},"labels":[],"label_agreement":null},{"id":"W2152155262","doi":"10.1111/j.1540-5931.2008.00544.x","title":"Stan Lee: Conversations","year":2008,"lang":"en","type":"article","venue":"The Journal of Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Citation; Library science; Media studies; History; Computer science; Sociology","score_opus":0.044876253828260146,"score_gpt":0.2274228981228743,"score_spread":0.18254664429461415,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2152155262","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018216205,0.010332168,0.001046882,0.22477536,0.027243888,0.000058359823,0.0017192751,0.000686399,0.73231614],"genre_scores_gemma":[0.0143460985,0.001968232,0.00022232474,0.04767607,0.0042115357,0.00008017128,0.0003327561,0.0006235561,0.9305392],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99847037,0.0006647685,0.000040700652,0.00020193768,0.00036909117,0.0002530618],"domain_scores_gemma":[0.997658,0.0010459798,0.00011559972,0.0001309754,0.0005441375,0.00050533167],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015353514,0.0008768176,0.0005069692,0.001519852,0.0065801395,0.006177622,0.0009505226,0.004442264,0.29024547],"category_scores_gemma":[0.009209131,0.0003502427,0.0002830804,0.0014508131,0.0014149448,0.005416247,0.003862655,0.0065564276,0.1326265],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014738826,0.000010230475,0.00007119055,0.000029349196,0.0000013727102,0.000076225835,0.001593388,0.0000073375018,0.00007878431,0.016320199,0.9716224,0.010174768],"study_design_scores_gemma":[0.0000017855042,0.0000012384279,0.00006609889,0.000039944076,6.3813644e-7,0.000015174716,0.0010496208,0.000008249334,0.000052880725,0.0015746723,0.9971865,0.0000032303162],"about_ca_topic_score_codex":0.0064336807,"about_ca_topic_score_gemma":0.012914357,"teacher_disagreement_score":0.29024547,"about_ca_system_score_codex":0.0021991292,"about_ca_system_score_gemma":0.0017976313,"threshold_uncertainty_score":0.9709678},"labels":[],"label_agreement":null},{"id":"W2152660735","doi":"10.3138/md.46.2.285","title":"Le Freak, C'est Chic: The Twenty-First Century Freak Show as Theatre of Transgression","year":2003,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"FREAK; Oppression; Subaltern; Narrative; Disgust; Sociology; Aesthetics; Marine transgression; History; Gender studies; Psychoanalysis; Art; Psychology; Literature; Political science; Law; Social psychology","score_opus":0.017327371149830198,"score_gpt":0.20915566475100392,"score_spread":0.1918282936011737,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2152660735","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.155133,0.023576748,0.0074363416,0.093550675,0.00702378,0.00007932433,0.00029099712,0.00054902385,0.71236],"genre_scores_gemma":[0.71510166,0.0034860692,0.0013289951,0.007108438,0.000821974,0.000055909124,0.00008048587,0.00031930636,0.27169716],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989856,0.0005850631,0.000012116802,0.00007328185,0.0001043859,0.00023941844],"domain_scores_gemma":[0.9989537,0.00060603407,0.00006951316,0.000070516384,0.00012519985,0.0001750615],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016158026,0.00068886706,0.00024173263,0.0011793312,0.013002108,0.008460059,0.00057952915,0.0026942664,0.015393458],"category_scores_gemma":[0.004371897,0.000232802,0.00022085113,0.00073676195,0.007527252,0.0046516866,0.0023927586,0.004659911,0.0020597128],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023432416,0.000051062536,0.0012884112,0.00021738085,0.000016379225,0.0009674172,0.29007885,0.00018359517,0.0012531236,0.34733838,0.3182506,0.04012054],"study_design_scores_gemma":[0.0000059907024,0.00003932868,0.0015521297,0.00023188865,0.0000050401277,0.00042116948,0.06777452,0.00010328862,0.00055413344,0.0045205513,0.9247598,0.00003205927],"about_ca_topic_score_codex":0.02663954,"about_ca_topic_score_gemma":0.06676974,"teacher_disagreement_score":0.02663954,"about_ca_system_score_codex":0.004197942,"about_ca_system_score_gemma":0.0010419327,"threshold_uncertainty_score":0.05296898},"labels":[],"label_agreement":null},{"id":"W2152690197","doi":"10.7202/1000976ar","title":"L’écriture de la critique","year":2011,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Philosophy; Art","score_opus":0.03840820465526638,"score_gpt":0.2522568907911499,"score_spread":0.2138486861358835,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2152690197","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015687345,0.030909853,0.03996898,0.24380384,0.008745159,0.00005457024,0.00014060643,0.0001483687,0.6605413],"genre_scores_gemma":[0.6854819,0.024002058,0.0149832005,0.037568074,0.016979791,0.00023199548,0.00015236052,0.0006614529,0.21993914],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.98725885,0.008324406,0.00023118847,0.0013165784,0.0023490365,0.0005200851],"domain_scores_gemma":[0.98638797,0.009159305,0.00068270013,0.0011158232,0.002221167,0.0004330667],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006932257,0.00073175406,0.0006203111,0.0023402916,0.0060719196,0.014752408,0.0013930558,0.005793096,0.017003303],"category_scores_gemma":[0.021046333,0.0002988341,0.0006257682,0.0017080366,0.022799619,0.010120642,0.0039991345,0.007828501,0.0025122175],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010105595,0.0000069738344,0.00014968317,0.000072623436,0.0000054963075,0.00006334673,0.0088218255,0.000085119915,0.00019403017,0.9692712,0.014793685,0.0065260595],"study_design_scores_gemma":[0.0000100001,0.000019538189,0.00048109432,0.0004035215,0.000010228832,0.00027606435,0.007103008,0.00048195588,0.0004919807,0.17726426,0.8134403,0.000018013126],"about_ca_topic_score_codex":0.010039357,"about_ca_topic_score_gemma":0.010200318,"teacher_disagreement_score":0.017003303,"about_ca_system_score_codex":0.008086387,"about_ca_system_score_gemma":0.004380506,"threshold_uncertainty_score":0.058671117},"labels":[],"label_agreement":null},{"id":"W2153602713","doi":"10.7202/1005585ar","title":"L’histoire amateur et l’histoire universitaire : paradigmes de l’historiographie du cinéma","year":2011,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Philosophy","score_opus":0.031038570874336698,"score_gpt":0.2065493448495645,"score_spread":0.1755107739752278,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2153602713","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.059275087,0.022983529,0.076474875,0.081730455,0.0017219376,0.00013994513,0.0002076556,0.00011109757,0.7573554],"genre_scores_gemma":[0.9256193,0.006457021,0.014033416,0.0028253277,0.0006072753,0.00021909078,0.0000751165,0.00010914658,0.050054263],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99517787,0.00355978,0.00011536867,0.0003928515,0.00041752355,0.00033675352],"domain_scores_gemma":[0.9958547,0.0025030754,0.00042155228,0.00042349834,0.00043530043,0.00036179542],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0053926436,0.00056725513,0.00036417946,0.002543539,0.0055901473,0.013690669,0.0014491997,0.0033861434,0.00845468],"category_scores_gemma":[0.0052765915,0.0003826985,0.00040225586,0.002270285,0.023604602,0.012933176,0.004228717,0.005284025,0.0010332351],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000521776,0.0000044881344,0.00015480861,0.000030129915,0.0000015347385,0.000019853976,0.010493288,0.000051987987,0.000055546556,0.98606783,0.0008398121,0.0022755815],"study_design_scores_gemma":[0.000017067605,0.000027854036,0.001807555,0.00050699664,0.000012249974,0.00029845067,0.03308769,0.001210271,0.00057430525,0.5562169,0.40621248,0.000028255841],"about_ca_topic_score_codex":0.010911808,"about_ca_topic_score_gemma":0.009733718,"teacher_disagreement_score":0.013690669,"about_ca_system_score_codex":0.011439765,"about_ca_system_score_gemma":0.005637622,"threshold_uncertainty_score":0.08300173},"labels":[],"label_agreement":null},{"id":"W2153748395","doi":"10.1177/1746847711408232","title":"Special issue: Could Kinematography be Animation and Animation Kinematography?","year":2011,"lang":"en","type":"article","venue":"Animation","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":32,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Animation; Anime; Computer science; Computer graphics (images); Art; Visual arts; Multimedia; Artificial intelligence","score_opus":0.044725471950782816,"score_gpt":0.23258556567415253,"score_spread":0.1878600937233697,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2153748395","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012457452,0.011590534,0.0018315652,0.085043885,0.82246095,0.000116626,0.0006228782,0.00049569004,0.07659216],"genre_scores_gemma":[0.012601812,0.0092635155,0.0010128047,0.012936253,0.7409241,0.00017890656,0.0010955479,0.00060554023,0.22138155],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99896,0.00021994804,0.00013107958,0.00015692433,0.00040684725,0.00012517796],"domain_scores_gemma":[0.9910465,0.0029075418,0.000582066,0.0007231139,0.0030447773,0.0016960173],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023693938,0.0015994459,0.0016212921,0.0033050098,0.0029176637,0.00708218,0.0015744518,0.007144568,0.17790313],"category_scores_gemma":[0.010879064,0.0005732275,0.0009438395,0.0015085032,0.0012489483,0.0046834783,0.0022604386,0.0031728698,0.033750936],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044819953,0.000026610867,0.000106641106,0.00014636859,0.000006116188,0.000068772286,0.00002598635,0.0000394202,0.00016398526,0.00334365,0.98401815,0.012009426],"study_design_scores_gemma":[0.000023129927,0.000051298663,0.0008593286,0.000270518,0.000022154642,0.00024188956,0.0000955999,0.00040104002,0.00023215506,0.0041479724,0.99364024,0.000014628515],"about_ca_topic_score_codex":0.0010622147,"about_ca_topic_score_gemma":0.0019451753,"teacher_disagreement_score":0.17790313,"about_ca_system_score_codex":0.0013920459,"about_ca_system_score_gemma":0.001144801,"threshold_uncertainty_score":0.5951452},"labels":[],"label_agreement":null},{"id":"W215402816","doi":"","title":"Women Filmmakers Refocusing","year":2004,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Context (archaeology); Mantra; Film director; Feminist theory; Gender studies; Politics; China; Media studies; Punk; Sociology; Film theory; Art history; Feminism; Movie theater; History; Political science; Law; Philosophy","score_opus":0.02778333396581214,"score_gpt":0.22324055153115246,"score_spread":0.19545721756534032,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W215402816","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026065648,0.39136863,0.0014831793,0.17214972,0.017502706,0.00010085671,0.00008850751,0.00023673465,0.39100394],"genre_scores_gemma":[0.20323092,0.21101838,0.002043952,0.014842055,0.0050132237,0.00010823926,0.0001676174,0.0002482205,0.5633274],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9987056,0.0005597933,0.000039209277,0.00015235499,0.0003540644,0.00018899828],"domain_scores_gemma":[0.99907637,0.00034871598,0.000093165436,0.00004525986,0.00020173003,0.00023476398],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015154046,0.00057551445,0.0003943637,0.0008754172,0.0046439394,0.008298518,0.0008699632,0.0020734416,0.009642915],"category_scores_gemma":[0.0030926396,0.00034596934,0.00022154034,0.0012415816,0.0027007922,0.0046526403,0.0025652824,0.0029158802,0.0029321553],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027526723,0.00008037168,0.0006484587,0.00044346304,0.000011699872,0.00047117003,0.11550436,0.00004589947,0.00065427803,0.04482918,0.5843832,0.2529005],"study_design_scores_gemma":[0.000001944362,0.000013501389,0.0004554634,0.00030218356,0.0000037652098,0.00022102,0.02553784,0.000014871711,0.00017760559,0.0015173095,0.97174984,0.0000047122926],"about_ca_topic_score_codex":0.010411851,"about_ca_topic_score_gemma":0.0147330295,"teacher_disagreement_score":0.010411851,"about_ca_system_score_codex":0.003260614,"about_ca_system_score_gemma":0.0036058687,"threshold_uncertainty_score":0.03225881},"labels":[],"label_agreement":null},{"id":"W2154778966","doi":"10.7202/009025ar","title":"A Survey Among Audiences of Subtitled Films in Viennese Cinemas","year":2004,"lang":"en","type":"article","venue":"Meta Journal des traducteurs","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":18,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Film festival; Media studies; Advertising; Art; Sociology; Visual arts; Business","score_opus":0.06572069561246892,"score_gpt":0.24679466712993472,"score_spread":0.1810739715174658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2154778966","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9966859,0.00018826652,0.000100188234,0.000104454455,0.000010694156,0.00006479981,0.00038377993,0.000006598357,0.002455353],"genre_scores_gemma":[0.99207157,0.00070162234,0.00033099807,0.00015906608,0.000051580017,0.00016390892,0.00069392123,0.000009215635,0.0058181626],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99924433,0.00025331666,0.00007064299,0.00010533629,0.00015331194,0.00017303649],"domain_scores_gemma":[0.99764234,0.0006625672,0.00056603295,0.000072917115,0.0004531905,0.0006029746],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011603748,0.0002906426,0.00036039122,0.0024413862,0.0008371985,0.00078402576,0.00025426885,0.00071861263,0.005384754],"category_scores_gemma":[0.0028993147,0.00032386137,0.0002165292,0.00111127,0.00027769717,0.0008112797,0.00072506757,0.00066448405,0.0013116259],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025827665,0.0009089267,0.8031344,0.0004921206,0.000050891947,0.0019836393,0.12800594,0.00012216403,0.016803242,0.0002882044,0.004234101,0.043718155],"study_design_scores_gemma":[0.0000090395515,0.0006812004,0.90821236,0.000100939265,0.000022649354,0.0009574458,0.07676397,0.00019802702,0.0011480511,0.000039663762,0.01183951,0.000027224625],"about_ca_topic_score_codex":0.003531858,"about_ca_topic_score_gemma":0.0049250103,"teacher_disagreement_score":0.005384754,"about_ca_system_score_codex":0.00041626985,"about_ca_system_score_gemma":0.00020155784,"threshold_uncertainty_score":0.018013775},"labels":[],"label_agreement":null},{"id":"W2156759056","doi":"10.7202/1001959ar","title":"“As Regarding Rhythm”: Rhythm in Modern Poetry and Cinema","year":2011,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Rhythm; Poetry; Narrative; Structuring; Literature; Art; Aesthetics; History; Political science","score_opus":0.04982912649564698,"score_gpt":0.26946421067331816,"score_spread":0.2196350841776712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2156759056","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18181857,0.04660425,0.05845406,0.05560899,0.006666856,0.00007676684,0.00015700735,0.00017438551,0.6504391],"genre_scores_gemma":[0.9736308,0.004752991,0.003775912,0.001919784,0.0020386775,0.00003248087,0.000035905698,0.00006153326,0.013751931],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985032,0.0010970793,0.00003865011,0.00012310316,0.00015168816,0.00008634741],"domain_scores_gemma":[0.99812716,0.0011767019,0.00018636213,0.00018664547,0.00018040251,0.00014280678],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018973227,0.00028401086,0.00016600253,0.001102618,0.002033247,0.0057828478,0.00043110948,0.0010506576,0.0032632546],"category_scores_gemma":[0.005869199,0.00009661108,0.00015016852,0.0011333418,0.011487555,0.006457078,0.0014370141,0.0017990068,0.00030338904],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046293604,0.000011464964,0.000705769,0.00010485269,0.0000056209597,0.000080813974,0.04524615,0.000118543496,0.0005706045,0.9205768,0.0064335656,0.026099551],"study_design_scores_gemma":[0.000025538888,0.000094637515,0.004142891,0.00056978496,0.000015009916,0.00054916117,0.034445483,0.000798002,0.00085145136,0.39117527,0.5672999,0.00003277873],"about_ca_topic_score_codex":0.0009152151,"about_ca_topic_score_gemma":0.00089673937,"teacher_disagreement_score":0.0057828478,"about_ca_system_score_codex":0.0008449684,"about_ca_system_score_gemma":0.0005369848,"threshold_uncertainty_score":0.01091671},"labels":[],"label_agreement":null},{"id":"W2156863574","doi":"10.1177/1555412007309530","title":"Jean Baudrillard and the Definitive Ambivalence of Gaming","year":2007,"lang":"en","type":"article","venue":"Games and Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Bishop's University","funders":"","keywords":"Ambivalence; Passion; Game studies; Aesthetics; Video game; Psychology; Sociology; Social psychology; Epistemology; Psychoanalysis; Art; Media studies; Philosophy; Multimedia; Computer science","score_opus":0.015268783632841938,"score_gpt":0.20694794622453666,"score_spread":0.19167916259169474,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2156863574","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024403322,0.055692594,0.0041612987,0.6479882,0.003626598,0.000011106319,0.00003816183,0.00006624658,0.2640125],"genre_scores_gemma":[0.7440878,0.022535112,0.002103894,0.11199686,0.0036061497,0.000047768528,0.0000287087,0.0002530461,0.11534058],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9955024,0.0028232336,0.0000639936,0.00046038226,0.0008324426,0.0003174934],"domain_scores_gemma":[0.99598986,0.0024720372,0.0002248761,0.0001198068,0.0006084424,0.00058496825],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026582363,0.00039677412,0.00033776538,0.0008140513,0.0062244916,0.011555105,0.00066917314,0.0044415197,0.004727218],"category_scores_gemma":[0.006291512,0.00031135883,0.00017079835,0.0006110767,0.018885273,0.0069821505,0.0027896066,0.0064255022,0.0009658948],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054251825,0.000030353907,0.00075939175,0.00004745789,0.000006680535,0.00011534373,0.018644452,0.000089733214,0.00016594282,0.85552543,0.1117271,0.012833859],"study_design_scores_gemma":[0.000014195879,0.000020138314,0.00068818365,0.00022207406,0.000002907844,0.00020616282,0.011599756,0.00018006054,0.00020362575,0.13137071,0.8554651,0.000027159705],"about_ca_topic_score_codex":0.015081628,"about_ca_topic_score_gemma":0.01575353,"teacher_disagreement_score":0.015081628,"about_ca_system_score_codex":0.0036223773,"about_ca_system_score_gemma":0.0015309899,"threshold_uncertainty_score":0.029987633},"labels":[],"label_agreement":null},{"id":"W2160426352","doi":"10.22230/cjc.2009v34n1a2181","title":"Home Improvement Television: <i>Holmes on Homes</i> Makes It Right","year":2009,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Reality tv; Economic Justice; Sociology; Reality television; Art; Media studies; Art history; Advertising; Political science; Law; Business","score_opus":0.022085439285209375,"score_gpt":0.22294072378266655,"score_spread":0.20085528449745718,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2160426352","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04253271,0.008558173,0.0022822,0.24826752,0.004996982,0.00004076217,0.0005025889,0.000261747,0.6925573],"genre_scores_gemma":[0.5345029,0.00641579,0.0024283952,0.028618015,0.0013889093,0.000022385244,0.0002696851,0.00027268473,0.42608127],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99942636,0.00010324767,0.000008260802,0.00006115403,0.00024611625,0.00015485188],"domain_scores_gemma":[0.99903154,0.00027422648,0.00006735248,0.00006560348,0.0003628852,0.00019834071],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006295602,0.00016279244,0.00009507695,0.00041617642,0.0047388785,0.004748047,0.00043793643,0.0012779192,0.010759274],"category_scores_gemma":[0.0026775736,0.00012399611,0.00008856375,0.0008131259,0.0042662206,0.0018486963,0.00092282577,0.0023137564,0.001024281],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046467205,0.000024199606,0.0017814519,0.000092735434,0.0000066218827,0.00022533347,0.019688219,0.00008093281,0.00091644767,0.1988267,0.72709936,0.051211495],"study_design_scores_gemma":[0.0000035219537,0.00000942395,0.0030157696,0.000102897524,0.0000052809105,0.00008677252,0.009014555,0.000057880905,0.000594151,0.0023853118,0.9847097,0.00001474734],"about_ca_topic_score_codex":0.5739583,"about_ca_topic_score_gemma":0.7691712,"teacher_disagreement_score":0.42604172,"about_ca_system_score_codex":0.010441051,"about_ca_system_score_gemma":0.0071455254,"threshold_uncertainty_score":0.85710156},"labels":[],"label_agreement":null},{"id":"W2163194757","doi":"10.7202/1001082ar","title":"Médiations et captation de la réceptivité cinématographique posthollywoodienne","year":2011,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Art","score_opus":0.0491494396252627,"score_gpt":0.2549276066919435,"score_spread":0.20577816706668078,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2163194757","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5698528,0.0031348194,0.0058513437,0.0069320356,0.00020682489,0.0001073583,0.00011569561,0.0000768805,0.41372213],"genre_scores_gemma":[0.9676412,0.0008547432,0.0005240609,0.00019192594,0.00004605748,0.00003763033,0.000024832312,0.000029944118,0.030649666],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998741,0.0006769548,0.00002055173,0.0001096075,0.00027604745,0.00017579674],"domain_scores_gemma":[0.99810886,0.0010652262,0.00025015464,0.00017186467,0.00022597886,0.00017797657],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001395798,0.00036384477,0.00016512275,0.0007604615,0.0037384026,0.005381969,0.00077750563,0.00088573404,0.014033035],"category_scores_gemma":[0.0039028747,0.00023952032,0.00018488202,0.0006632544,0.008542186,0.003168704,0.0030900561,0.002094239,0.0008438713],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008278798,0.000059937072,0.005809204,0.00023422581,0.000019183659,0.0017387662,0.7683578,0.000113757065,0.00584037,0.18044461,0.0049976013,0.032301784],"study_design_scores_gemma":[0.000029527817,0.0000962138,0.05086061,0.00063724176,0.00005883019,0.002009241,0.49718148,0.0005859483,0.0041932883,0.015549294,0.42872843,0.00006996673],"about_ca_topic_score_codex":0.014910363,"about_ca_topic_score_gemma":0.019020086,"teacher_disagreement_score":0.014910363,"about_ca_system_score_codex":0.0028029587,"about_ca_system_score_gemma":0.0022742364,"threshold_uncertainty_score":0.046945214},"labels":[],"label_agreement":null},{"id":"W2165043551","doi":"","title":"School of change","year":2012,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Embodied cognition; Everyday life; Aesthetics; Visual arts; Musical; Art; Sociology; Literature; Epistemology; Philosophy","score_opus":0.1500029118607636,"score_gpt":0.2525577531335266,"score_spread":0.10255484127276299,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2165043551","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0033323138,0.0023418549,0.0019032374,0.0959138,0.0069812294,0.00013072297,0.00018072693,0.0002476056,0.88896847],"genre_scores_gemma":[0.103760466,0.0015060209,0.0017971843,0.034833316,0.0015763777,0.0001624677,0.00025953402,0.00028312101,0.85582155],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99617213,0.0012276253,0.0001364559,0.00086295727,0.00076998497,0.00083088025],"domain_scores_gemma":[0.9975414,0.00021688544,0.0001253526,0.00039734528,0.00045625382,0.001262727],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002732201,0.00056680385,0.00035949048,0.0007888738,0.010029154,0.01139835,0.0010944752,0.0039547817,0.13856386],"category_scores_gemma":[0.006320606,0.00025941883,0.00048856053,0.000655607,0.008421976,0.00770593,0.011480274,0.0075509027,0.029566092],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023422488,0.000053501422,0.00047748213,0.000064134765,0.0000054966163,0.00012611125,0.006954855,0.000038466933,0.0001559644,0.53264093,0.41488683,0.0445728],"study_design_scores_gemma":[0.0000029722187,0.0000088274055,0.00021763971,0.000035392317,7.9466344e-7,0.00004202509,0.0011095756,0.000011060575,0.000037029193,0.011163458,0.98736817,0.0000029665548],"about_ca_topic_score_codex":0.0047489977,"about_ca_topic_score_gemma":0.011506279,"teacher_disagreement_score":0.13856386,"about_ca_system_score_codex":0.007815201,"about_ca_system_score_gemma":0.006758737,"threshold_uncertainty_score":0.46354228},"labels":[],"label_agreement":null},{"id":"W2165084731","doi":"10.7202/016322ar","title":"New Media’s Presentness and the Question of History: Craigie Horsfield’s Broadway Installation","year":2007,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Presentism; Absoluteness; Aesthetics; Historicity (philosophy); Value (mathematics); Privilege (computing); Epistemology; Sociology; History; Art; Philosophy; Computer science; Law; Political science","score_opus":0.040235504722552565,"score_gpt":0.24367545475429084,"score_spread":0.20343995003173826,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2165084731","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02197171,0.045873966,0.0049027833,0.3345434,0.004092413,0.000045474117,0.00006929869,0.0000955291,0.5884054],"genre_scores_gemma":[0.6692546,0.016158417,0.0028270646,0.030724084,0.003177242,0.00007684919,0.000025022264,0.0001989643,0.2775578],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981754,0.00097747,0.000027128284,0.00018723945,0.00037895836,0.00025382175],"domain_scores_gemma":[0.9974541,0.0017666237,0.00009250312,0.00012539327,0.00019953844,0.00036179204],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029188807,0.00037512698,0.00026010137,0.0015570326,0.013690154,0.011422721,0.0012334008,0.004123857,0.009232175],"category_scores_gemma":[0.0042755464,0.00040699463,0.00023508807,0.0011222418,0.02542094,0.017041491,0.004587381,0.0072663473,0.0009987373],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032302487,0.000023790662,0.00013257425,0.0000635644,0.0000020078933,0.00041308557,0.080526896,0.0000721379,0.00019001238,0.7855261,0.11713694,0.015880655],"study_design_scores_gemma":[0.0000067781552,0.0000115211715,0.00025688412,0.00022170386,0.0000032184032,0.00026934885,0.018900443,0.000099722594,0.00020099862,0.06596434,0.9140412,0.000023768536],"about_ca_topic_score_codex":0.039774213,"about_ca_topic_score_gemma":0.06972216,"teacher_disagreement_score":0.039774213,"about_ca_system_score_codex":0.008978077,"about_ca_system_score_gemma":0.0030457347,"threshold_uncertainty_score":0.07908541},"labels":[],"label_agreement":null},{"id":"W2170003406","doi":"10.2304/pfie.2011.9.6.686","title":"Breaking into the Movies: Public Pedagogy and the Politics of Film","year":2011,"lang":"en","type":"article","venue":"Policy Futures in Education","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":62,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Sociology; Politics; Legitimation; Agency (philosophy); Meaning (existential); Aesthetics; Media studies; Pedagogy; Political science; Social science; Epistemology; Law","score_opus":0.04081142208036263,"score_gpt":0.29823239807450536,"score_spread":0.2574209759941427,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2170003406","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12558235,0.022987034,0.0066280467,0.15162507,0.0028461006,0.00009525482,0.00011519901,0.00011911486,0.6900017],"genre_scores_gemma":[0.9414136,0.006593605,0.0009945608,0.0088446755,0.0016101861,0.00007161629,0.0000525115,0.00019483187,0.04022447],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99448025,0.0036951494,0.00013548255,0.0005380822,0.0004922744,0.0006588007],"domain_scores_gemma":[0.9928188,0.00539215,0.0005839611,0.00038022365,0.00033283766,0.0004920934],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005241914,0.00050307106,0.00039127338,0.0015633599,0.013805151,0.01641925,0.0009402565,0.004064735,0.009173089],"category_scores_gemma":[0.011341882,0.0005152281,0.00034731734,0.0010398647,0.021550486,0.013035586,0.005755524,0.0070482306,0.00085086],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058053127,0.000072128154,0.0020539297,0.00021836867,0.000020451613,0.00053214637,0.26206145,0.00011432282,0.000665044,0.6702145,0.026961938,0.037027642],"study_design_scores_gemma":[0.000036672292,0.00007132532,0.003480666,0.00095961726,0.000036281705,0.00041559036,0.1587186,0.00031317063,0.0010900812,0.080428675,0.7544111,0.000038141734],"about_ca_topic_score_codex":0.0091654165,"about_ca_topic_score_gemma":0.011890929,"teacher_disagreement_score":0.01641925,"about_ca_system_score_codex":0.0051691234,"about_ca_system_score_gemma":0.0018841962,"threshold_uncertainty_score":0.037504792},"labels":[],"label_agreement":null},{"id":"W2171105919","doi":"10.7202/026005ar","title":"The New Film History as Media Archaeology","year":2005,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":214,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Historiography; Narrative; Entertainment; Movie theater; Opposition (politics); New media; Visual arts; Art; History; Aesthetics; Literature; Computer science; Archaeology; Political science; World Wide Web","score_opus":0.033709600990032694,"score_gpt":0.22380081376075553,"score_spread":0.19009121277072283,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2171105919","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07414188,0.14489935,0.012418386,0.05807741,0.003921512,0.00009233874,0.00031287762,0.00009017494,0.7060459],"genre_scores_gemma":[0.884117,0.062392123,0.004212306,0.0023467038,0.0037553718,0.00008790555,0.00010516293,0.00010242905,0.04288094],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980014,0.0013567819,0.000060011243,0.00019362207,0.0002438735,0.00014430367],"domain_scores_gemma":[0.99567187,0.0029618219,0.0004414394,0.00039799506,0.00022563596,0.00030123594],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023091238,0.00037001973,0.0004047075,0.0045824237,0.0029157805,0.011858583,0.0007759084,0.0014168054,0.0074252198],"category_scores_gemma":[0.005802471,0.0002656917,0.00017612067,0.0035086349,0.016025921,0.012230107,0.0026914058,0.0018253642,0.00046044256],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033839875,0.000028584598,0.0011001885,0.00018268818,0.000007504558,0.00015482839,0.018456982,0.00016489478,0.0001139602,0.9367688,0.008727668,0.034260105],"study_design_scores_gemma":[0.000012984169,0.000040337458,0.0034233225,0.0010818739,0.0000109058265,0.00053431035,0.02692264,0.00057305425,0.00027157355,0.19247635,0.7746356,0.000016907423],"about_ca_topic_score_codex":0.002561519,"about_ca_topic_score_gemma":0.004185629,"teacher_disagreement_score":0.011858583,"about_ca_system_score_codex":0.0047442154,"about_ca_system_score_gemma":0.0013493745,"threshold_uncertainty_score":0.03442186},"labels":[],"label_agreement":null},{"id":"W2171527182","doi":"","title":"Pour l’Histoire. A Dangerous Method de David Cronenberg, Grande-Bretagne—Allemagne—Canada, 2011, 99 minA Dangerous Method de David Cronenberg, Grande-Bretagne—Allemagne—Canada, 2011, 99 min","year":2012,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; History; Humanities","score_opus":0.02082874151810376,"score_gpt":0.24060345262909222,"score_spread":0.21977471111098845,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2171527182","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00059812557,0.16836645,0.0023691398,0.61519456,0.107103154,0.000091170084,0.0011767659,0.00022211544,0.104878515],"genre_scores_gemma":[0.01074943,0.055318486,0.0023112549,0.15190004,0.031826753,0.00022736563,0.0005285601,0.0005059426,0.74663216],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99731654,0.0006465627,0.00011157159,0.0003821134,0.0011965234,0.00034674414],"domain_scores_gemma":[0.9945949,0.0013902137,0.00023778128,0.00026152201,0.0028611238,0.0006545309],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030257842,0.0013537323,0.0007737406,0.0026084029,0.009459236,0.008463219,0.002302957,0.006583678,0.04248505],"category_scores_gemma":[0.0107286675,0.0006768455,0.000564809,0.0030851641,0.005499509,0.005682261,0.0029326768,0.010903407,0.018524041],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000039962124,0.0000033095914,0.000052750835,0.000030118528,0.0000014094552,0.000013611186,0.0002107783,0.00001159766,0.000026854299,0.008561077,0.98684734,0.00423721],"study_design_scores_gemma":[0.0000015141692,0.0000010424851,0.0002477455,0.00007935856,8.830504e-7,0.000023082634,0.00031014858,0.000018585699,0.000024841967,0.0013178147,0.9979686,0.000006377943],"about_ca_topic_score_codex":0.45105484,"about_ca_topic_score_gemma":0.64528775,"teacher_disagreement_score":0.5489452,"about_ca_system_score_codex":0.019395877,"about_ca_system_score_gemma":0.013992392,"threshold_uncertainty_score":0.8968588},"labels":[],"label_agreement":null},{"id":"W2171692556","doi":"10.1007/s00181-008-0240-z","title":"Screen wars, star wars, and sequels","year":2008,"lang":"en","type":"article","venue":"Empirical Economics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":32,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Nonparametric statistics; Profit (economics); Econometrics; Conditional probability distribution; Specification; Marginal distribution; Conditional expectation; Economics; Marginal profit; Computer science; Mathematics; Statistics; Microeconomics; Random variable","score_opus":0.09088501114558718,"score_gpt":0.2538209006183152,"score_spread":0.16293588947272802,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2171692556","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.819829,0.018562019,0.005058749,0.012578498,0.00055624807,0.00006373749,0.002289701,0.00006453839,0.14099751],"genre_scores_gemma":[0.9757982,0.0046642707,0.000359735,0.00042733722,0.00037131208,0.000020998816,0.00070312555,0.000018598263,0.017636457],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.99936455,0.0002007121,0.00005141952,0.000109549444,0.00013280663,0.00014095192],"domain_scores_gemma":[0.99172735,0.0030227157,0.002815712,0.0004877346,0.00069089496,0.0012555852],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012227533,0.00025274444,0.00033750047,0.0029123528,0.0014698172,0.0031744824,0.00026570284,0.00095776876,0.01896396],"category_scores_gemma":[0.016249,0.00015989578,0.00018294116,0.0028661732,0.0016767117,0.0029959932,0.0010913637,0.0014457688,0.0014523324],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0013859246,0.00059401424,0.22654712,0.0006421092,0.00027187477,0.0013241357,0.0144850295,0.003291023,0.00081266026,0.47283792,0.10854781,0.16926055],"study_design_scores_gemma":[0.000098827164,0.00054472795,0.44030854,0.0009356439,0.00048242806,0.0032328144,0.061734207,0.005395294,0.0018261796,0.24082921,0.24448842,0.00012363461],"about_ca_topic_score_codex":0.0054332525,"about_ca_topic_score_gemma":0.0070210015,"teacher_disagreement_score":0.01896396,"about_ca_system_score_codex":0.000672941,"about_ca_system_score_gemma":0.0005260294,"threshold_uncertainty_score":0.0634408},"labels":[],"label_agreement":null},{"id":"W2171727653","doi":"","title":"The broken shape","year":2010,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pleasure; Art; Portrait; Narrative; Storytelling; Windsor; Art history; Visual arts; Sociology; History; Literature; Psychology","score_opus":0.021471043418951227,"score_gpt":0.2084861447332563,"score_spread":0.18701510131430507,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2171727653","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0036779584,0.002338711,0.0063344417,0.022987364,0.0059333625,0.00006226904,0.0004054756,0.00048748704,0.95777303],"genre_scores_gemma":[0.08185991,0.0016813943,0.0032242818,0.010273541,0.00096483476,0.00007282833,0.00041124216,0.0010046645,0.9005073],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979032,0.0004176015,0.000057462905,0.0005288029,0.00067348854,0.00041931227],"domain_scores_gemma":[0.9984865,0.00018081424,0.00007304691,0.00042939017,0.0004011671,0.00042908566],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013728543,0.0010270601,0.000574153,0.0013101097,0.012307978,0.011780674,0.0016063727,0.0034294166,0.19926877],"category_scores_gemma":[0.0059016254,0.000548474,0.0007464016,0.0011408395,0.011152166,0.008971461,0.010121317,0.006349629,0.08388628],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000828195,0.000029995063,0.0006290776,0.00008204391,0.000012151273,0.0006509907,0.011180756,0.00009749964,0.0003835759,0.425224,0.4836351,0.07799211],"study_design_scores_gemma":[0.0000037515847,0.000009101084,0.000137675,0.00007336653,0.0000021620806,0.00030737833,0.002852684,0.000044871507,0.00006721662,0.013952163,0.98254156,0.000008217307],"about_ca_topic_score_codex":0.011070296,"about_ca_topic_score_gemma":0.016997233,"teacher_disagreement_score":0.19926877,"about_ca_system_score_codex":0.0037707158,"about_ca_system_score_gemma":0.003101622,"threshold_uncertainty_score":0.6666205},"labels":[],"label_agreement":null},{"id":"W2171921904","doi":"10.1080/10304312.2013.824859","title":"Young body on the beach","year":2013,"lang":"en","type":"article","venue":"Continuum","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Immortality; Metaphor; Adoration; Romance; Sign (mathematics); Object (grammar); Drama; Art; Aesthetics; History; Literature; Philosophy","score_opus":0.024192557493785315,"score_gpt":0.19733745440353984,"score_spread":0.17314489690975451,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2171921904","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.052439958,0.0034033488,0.0040939506,0.020304346,0.0017427213,0.000042864274,0.00037348346,0.00014510922,0.91745424],"genre_scores_gemma":[0.48019078,0.0040080566,0.0020145827,0.005064687,0.0010017188,0.00004028172,0.0002241342,0.00019158595,0.5072642],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997069,0.00011089875,0.000006193061,0.000048760863,0.00007549141,0.000051785468],"domain_scores_gemma":[0.9994247,0.00018049116,0.00006631621,0.00004131143,0.00010635491,0.00018074524],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045787843,0.00026286565,0.00018165108,0.0006912036,0.0026142073,0.0038459422,0.00023875742,0.00082896615,0.032023255],"category_scores_gemma":[0.0015571424,0.00014502548,0.00016807466,0.00040027263,0.0030175964,0.0031983443,0.0021434706,0.0015271795,0.0046617365],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008913891,0.000048581616,0.0031481565,0.00022192251,0.000014185218,0.0010195845,0.0861227,0.00012334497,0.003049288,0.47878274,0.34606823,0.08131201],"study_design_scores_gemma":[0.0000049512764,0.000028514401,0.0030461634,0.00016880833,0.0000046870096,0.0004477177,0.017484624,0.000071844326,0.0003195483,0.007594329,0.9708189,0.000010102521],"about_ca_topic_score_codex":0.0038536682,"about_ca_topic_score_gemma":0.0065601924,"teacher_disagreement_score":0.032023255,"about_ca_system_score_codex":0.0011014275,"about_ca_system_score_gemma":0.00079049583,"threshold_uncertainty_score":0.10712844},"labels":[],"label_agreement":null},{"id":"W2174224286","doi":"","title":"Film and the City: the Urban Imaginary in Canadian Cinema by George Melnyk, and: World Film Locations: Vancouvered. by Rachel Walls (review)","year":2015,"lang":"en","type":"article","venue":"British Journal of Canadian Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"George (robot); The Imaginary; Movie theater; Art history; Media studies; Art; History; Sociology; Psychology; Psychoanalysis","score_opus":0.026953892329314114,"score_gpt":0.2307698121655557,"score_spread":0.2038159198362416,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2174224286","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008502621,0.9727836,0.00004940736,0.01365471,0.002236265,0.00001000378,0.00016186091,0.000009247387,0.010244716],"genre_scores_gemma":[0.016172659,0.9684875,0.00012658926,0.0027452763,0.0014362847,0.000011973583,0.00017244977,0.000018369801,0.010828859],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993901,0.000127961,0.000025313973,0.00005613902,0.00029342624,0.00010706633],"domain_scores_gemma":[0.9977355,0.0005950266,0.00020565401,0.000039264356,0.0009937551,0.0004307638],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00086947967,0.0010789123,0.000723498,0.0035882147,0.0035913887,0.0067271367,0.00092846184,0.0017896574,0.012725355],"category_scores_gemma":[0.003933006,0.00044254973,0.00031347832,0.009112793,0.0035807635,0.0032804564,0.0016191477,0.0022083751,0.0014868454],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000766709,0.000016529633,0.0010768815,0.0046229674,0.000046309055,0.0001857572,0.0047393953,0.00016773908,0.00019383046,0.0068892427,0.7892853,0.1926994],"study_design_scores_gemma":[0.000007368379,0.000011282046,0.009243504,0.0063127833,0.000060554503,0.00035855122,0.008713793,0.00003100204,0.00008106149,0.00060904236,0.9745292,0.000041887113],"about_ca_topic_score_codex":0.83565176,"about_ca_topic_score_gemma":0.9321123,"teacher_disagreement_score":0.16434824,"about_ca_system_score_codex":0.013379209,"about_ca_system_score_gemma":0.020884162,"threshold_uncertainty_score":0.3306322},"labels":[],"label_agreement":null},{"id":"W2182160261","doi":"","title":"Wow 2, Canada [Québec] 2002, 52 minutes Wow 2, Canada [Québec] 2002, 52 minutes","year":2002,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Environmental science; Meteorology; Geography","score_opus":0.01787890762749537,"score_gpt":0.18956370125749086,"score_spread":0.1716847936299955,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2182160261","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011825382,0.0075846864,0.0007791333,0.006627207,0.011864473,0.0006279524,0.05975589,0.0023301342,0.90924805],"genre_scores_gemma":[0.0010464733,0.00078884925,0.00015871318,0.00028382195,0.00023233303,0.00006724045,0.005144287,0.00034376403,0.99193454],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99896944,0.000068023284,0.00004608,0.00016540484,0.00049791986,0.0002532028],"domain_scores_gemma":[0.9968592,0.00012252879,0.00009028452,0.00012288407,0.0019679759,0.0008370728],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0010269505,0.002061927,0.0013394839,0.0019764032,0.0049557695,0.0072945203,0.00154827,0.0033698843,0.80074304],"category_scores_gemma":[0.003938408,0.00083907845,0.0007003476,0.004126031,0.00071967114,0.0017951782,0.0016113489,0.0018858497,0.58613735],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025065496,0.000010243734,0.00006760652,0.000047362257,0.0000015160388,0.000012673716,0.000012272908,0.000056535813,0.000054983953,0.00022624723,0.99040157,0.009083902],"study_design_scores_gemma":[0.000016859345,0.000007325171,0.0014688963,0.000077295816,0.0000024146038,0.0000077617915,0.000057719008,0.00008530259,0.000051306295,0.000112479545,0.9981059,0.0000068547556],"about_ca_topic_score_codex":0.7666191,"about_ca_topic_score_gemma":0.91568804,"teacher_disagreement_score":0.7666191,"about_ca_system_score_codex":0.013018615,"about_ca_system_score_gemma":0.02017442,"threshold_uncertainty_score":0.46951067},"labels":[],"label_agreement":null},{"id":"W218338690","doi":"","title":"The Films of Joyce Wieland ed. by Kathryn Elder (review)","year":2001,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History; Art history","score_opus":0.009154877682303423,"score_gpt":0.18489361658029663,"score_spread":0.1757387388979932,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W218338690","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00005341562,0.9753632,0.000015829793,0.01773476,0.0050573624,0.0000036487115,0.00005525025,0.0000039987017,0.0017126491],"genre_scores_gemma":[0.00092427403,0.97846323,0.000043039046,0.007788644,0.007293179,0.000014607105,0.00008146296,0.000006727434,0.0053847786],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999281,0.00023692132,0.000055808137,0.00008446047,0.00026678405,0.00007507772],"domain_scores_gemma":[0.9965695,0.0013089547,0.00037125478,0.00008207318,0.0011254126,0.000542785],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018143757,0.0011352688,0.0016539547,0.0026899688,0.0011543108,0.0038568948,0.001080025,0.0026479496,0.016181095],"category_scores_gemma":[0.008418509,0.00071968796,0.0006069503,0.0037749347,0.0012949248,0.0031129434,0.001616349,0.0036689758,0.0071930215],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029056577,0.000004484427,0.00007988087,0.001369625,0.00001906062,0.000054738517,0.00013515509,0.000018458884,0.00004188155,0.00048967084,0.9538433,0.043914713],"study_design_scores_gemma":[0.000011186278,0.000011162718,0.00096231024,0.0036855205,0.000025426501,0.00029386082,0.00026791342,0.0000071400245,0.000032340988,0.00034788097,0.9943475,0.000007742371],"about_ca_topic_score_codex":0.01749857,"about_ca_topic_score_gemma":0.035274018,"teacher_disagreement_score":0.01749857,"about_ca_system_score_codex":0.0022343814,"about_ca_system_score_gemma":0.0033697516,"threshold_uncertainty_score":0.05413109},"labels":[],"label_agreement":null},{"id":"W2186601371","doi":"","title":"Christian Marclay's The Clock as Relational Environment","year":2014,"lang":"en","type":"article","venue":"UvA-DARE (University of Amsterdam)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Set (abstract data type); Period (music); Computer science; Visual arts; History; Computer graphics (images); Art; Aesthetics","score_opus":0.016468230337032475,"score_gpt":0.16096661209535013,"score_spread":0.14449838175831764,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2186601371","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00568879,0.023705712,0.00557569,0.08581878,0.009547842,0.000039928032,0.00021577934,0.0006574835,0.86875004],"genre_scores_gemma":[0.21759617,0.012919741,0.004396492,0.013752311,0.0025366466,0.00005570448,0.00011386277,0.0006086303,0.7480205],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99874616,0.00039623145,0.00003431965,0.0003109677,0.00033609968,0.00017618232],"domain_scores_gemma":[0.9990355,0.0002213801,0.00007232831,0.00013581682,0.0002183707,0.00031658873],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009037817,0.0006262049,0.00016169067,0.0006975839,0.0055686445,0.0065154457,0.00061301014,0.0016226255,0.018772613],"category_scores_gemma":[0.0035353904,0.0002637312,0.00015805206,0.00043240617,0.006516742,0.0055230856,0.0026316477,0.0031939964,0.004234339],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004002065,0.00000833007,0.00016625063,0.00006934364,0.000002412038,0.00016965676,0.010191067,0.00007376892,0.00043383634,0.595857,0.3636136,0.029374726],"study_design_scores_gemma":[0.0000016553134,0.000004927349,0.00009749376,0.00006153682,9.078157e-7,0.00009865427,0.0011136836,0.000037253805,0.00016325887,0.006494231,0.99192035,0.000006195919],"about_ca_topic_score_codex":0.027583025,"about_ca_topic_score_gemma":0.037111666,"teacher_disagreement_score":0.027583025,"about_ca_system_score_codex":0.005285409,"about_ca_system_score_gemma":0.0027883973,"threshold_uncertainty_score":0.062800586},"labels":[],"label_agreement":null},{"id":"W218888489","doi":"","title":"Diversity or Dumb Realism","year":2001,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Movie theater; Originality; Corporation; Alliance; Diversity (politics); Civilization; Sociology; Law; Media studies; Political science; Political economy; History; Creativity","score_opus":0.08088511510895958,"score_gpt":0.23734034952428681,"score_spread":0.15645523441532722,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W218888489","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005783753,0.016672637,0.0025986622,0.19062155,0.0024559684,0.000014576542,0.00014406836,0.000038817172,0.7816699],"genre_scores_gemma":[0.71507984,0.0136966,0.0017807247,0.066329196,0.0040328964,0.000056928813,0.0002225769,0.00017261176,0.1986286],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99763644,0.00064829236,0.000034417793,0.00039518735,0.00062581565,0.00065992767],"domain_scores_gemma":[0.9980848,0.0007225307,0.00009709388,0.0002766847,0.00047457506,0.0003443354],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021352659,0.0006633887,0.0005434054,0.002060245,0.014502039,0.007704329,0.001510335,0.004351037,0.019633707],"category_scores_gemma":[0.006017298,0.0002561871,0.0005832118,0.0017580782,0.041133154,0.009599465,0.0041610445,0.0072736363,0.0018693951],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000034635657,0.0000022579222,0.000029491028,0.0000062369872,0.0000012099118,0.00001744435,0.0006989263,0.000037536985,0.0000126581945,0.97844124,0.019042889,0.0017066895],"study_design_scores_gemma":[0.0000096175045,0.0000043674486,0.00025816355,0.00013385227,0.0000028570403,0.00003926657,0.0016966445,0.00017070876,0.00003675704,0.67542434,0.32221043,0.000013023556],"about_ca_topic_score_codex":0.35037342,"about_ca_topic_score_gemma":0.32823828,"teacher_disagreement_score":0.35037342,"about_ca_system_score_codex":0.030334614,"about_ca_system_score_gemma":0.0107593695,"threshold_uncertainty_score":0.696668},"labels":[],"label_agreement":null},{"id":"W2190813264","doi":"10.4000/1895.4633","title":"Viva Paci, La Comédie musicale et la double vie du cinéma","year":2013,"lang":"fr","type":"article","venue":"1895","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.022628296598893375,"score_gpt":0.22856350916849835,"score_spread":0.20593521256960498,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2190813264","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09472724,0.08509069,0.006984865,0.04366131,0.0049390914,0.00011098393,0.0014752133,0.00010177875,0.7629088],"genre_scores_gemma":[0.76313084,0.033953406,0.003273126,0.0033631497,0.0039778035,0.000121081226,0.0006920803,0.00010021918,0.19138831],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99933004,0.00020768517,0.000016398151,0.00011816583,0.00021171292,0.00011595237],"domain_scores_gemma":[0.9987834,0.0005522337,0.00019065429,0.00005696575,0.0001839061,0.00023286496],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007877328,0.0003717985,0.00019965487,0.0011883038,0.0025577524,0.0043325364,0.0003547377,0.0010198671,0.016928367],"category_scores_gemma":[0.002964452,0.00019079735,0.00015226181,0.0012860475,0.002671406,0.0020664257,0.0014200784,0.0020010036,0.0011568139],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017431904,0.000051777566,0.0057575502,0.0009102902,0.000027124162,0.00066463556,0.032671187,0.00038327608,0.0020099839,0.6350108,0.15379989,0.16853921],"study_design_scores_gemma":[0.0000072906814,0.000030310297,0.01250811,0.00033302067,0.000007981098,0.00036791153,0.004672324,0.00013833494,0.00056989887,0.008011678,0.97333413,0.000019100009],"about_ca_topic_score_codex":0.02377927,"about_ca_topic_score_gemma":0.03426522,"teacher_disagreement_score":0.02377927,"about_ca_system_score_codex":0.0027719475,"about_ca_system_score_gemma":0.0023051186,"threshold_uncertainty_score":0.05663103},"labels":[],"label_agreement":null},{"id":"W2191438460","doi":"10.7202/1119757ar","title":"Liberal Spaces: The Costs and Contradictions of Reproducing Hegemonic National Subjects in Ang Lee’s The Wedding Banquet and Brokeback Mountain","year":2015,"lang":"en","type":"article","venue":"Atlantis Critical Studies in Gender Culture & Social Justice","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Banquet; Humanities; Articulation (sociology); Hegemony; Sociology; Modernity; Gender studies; Political science; Art; Art history; Law; Politics","score_opus":0.12205737380711144,"score_gpt":0.3418100252486982,"score_spread":0.21975265144158673,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2191438460","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5210731,0.0006428593,0.0059844186,0.006560211,0.00010887657,0.000029963941,0.00002353438,0.000027207388,0.46554983],"genre_scores_gemma":[0.9953387,0.00007267905,0.0002656102,0.000121261604,0.000010381274,0.000010354142,0.0000036712,0.000013144026,0.0041642203],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99627554,0.002735588,0.00004090375,0.00021714176,0.00028309147,0.0004477298],"domain_scores_gemma":[0.9969704,0.001911842,0.00025163317,0.00047601585,0.0001553326,0.00023474975],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0042137727,0.00025953606,0.00022041482,0.0009840605,0.00930177,0.010450198,0.0007825326,0.0013449384,0.004735681],"category_scores_gemma":[0.006030037,0.0002732143,0.00018686593,0.0009804509,0.04706719,0.007430169,0.0053557493,0.0029536476,0.00024440658],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024461502,0.000012805249,0.0005968768,0.000011512635,0.000002203928,0.000106865875,0.1250498,0.000074700016,0.00017341031,0.87069064,0.000449585,0.0028071597],"study_design_scores_gemma":[0.000039935094,0.00006535301,0.004905011,0.00020609068,0.000018501078,0.00033178204,0.510543,0.00086489005,0.0012608028,0.30667922,0.17503326,0.000052144424],"about_ca_topic_score_codex":0.008951245,"about_ca_topic_score_gemma":0.019611169,"teacher_disagreement_score":0.010450198,"about_ca_system_score_codex":0.00517127,"about_ca_system_score_gemma":0.0022853753,"threshold_uncertainty_score":0.03752035},"labels":[],"label_agreement":null},{"id":"W2197127271","doi":"","title":"A Pretty Girl","year":2007,"lang":"en","type":"article","venue":"Women in Judaism A Multidisciplinary e-Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Girl; Art; Psychology; Developmental psychology","score_opus":0.024690119099930064,"score_gpt":0.2564238862447671,"score_spread":0.231733767144837,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2197127271","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012125876,0.0102840485,0.00050771795,0.6977612,0.050601143,0.00003424931,0.00023330879,0.0001262351,0.22832623],"genre_scores_gemma":[0.058553085,0.002176532,0.00024574285,0.14158836,0.0060675857,0.000033127766,0.00006749729,0.00024513007,0.79102296],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99776006,0.00064624695,0.000039228602,0.00036820443,0.00047157792,0.0007145621],"domain_scores_gemma":[0.99562633,0.00039825405,0.00016952072,0.00017467284,0.0007750119,0.0028561451],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019855667,0.00062800513,0.0005782185,0.0007681787,0.018314019,0.009795164,0.00082116906,0.0047277226,0.09141974],"category_scores_gemma":[0.0070708925,0.000342198,0.00037109913,0.00069729047,0.005866526,0.0062134843,0.0061283377,0.013804093,0.025218418],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000066525696,0.00004992304,0.0012385136,0.00004895385,0.000010045066,0.0004324975,0.017882043,0.000012511793,0.00040974465,0.05842281,0.8963562,0.025070252],"study_design_scores_gemma":[0.0000035094702,0.000011511544,0.00039854375,0.00004788588,0.0000017185166,0.00012097135,0.008119301,0.000004704151,0.0000498905,0.0017919049,0.9894434,0.0000067341634],"about_ca_topic_score_codex":0.010582125,"about_ca_topic_score_gemma":0.02613618,"teacher_disagreement_score":0.09141974,"about_ca_system_score_codex":0.0039878306,"about_ca_system_score_gemma":0.003036917,"threshold_uncertainty_score":0.30582952},"labels":[],"label_agreement":null},{"id":"W219730147","doi":"","title":"Toronto Workers' Art in Global Hollywood","year":2009,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Filmmaking; Commodification; Art; Entertainment; Aesthetics; Mainstream; The arts; Entertainment industry; Visual arts; Taste; Studio; Movie theater; Art history; Political science; Law","score_opus":0.01869696108787222,"score_gpt":0.23694875316964026,"score_spread":0.21825179208176804,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W219730147","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.046296533,0.009024384,0.00018071648,0.009663597,0.0014537418,0.000039357554,0.00059993163,0.000071346956,0.9326705],"genre_scores_gemma":[0.19624501,0.0042900504,0.00026940356,0.0012067062,0.00036652546,0.000019944211,0.00035333997,0.00016393939,0.797085],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99952114,0.000051621868,0.000008861123,0.0000628698,0.00013442688,0.00022114538],"domain_scores_gemma":[0.9996489,0.0000317927,0.000021348067,0.000032356245,0.000040395003,0.00022517078],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039898633,0.00060328515,0.00019701381,0.0012525277,0.01546581,0.007398831,0.00063985854,0.0010259291,0.074577756],"category_scores_gemma":[0.00034658716,0.00028964787,0.00019635294,0.0021876935,0.0061450684,0.0010862299,0.0045241565,0.0017934188,0.004184926],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010688334,0.00005625377,0.0037011611,0.00032260173,0.000011170591,0.0020156407,0.17582929,0.00020680139,0.0010080314,0.13638976,0.6128577,0.06749472],"study_design_scores_gemma":[0.0000030497004,0.000007655365,0.004934537,0.00010673038,0.0000023723765,0.0000948391,0.024245713,0.0000128406355,0.00007939566,0.0005178833,0.9699896,0.0000052946166],"about_ca_topic_score_codex":0.6453381,"about_ca_topic_score_gemma":0.92492896,"teacher_disagreement_score":0.35466188,"about_ca_system_score_codex":0.026136883,"about_ca_system_score_gemma":0.010194595,"threshold_uncertainty_score":0.7135011},"labels":[],"label_agreement":null},{"id":"W2197870645","doi":"","title":"Balade cool. Broken Flowers de Jim Jarmusch Broken Flowers de Jim Jarmusch","year":2005,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.01622216538219677,"score_gpt":0.22512077116620605,"score_spread":0.20889860578400926,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2197870645","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012047526,0.07027903,0.0024115096,0.123791225,0.048392296,0.00011579088,0.000891012,0.0009702368,0.7411013],"genre_scores_gemma":[0.01937894,0.005478178,0.00036563218,0.00834552,0.0036089264,0.000024048395,0.00010354342,0.00020403585,0.96249115],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998223,0.00004274822,0.0000035872847,0.000038566723,0.00005484726,0.000037967136],"domain_scores_gemma":[0.9995221,0.00009606342,0.000028115695,0.000019608911,0.0001238094,0.00021028215],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003646019,0.00045493586,0.00030759876,0.0005711393,0.0027229255,0.0027639421,0.0003149531,0.0015427705,0.2903592],"category_scores_gemma":[0.0013282493,0.0002759492,0.00012903259,0.00028762416,0.0004019714,0.0018643511,0.0013471171,0.00245951,0.067220874],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057002915,0.000026785383,0.00015687116,0.000060370076,0.0000025291865,0.000074932286,0.00037113152,0.000024782637,0.0005394288,0.0036801484,0.96255904,0.03244698],"study_design_scores_gemma":[0.0000044309368,0.000011375817,0.00073806854,0.00005102821,0.0000025123504,0.00008616313,0.0004414319,0.000029235514,0.00009575128,0.0004812194,0.99805367,0.000005217834],"about_ca_topic_score_codex":0.005775185,"about_ca_topic_score_gemma":0.022591082,"teacher_disagreement_score":0.2903592,"about_ca_system_score_codex":0.0007155055,"about_ca_system_score_gemma":0.0002656461,"threshold_uncertainty_score":0.9713483},"labels":[],"label_agreement":null},{"id":"W2202995418","doi":"10.22329/p.v7i2.3823","title":"Hasana Sharp's &lt;i&gt;Spinoza and the Politics of Renaturalization&lt;/i&gt;, Feminism, and Embodiment","year":2012,"lang":"en","type":"article","venue":"PhaenEx","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Feminism; Politics; Gender studies; Political science; Sociology; Art; Law","score_opus":0.027110463725413175,"score_gpt":0.23300609323375668,"score_spread":0.2058956295083435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2202995418","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007834552,0.093119204,0.005977917,0.3568187,0.012271668,0.000026050782,0.00017153948,0.00012975205,0.52365065],"genre_scores_gemma":[0.39239755,0.059465792,0.0041890475,0.05367688,0.0070319497,0.000093951,0.000104259416,0.0004214806,0.48261905],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994056,0.00028723083,0.000016873364,0.00010407197,0.00012155799,0.00006464818],"domain_scores_gemma":[0.9981743,0.0012374584,0.000102259764,0.00009268847,0.00021323134,0.00018003651],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009497446,0.00044566617,0.00027224675,0.0008390401,0.004744227,0.0076093324,0.000487242,0.002263171,0.014135672],"category_scores_gemma":[0.0030326722,0.00027433565,0.00023919648,0.0011194209,0.007451232,0.007542832,0.0017596068,0.005908301,0.0016754448],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017263746,0.000013420601,0.00024232431,0.000099979196,0.0000039360625,0.000077538636,0.0069749323,0.00003943887,0.00017944498,0.68076074,0.29148015,0.020110931],"study_design_scores_gemma":[0.0000045356114,0.000010616451,0.00047434194,0.0002350066,0.0000056757353,0.000109818866,0.0058564786,0.000107826425,0.0003421789,0.07815986,0.9146819,0.000011797749],"about_ca_topic_score_codex":0.009370782,"about_ca_topic_score_gemma":0.019851761,"teacher_disagreement_score":0.014135672,"about_ca_system_score_codex":0.0022966878,"about_ca_system_score_gemma":0.0016385629,"threshold_uncertainty_score":0.047288477},"labels":[],"label_agreement":null},{"id":"W2209222503","doi":"10.1525/fq.2015.68.3.87","title":"Historian Cara Caddoo Discusses Envisioning Freedom: Cinema and the Building of Modern Black Life","year":2015,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"ASTER","funders":"","keywords":"Icon; Movie theater; Citation; Download; Art history; Art; Computer science; Visual arts; World Wide Web","score_opus":0.030268966624095846,"score_gpt":0.2196939509529148,"score_spread":0.18942498432881896,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2209222503","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0057895007,0.15484814,0.0008595158,0.12165145,0.0069793127,0.000030057336,0.0003152923,0.00008684324,0.70943993],"genre_scores_gemma":[0.16043206,0.14164834,0.0013001139,0.02104609,0.009747987,0.00006716972,0.00023034777,0.00023894777,0.66528904],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994748,0.00022418072,0.00001116062,0.00007349275,0.00013888485,0.000077346034],"domain_scores_gemma":[0.99947387,0.0002195524,0.000051636805,0.00004350283,0.000119293,0.00009224194],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008339825,0.00051362865,0.00018259003,0.0012573118,0.003983925,0.004457245,0.0004506329,0.0019637109,0.043400902],"category_scores_gemma":[0.0015747929,0.00022766463,0.0002105084,0.0011567165,0.0041698324,0.004868364,0.00191123,0.0028024565,0.00504585],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030040106,0.000026752086,0.00064969016,0.0001873211,0.00000432261,0.00012078602,0.013032704,0.00005266434,0.00032026466,0.18792318,0.7451425,0.05250977],"study_design_scores_gemma":[0.0000011752181,0.0000019881224,0.0003433011,0.00018356903,0.0000011169534,0.000040644485,0.0015902924,0.000010197662,0.00006369583,0.0019917595,0.9957698,0.0000024362282],"about_ca_topic_score_codex":0.019465879,"about_ca_topic_score_gemma":0.027834428,"teacher_disagreement_score":0.043400902,"about_ca_system_score_codex":0.004188017,"about_ca_system_score_gemma":0.0018554871,"threshold_uncertainty_score":0.14519054},"labels":[],"label_agreement":null},{"id":"W2214617030","doi":"","title":"Viva Paci, La Comédie musicale et la double vie du cinéma. Udine / Paris, Forum / Aleas, CINETHESIS, 2011","year":2013,"lang":"fr","type":"article","venue":"1895. Mille huit cent quatre-vingt-quinze. Revue de l'association française de recherche sur l'histoire du cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Movie theater; Art history","score_opus":0.03985698036775115,"score_gpt":0.25282588186373106,"score_spread":0.2129689014959799,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2214617030","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01870751,0.5482128,0.001811228,0.07299151,0.006037412,0.000044793986,0.0010466161,0.00014545022,0.3510026],"genre_scores_gemma":[0.57660544,0.13978252,0.0016761195,0.004672399,0.005821642,0.00010649523,0.00051671313,0.0002059475,0.27061272],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99923563,0.00031695003,0.000022058319,0.000120837634,0.00016775494,0.0001368621],"domain_scores_gemma":[0.99897647,0.00041663728,0.00015449888,0.00004912678,0.00018307292,0.0002202539],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00092290965,0.00090313435,0.00028165948,0.002118135,0.004102058,0.0066242577,0.0005949354,0.0016975024,0.016336473],"category_scores_gemma":[0.0023973375,0.000420729,0.00020300128,0.0018986696,0.0045511597,0.0033981511,0.0017587644,0.0023145238,0.0016091266],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013944907,0.000041971867,0.0025023215,0.0008103227,0.000023955938,0.00047137303,0.06322027,0.00019133111,0.0005966091,0.2159153,0.5744825,0.14160459],"study_design_scores_gemma":[0.0000060115694,0.0000132454525,0.0075050904,0.00041925677,0.0000051876514,0.00021028322,0.0104316585,0.00004377338,0.00020750241,0.0029456369,0.97820276,0.000009697958],"about_ca_topic_score_codex":0.051921353,"about_ca_topic_score_gemma":0.07407545,"teacher_disagreement_score":0.051921353,"about_ca_system_score_codex":0.0062444955,"about_ca_system_score_gemma":0.0029384687,"threshold_uncertainty_score":0.103238285},"labels":[],"label_agreement":null},{"id":"W2217168494","doi":"","title":"À découvrir… Unexpected. Unexpected, Canada 2001, 7 minutes Unexpected, Canada 2001, 7 minutes","year":2002,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Unexpected events; Engineering","score_opus":0.022071590827841596,"score_gpt":0.20223050788410707,"score_spread":0.18015891705626547,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2217168494","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008592892,0.015296123,0.0010518332,0.031135542,0.027327454,0.00048231136,0.07885787,0.0020800277,0.83517593],"genre_scores_gemma":[0.010631617,0.0017308819,0.00022746337,0.00083440676,0.00061615254,0.000047722955,0.004652605,0.00021931254,0.9810399],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995104,0.000022907692,0.000011197586,0.000066497014,0.00024185,0.00014713412],"domain_scores_gemma":[0.99826765,0.000102140475,0.000057070334,0.00004030535,0.000998021,0.0005347233],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004385457,0.0008292174,0.000536462,0.0012548843,0.006108687,0.004980868,0.00077071384,0.002643592,0.43845344],"category_scores_gemma":[0.0019146358,0.0005059217,0.00035522453,0.002339576,0.0006063756,0.0010350982,0.0008273871,0.0024044116,0.10300046],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003912979,0.0000071672443,0.0002694803,0.000033143217,0.0000017773805,0.00005090926,0.000054895943,0.0000527527,0.00008192017,0.0004876304,0.9926987,0.0062224986],"study_design_scores_gemma":[0.000011969275,0.000007141015,0.0059511582,0.00005896655,0.0000025715474,0.000020906245,0.0002521759,0.00009134756,0.00008627508,0.00014250683,0.99336505,0.000010004987],"about_ca_topic_score_codex":0.88370866,"about_ca_topic_score_gemma":0.9656903,"teacher_disagreement_score":0.43845344,"about_ca_system_score_codex":0.015350285,"about_ca_system_score_gemma":0.016329885,"threshold_uncertainty_score":0.800978},"labels":[],"label_agreement":null},{"id":"W221925663","doi":"","title":"Le cinéma au tournant du siècle. Cinema at the Turn of the Centuryed. by Claire Dupré la Tour, André Gaudreault, Roberta Pearson (review)","year":2000,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Art history","score_opus":0.005473872421724249,"score_gpt":0.16664086311147008,"score_spread":0.16116699068974583,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W221925663","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00018749673,0.9802495,0.000021257561,0.008288353,0.0032296383,0.0000027692702,0.000057979232,0.0000069550365,0.00795604],"genre_scores_gemma":[0.012797378,0.93656695,0.00009772768,0.0068693133,0.010439353,0.000018501776,0.00015571094,0.000021527707,0.033033453],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993838,0.00018857389,0.000030160545,0.000099982775,0.0001923183,0.00010514973],"domain_scores_gemma":[0.99876654,0.00047184053,0.00020784418,0.00003725041,0.00025466815,0.00026184917],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00076052494,0.0010922592,0.00083340466,0.0033720809,0.0021412391,0.005725557,0.0006805041,0.0029834842,0.017403465],"category_scores_gemma":[0.0031236664,0.00067815103,0.00036680928,0.0035649391,0.0025260923,0.004034104,0.0017452528,0.0032741914,0.0053241947],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000065608954,0.000020718715,0.00042627504,0.0018987566,0.000017432289,0.00011312687,0.0019234595,0.0000454365,0.00013572598,0.009290853,0.8201754,0.16588707],"study_design_scores_gemma":[0.000006819823,0.000009220693,0.0026481482,0.0018528003,0.000008990096,0.00024280933,0.0008181603,0.000010888842,0.000034928,0.00064262457,0.9937185,0.00000599979],"about_ca_topic_score_codex":0.03489921,"about_ca_topic_score_gemma":0.06580302,"teacher_disagreement_score":0.03489921,"about_ca_system_score_codex":0.0034554899,"about_ca_system_score_gemma":0.002306052,"threshold_uncertainty_score":0.069392145},"labels":[],"label_agreement":null},{"id":"W2219594279","doi":"","title":"Research guides: UC One: Engaging Toronto: Films","year":2011,"lang":"en","type":"libguides","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Media studies; Sociology","score_opus":0.19444969977510107,"score_gpt":0.32662486550630454,"score_spread":0.13217516573120347,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2219594279","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0021940593,0.0049106837,0.004002685,0.009267971,0.001692984,0.00040978793,0.04613277,0.0037800954,0.927609],"genre_scores_gemma":[0.009652927,0.002632069,0.0035251435,0.0004177535,0.0002786814,0.0002376332,0.0074272174,0.0022432983,0.97358525],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992918,0.00017799762,0.000028930948,0.00011557809,0.00029347348,0.00009220385],"domain_scores_gemma":[0.99521565,0.0012614167,0.00015527659,0.0003328648,0.002112603,0.00092211383],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0017748998,0.0009095793,0.00040521324,0.00225806,0.0029010205,0.005998851,0.00071049196,0.0013320391,0.45358902],"category_scores_gemma":[0.00626995,0.00072159135,0.00022881101,0.004889624,0.0007852015,0.0025162438,0.0012460918,0.0019677307,0.11278553],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014497168,0.000009035555,0.00013309754,0.000084533545,0.0000010684807,0.000019791803,0.0006369448,0.000042072028,0.00010938566,0.0022470139,0.96936876,0.027333831],"study_design_scores_gemma":[0.000005717496,0.000005766523,0.0012478811,0.00012042703,0.000002926342,0.000016373913,0.0011143689,0.00008119744,0.00017924726,0.0006244622,0.9965965,0.000005045947],"about_ca_topic_score_codex":0.20538613,"about_ca_topic_score_gemma":0.5288461,"teacher_disagreement_score":0.45358902,"about_ca_system_score_codex":0.0054593706,"about_ca_system_score_gemma":0.007946008,"threshold_uncertainty_score":0.7793889},"labels":[],"label_agreement":null},{"id":"W2222819590","doi":"10.32873/uno.dc.jrf.20.01.20","title":"Noah's Beasts Were the Stars: Arthur Melbourne Cooper’s Noah’s Ark (1909)","year":2016,"lang":"en","type":"article","venue":"Journal of Religion & Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity College","funders":"","keywords":"Hollywood; Movie theater; Art history; Spectacle; Art; History; Literature; Law","score_opus":0.023064460213068363,"score_gpt":0.22290207111359744,"score_spread":0.1998376109005291,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2222819590","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5691066,0.019035712,0.00055397075,0.054970868,0.0016694085,0.00004682646,0.00038809117,0.00003541476,0.35419318],"genre_scores_gemma":[0.88878775,0.005687739,0.00027646878,0.0019251705,0.00029715925,0.000013204866,0.00006201868,0.000040291296,0.10291008],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996271,0.00015956422,0.0000065339764,0.000041118925,0.00007908416,0.0000864479],"domain_scores_gemma":[0.99934214,0.00021869538,0.00008996132,0.000025930092,0.00010160207,0.00022161055],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006591194,0.00015301676,0.00012807155,0.0004203281,0.0037552104,0.003377362,0.00027313328,0.0007872623,0.0051271967],"category_scores_gemma":[0.0021644908,0.0001606066,0.00007488206,0.00049727916,0.002642506,0.0015753807,0.0010679318,0.0016829643,0.00064965367],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027491484,0.00009399926,0.0068439036,0.00036737148,0.000024105624,0.0018374166,0.5967629,0.0001872764,0.002898036,0.093378134,0.24841103,0.04892083],"study_design_scores_gemma":[0.000007498057,0.00003622134,0.02561072,0.0003900026,0.000013600373,0.00039530455,0.1350506,0.00011010027,0.00044052838,0.0016247513,0.8362938,0.000026982696],"about_ca_topic_score_codex":0.116121374,"about_ca_topic_score_gemma":0.35826078,"teacher_disagreement_score":0.116121374,"about_ca_system_score_codex":0.005359449,"about_ca_system_score_gemma":0.0013927852,"threshold_uncertainty_score":0.23089099},"labels":[],"label_agreement":null},{"id":"W2226373345","doi":"","title":"Book Review: The Silvering Screen: Old Age and Disability in Cinema","year":2014,"lang":"en","type":"article","venue":"ScholarSpace (University of Hawaii at Manoa)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art history; Media studies; Art; History; Gerontology; Sociology; Medicine","score_opus":0.013755407514585764,"score_gpt":0.19268689366184927,"score_spread":0.1789314861472635,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2226373345","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00027228455,0.6141037,0.00037086505,0.10171886,0.22843726,0.00013572544,0.000886603,0.00017677085,0.053897966],"genre_scores_gemma":[0.003722869,0.49777347,0.00048166842,0.054938767,0.18844016,0.00024224546,0.0010553556,0.0002477795,0.2530977],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982862,0.0003499773,0.00014514396,0.00016260096,0.00094218965,0.00011382055],"domain_scores_gemma":[0.9836262,0.0064152465,0.00092381344,0.00035503408,0.0072744894,0.0014051851],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016559764,0.001347968,0.0027218962,0.0047685755,0.0014468775,0.007201165,0.0017291567,0.0043935124,0.0919472],"category_scores_gemma":[0.015807305,0.00059539714,0.00079531304,0.0064455005,0.001378123,0.0040496658,0.0015884277,0.004112352,0.04690542],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000032875114,0.0000022486029,0.000010822256,0.00022769319,0.0000017774481,0.0000070396723,0.0000110156225,0.0000087024555,0.000008961336,0.0001371482,0.9915992,0.007982005],"study_design_scores_gemma":[0.000007665732,0.000015036611,0.00040055683,0.0023335458,0.000010981805,0.00013245885,0.00009079668,0.000024940624,0.000022726852,0.00057592127,0.99637395,0.0000114870345],"about_ca_topic_score_codex":0.007220017,"about_ca_topic_score_gemma":0.019714916,"teacher_disagreement_score":0.0919472,"about_ca_system_score_codex":0.0028236075,"about_ca_system_score_gemma":0.004005468,"threshold_uncertainty_score":0.307594},"labels":[],"label_agreement":null},{"id":"W2227961079","doi":"","title":"La création d’un mythe. The Godfather de Francis Ford CoppolaThe Godfather de Francis Ford Coppola","year":2016,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Art history; Humanities","score_opus":0.01771782474657019,"score_gpt":0.21772544580133804,"score_spread":0.20000762105476785,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2227961079","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004373241,0.18730833,0.00246846,0.54392976,0.0383043,0.000021342703,0.0002900301,0.000119231365,0.22318524],"genre_scores_gemma":[0.109911256,0.07254804,0.002055025,0.040264938,0.0140735665,0.000050816874,0.00015428598,0.0003647162,0.7605774],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99850684,0.0005935178,0.00004035728,0.00024423777,0.00040934942,0.00020565114],"domain_scores_gemma":[0.9969021,0.0010241293,0.00028442187,0.00021167686,0.00084643177,0.0007313805],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020163858,0.00067835173,0.0004408781,0.0010530229,0.0040466664,0.009014403,0.0004063989,0.0041079195,0.033188276],"category_scores_gemma":[0.007504839,0.0005224001,0.00024136876,0.00082929677,0.005475542,0.0076373518,0.0020626297,0.006178389,0.0074207433],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033993325,0.000021757885,0.00036343466,0.00007734149,0.0000054477937,0.00012296624,0.0030336739,0.00006509608,0.00019769609,0.24669887,0.7061049,0.043274824],"study_design_scores_gemma":[0.0000017611195,0.000002485119,0.00020338291,0.000114024166,0.0000010716514,0.00006431046,0.00062952837,0.000028025743,0.00006490312,0.0037364755,0.99514765,0.0000063928123],"about_ca_topic_score_codex":0.034817304,"about_ca_topic_score_gemma":0.03871801,"teacher_disagreement_score":0.034817304,"about_ca_system_score_codex":0.005139599,"about_ca_system_score_gemma":0.004606882,"threshold_uncertainty_score":0.11102587},"labels":[],"label_agreement":null},{"id":"W2230481659","doi":"10.1177/0042098015613501","title":"Book review: Scenes from the Suburbs: The Suburb in Contemporary US Film and Television","year":2015,"lang":"en","type":"article","venue":"Urban Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Media studies; Sociology; Economic geography; Geography; Visual arts; Advertising; Art; Business","score_opus":0.11020024021098948,"score_gpt":0.2734293365009343,"score_spread":0.16322909628994484,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2230481659","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005830683,0.88759726,0.00011181822,0.045681875,0.034613233,0.000036884463,0.00081830204,0.000036844773,0.030520627],"genre_scores_gemma":[0.0060078795,0.8481014,0.00021942589,0.021412782,0.048712507,0.00007366612,0.0009914697,0.00012828094,0.07435249],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995821,0.00009542872,0.000027376193,0.000063734165,0.00017844728,0.000052766172],"domain_scores_gemma":[0.9957561,0.0019355501,0.0003208092,0.00008712978,0.0015657755,0.00033453852],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006622652,0.0008671758,0.001122392,0.0044501624,0.000981913,0.0040525687,0.0010391264,0.002798854,0.0426774],"category_scores_gemma":[0.0044502555,0.0005140625,0.0003327026,0.010007261,0.0009076068,0.0022812646,0.0009531021,0.002357872,0.010337578],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005532776,0.0000043086384,0.000045230103,0.0005151575,0.0000040365203,0.000011431316,0.000044149492,0.000016665237,0.000022353039,0.00033723674,0.9833839,0.015609998],"study_design_scores_gemma":[0.000007075711,0.000008933368,0.0009806756,0.0018283008,0.000013822846,0.00006402851,0.00019846641,0.000013653132,0.000026321264,0.00024933275,0.99660337,0.000005896555],"about_ca_topic_score_codex":0.032539684,"about_ca_topic_score_gemma":0.093389764,"teacher_disagreement_score":0.0426774,"about_ca_system_score_codex":0.0032787137,"about_ca_system_score_gemma":0.0037270784,"threshold_uncertainty_score":0.14277011},"labels":[],"label_agreement":null},{"id":"W2231673104","doi":"","title":"Documentary Now! Contemporary Strategies in Photography, Film and the Visual Arts. Rotterdam, NAi Publishers, 2005","year":2006,"lang":"en","type":"article","venue":"Ciel variable : art, photo, médias, culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Photography; Visual arts; The arts; Art; Art history","score_opus":0.017707172586238266,"score_gpt":0.22704671693540263,"score_spread":0.20933954434916435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2231673104","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007896389,0.36851856,0.0025406866,0.018131016,0.0067374357,0.000035563975,0.0022129153,0.00072103227,0.60031307],"genre_scores_gemma":[0.010065309,0.12530118,0.0024238662,0.0014043268,0.0021772117,0.00004293008,0.0011987644,0.00049805513,0.8568885],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995592,0.00008125962,0.000039842456,0.00006868827,0.0002049642,0.0000460825],"domain_scores_gemma":[0.99893004,0.00039338012,0.000084892476,0.0001226726,0.0002896664,0.00017928],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006823409,0.000871989,0.00073310675,0.0030829548,0.0010684915,0.0068269027,0.0010511916,0.0012119926,0.24729387],"category_scores_gemma":[0.002250802,0.00059307134,0.00022867798,0.0043127257,0.0012667937,0.0063355886,0.001183641,0.0015227406,0.08106766],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000147175615,0.000009343576,0.000063411004,0.00020530632,0.0000022702225,0.000025738205,0.00024731204,0.000047056907,0.00013255612,0.01239713,0.8651964,0.12165867],"study_design_scores_gemma":[0.0000016874541,0.0000042268643,0.00039736324,0.0002620736,0.0000018301565,0.00007779189,0.00021948418,0.000021667309,0.00005634772,0.0015699446,0.99738485,0.0000026838086],"about_ca_topic_score_codex":0.009291752,"about_ca_topic_score_gemma":0.027928378,"teacher_disagreement_score":0.24729387,"about_ca_system_score_codex":0.0015370438,"about_ca_system_score_gemma":0.0014063523,"threshold_uncertainty_score":0.8272804},"labels":[],"label_agreement":null},{"id":"W2232311828","doi":"10.25071/2369-7326.34735","title":"“Can We Get a Clean Up On Aisle 2?”: How Film Critics Mopped Up the Transgressions of Jenny McCarthy’s Dirty Love","year":2013,"lang":"en","type":"article","venue":"Pivot A Journal of Interdisciplinary Studies and Thought","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Comedy; Art; Entertainment; Parade; Literature; Dracula; Art history; History; Visual arts","score_opus":0.044563501293111374,"score_gpt":0.28920461378682466,"score_spread":0.2446411124937133,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2232311828","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.101433255,0.019362025,0.0046878187,0.47551954,0.012968147,0.00013922615,0.00018692148,0.00069162867,0.38501135],"genre_scores_gemma":[0.6203587,0.009852074,0.0029869406,0.11021634,0.0026212658,0.00016694615,0.0001888134,0.0017454759,0.25186354],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9935822,0.004385744,0.00008684891,0.00044260765,0.0009968018,0.0005057754],"domain_scores_gemma":[0.994395,0.0020261446,0.00047967944,0.000291909,0.0015253174,0.0012818679],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0042872024,0.00090699986,0.000526064,0.0012694817,0.020091368,0.019761078,0.0017656358,0.00621592,0.010920406],"category_scores_gemma":[0.022222143,0.0006731119,0.00043896647,0.0010308502,0.010914799,0.015360134,0.005194587,0.014214259,0.004719274],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005156821,0.00005521709,0.00175728,0.00014255832,0.00002839038,0.0010134788,0.3352993,0.000074398515,0.000532213,0.02708305,0.60527176,0.028690752],"study_design_scores_gemma":[0.000013844965,0.000023364015,0.0010184405,0.00029832928,0.000016694628,0.0004415842,0.23191728,0.00022477839,0.00027293104,0.0050995266,0.76062775,0.000045523397],"about_ca_topic_score_codex":0.030507298,"about_ca_topic_score_gemma":0.06939144,"teacher_disagreement_score":0.030507298,"about_ca_system_score_codex":0.0065282835,"about_ca_system_score_gemma":0.0027575542,"threshold_uncertainty_score":0.06065947},"labels":[],"label_agreement":null},{"id":"W2234172442","doi":"10.1525/fq.2014.67.4.80","title":"Manifestos: A Forgotten History","year":2014,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Nortel (Canada)","funders":"","keywords":"Icon; Manifesto; Movie theater; Citation; Download; Art; Art history; History; Media studies; Library science; Computer science; World Wide Web; Sociology; Political science; Law","score_opus":0.022085133129496653,"score_gpt":0.1855482736538464,"score_spread":0.16346314052434976,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2234172442","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0050748517,0.12192757,0.0019649141,0.2441406,0.02342792,0.000056597484,0.0008083279,0.00031268815,0.6022865],"genre_scores_gemma":[0.23912534,0.12021718,0.002275,0.04819001,0.014919302,0.00014367871,0.0011830988,0.0011614211,0.5727849],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969869,0.0011509716,0.0001227,0.00027702632,0.0011582483,0.00030421765],"domain_scores_gemma":[0.9969902,0.0012060405,0.00022878814,0.0006236407,0.00051743316,0.00043383994],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030630396,0.0005449103,0.0004057596,0.0023999414,0.0060125426,0.016539497,0.00088690664,0.0024902676,0.032332066],"category_scores_gemma":[0.0093641495,0.0004950048,0.00025875506,0.0028261691,0.016669596,0.016614418,0.00462242,0.0055927807,0.0058371266],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001368063,0.000011848793,0.00017119007,0.0001663182,0.0000028658715,0.000103125836,0.0090534855,0.00003385026,0.00011291614,0.31300437,0.6363836,0.040942695],"study_design_scores_gemma":[0.0000013329567,0.0000027149015,0.00015103343,0.00032295278,8.1744304e-7,0.000047400885,0.0023373747,0.000011463535,0.000041945426,0.010016564,0.9870625,0.0000037987033],"about_ca_topic_score_codex":0.01610861,"about_ca_topic_score_gemma":0.020302499,"teacher_disagreement_score":0.032332066,"about_ca_system_score_codex":0.010154625,"about_ca_system_score_gemma":0.006565596,"threshold_uncertainty_score":0.10816151},"labels":[],"label_agreement":null},{"id":"W2242283997","doi":"","title":"Film Scenes: Paris, New York, Toronto","year":2001,"lang":"en","type":"article","venue":"Public","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Media studies; Sociology","score_opus":0.07110879563971198,"score_gpt":0.22968453979723166,"score_spread":0.15857574415751968,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2242283997","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016979856,0.16594651,0.0017343013,0.009464942,0.004324305,0.00014185083,0.081131175,0.0012527686,0.7190243],"genre_scores_gemma":[0.06096146,0.05235511,0.0015023645,0.00023407795,0.0007079973,0.00007357831,0.014383304,0.00057730556,0.86920476],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972504,0.000028095536,0.000014750639,0.000071888775,0.000095613825,0.00006456112],"domain_scores_gemma":[0.99946076,0.00005008952,0.000056618246,0.000037609745,0.0002185043,0.00017649712],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00034589812,0.0016336481,0.00045117296,0.004904605,0.003336211,0.006656932,0.00062067225,0.0009840041,0.2971517],"category_scores_gemma":[0.0011008185,0.00075734424,0.0002787311,0.013566852,0.00095692964,0.0028448692,0.00090657093,0.0014186518,0.038819753],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000066891065,0.000013345158,0.0014101636,0.0003745638,0.000015628577,0.00020759496,0.001459113,0.0003929513,0.00049702416,0.0061768503,0.9241856,0.065200254],"study_design_scores_gemma":[0.0000065381887,0.000008896185,0.019311758,0.00019570881,0.000012094739,0.000106235915,0.0018805676,0.00007947548,0.00016778044,0.000371258,0.9778479,0.0000117642285],"about_ca_topic_score_codex":0.45750132,"about_ca_topic_score_gemma":0.80994207,"teacher_disagreement_score":0.5424987,"about_ca_system_score_codex":0.009712584,"about_ca_system_score_gemma":0.0041760067,"threshold_uncertainty_score":0.99407154},"labels":[],"label_agreement":null},{"id":"W2242777204","doi":"","title":"“Pigs is my business”: Joe Smallwood on Himself, 1945","year":2013,"lang":"en","type":"article","venue":"Newfoundland and Labrador Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Western University; Memorial University of Newfoundland","funders":"","keywords":"Media studies; History; Sociology","score_opus":0.03798522019083057,"score_gpt":0.2386755086449835,"score_spread":0.20069028845415293,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2242777204","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020958092,0.17851442,0.00043529528,0.60720515,0.025885602,0.000020610327,0.00035507916,0.000040469335,0.1665853],"genre_scores_gemma":[0.1670135,0.046552274,0.00029472285,0.083669186,0.0071937293,0.00003627996,0.000116143034,0.00011119935,0.695013],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9991722,0.00023819838,0.000028653141,0.00011490456,0.00018559101,0.00026048024],"domain_scores_gemma":[0.9982247,0.0006298744,0.00013421924,0.000057762387,0.0005284078,0.00042508554],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013636325,0.0005892571,0.00032561366,0.0011079942,0.014410557,0.005509031,0.0005465348,0.0035396551,0.008722897],"category_scores_gemma":[0.00444377,0.00042683157,0.00020921597,0.0013266609,0.00925909,0.005053662,0.0019340817,0.007097396,0.0018365138],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003656581,0.000021229776,0.0010616954,0.00005241163,0.000008025413,0.00023235162,0.022302188,0.000027888405,0.00008154419,0.028613571,0.92969435,0.017868195],"study_design_scores_gemma":[0.0000016795232,0.0000046931386,0.0024035345,0.00019050993,0.000004437526,0.000079831036,0.0072049117,0.000007646787,0.000065232794,0.0010833805,0.98894393,0.000010229917],"about_ca_topic_score_codex":0.5151761,"about_ca_topic_score_gemma":0.82357186,"teacher_disagreement_score":0.48482388,"about_ca_system_score_codex":0.018436868,"about_ca_system_score_gemma":0.010908478,"threshold_uncertainty_score":0.97535825},"labels":[],"label_agreement":null},{"id":"W2243446797","doi":"10.1515/9780748656356-016","title":"13 The Spence Brothers: Amateur Sci-Fi and Cine Culture in Northern Ireland","year":2013,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Amateur; Filmmaking; Storytelling; Mainstream; Media studies; History; Art; Literature; Art history; Visual arts; Movie theater; Political science; Narrative; Sociology; Law; Archaeology","score_opus":0.02536532198824352,"score_gpt":0.17825052739282252,"score_spread":0.152885205404579,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2243446797","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3002651,0.008808128,0.0004625254,0.013709136,0.00078861066,0.00009405515,0.00014844684,0.00010169671,0.6756223],"genre_scores_gemma":[0.8294467,0.0033317723,0.0002596804,0.0014702915,0.00015382725,0.00004753735,0.00006516699,0.000088185734,0.16513686],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.997982,0.00091457687,0.0000654387,0.0001557786,0.00032497593,0.0005571633],"domain_scores_gemma":[0.9983369,0.0006320378,0.0001597798,0.00007086914,0.00028197636,0.000518352],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015865987,0.00032886257,0.00034769333,0.0015179501,0.012616398,0.010301773,0.0011184823,0.0013653367,0.0153156705],"category_scores_gemma":[0.0044935266,0.00028899635,0.000243081,0.0018165403,0.008055367,0.003402097,0.0045878734,0.0019282601,0.0015932362],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008298968,0.000049466493,0.0066902037,0.00031235698,0.0000074786726,0.0020917177,0.8918512,0.000047909056,0.0005693833,0.030762495,0.036622442,0.030912347],"study_design_scores_gemma":[0.0000027345545,0.000025871917,0.01282654,0.0002935248,0.0000042063025,0.0005536325,0.61368775,0.000035311426,0.00015301489,0.00046893785,0.37192518,0.000023290911],"about_ca_topic_score_codex":0.2668576,"about_ca_topic_score_gemma":0.42305735,"teacher_disagreement_score":0.2668576,"about_ca_system_score_codex":0.018407347,"about_ca_system_score_gemma":0.0066236234,"threshold_uncertainty_score":0.53060865},"labels":[],"label_agreement":null},{"id":"W2243639887","doi":"10.82308/31204","title":"The rise and fall of counter-hegemonic discourse on the working class : National Film Board of Canada films 1939-1946","year":2000,"lang":"en","type":"dissertation","venue":"eScholarship@McGill (McGill)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Working class; Hegemony; Movie theater; Politics; Depiction; Sociology; Discourse analysis; Formative assessment; Class (philosophy); Political science; Media studies; Front (military); Gender studies; History; Law; Art; Literature; Linguistics; Geography; Pedagogy; Art history","score_opus":0.019351742691660245,"score_gpt":0.21801943813008606,"score_spread":0.19866769543842583,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2243639887","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6748156,0.005865186,0.0004677713,0.0116331475,0.0003760125,0.0000577589,0.0012865502,0.000036105837,0.30546194],"genre_scores_gemma":[0.9744771,0.0021342807,0.00015776555,0.00035332382,0.000050740528,0.000012385634,0.00016192079,0.000026593907,0.022625824],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99890983,0.00016107269,0.000012076869,0.00009224669,0.00044916547,0.00037563016],"domain_scores_gemma":[0.99820006,0.0005194614,0.00016518575,0.000057422796,0.00065166864,0.0004062951],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011655703,0.00027024638,0.0002281353,0.0033545627,0.011991578,0.010198085,0.00079581444,0.0008524115,0.008545623],"category_scores_gemma":[0.0040357867,0.00023521429,0.00012297348,0.0041823196,0.008060867,0.0018488896,0.0018075394,0.0019809278,0.00030142855],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039979987,0.00008966167,0.037687484,0.00035299297,0.000036168527,0.0014542117,0.5851147,0.00045910603,0.0031689527,0.21226452,0.06766085,0.091311626],"study_design_scores_gemma":[0.00001360251,0.00003158724,0.16308405,0.00047108403,0.000031162956,0.00017795335,0.3158323,0.0003156837,0.0012776457,0.0026518034,0.5160414,0.00007181735],"about_ca_topic_score_codex":0.9789408,"about_ca_topic_score_gemma":0.98520875,"teacher_disagreement_score":0.094471455,"about_ca_system_score_codex":0.094471455,"about_ca_system_score_gemma":0.024748566,"threshold_uncertainty_score":0.6854416},"labels":[],"label_agreement":null},{"id":"W224760567","doi":"","title":"My Mother Is an Alien: Ten Takes on Life and Film","year":2006,"lang":"en","type":"article","venue":"The American Review of Canadian Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Alien; Faith; Style (visual arts); Film industry; Sociology; Art history; Media studies; Politics; History; Art; Literature; Law; Political science; Theology","score_opus":0.0464536169792044,"score_gpt":0.2602150407758344,"score_spread":0.21376142379663,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W224760567","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0048337975,0.61170876,0.00048314763,0.10315931,0.0076715467,0.000043807784,0.00024199244,0.00014071331,0.2717169],"genre_scores_gemma":[0.050140616,0.2798611,0.0010724476,0.014100835,0.0015171687,0.000050757924,0.00025982494,0.0002361011,0.6527612],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99957913,0.00009411467,0.000012452868,0.000043372693,0.00018394944,0.00008687491],"domain_scores_gemma":[0.9994677,0.00009762366,0.000027568129,0.000013869769,0.00016082471,0.0002324399],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00048710688,0.00066904497,0.00028779614,0.0010111732,0.005863229,0.0047834394,0.0006339034,0.0013053394,0.02300895],"category_scores_gemma":[0.0010573288,0.00046924234,0.00015706441,0.0012161471,0.002423852,0.0050431285,0.0017816678,0.0026584815,0.006533781],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014979655,0.000016956506,0.00027781152,0.00014546893,0.0000030219862,0.00015559653,0.010830906,0.000012267805,0.000114268114,0.009411684,0.92857003,0.050447006],"study_design_scores_gemma":[0.0000015083173,0.0000040259856,0.0010351383,0.00032275566,0.000002301638,0.00017058938,0.010899343,0.000008768322,0.000041874675,0.0011293726,0.9863782,0.0000061501933],"about_ca_topic_score_codex":0.19261286,"about_ca_topic_score_gemma":0.4952378,"teacher_disagreement_score":0.19261286,"about_ca_system_score_codex":0.007104981,"about_ca_system_score_gemma":0.0043233535,"threshold_uncertainty_score":0.38298345},"labels":[],"label_agreement":null},{"id":"W2252218849","doi":"10.1525/9780520940222","title":"Hollywood in the Neighborhood","year":2008,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":50,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Art; Art history","score_opus":0.04093122972231473,"score_gpt":0.20302250506357342,"score_spread":0.1620912753412587,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2252218849","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03025731,0.011417669,0.0006405138,0.0072715622,0.0012780654,0.000024417242,0.00012696846,0.000049956747,0.9489335],"genre_scores_gemma":[0.13481906,0.0062435875,0.00046135447,0.0011700381,0.0002461949,0.000021986074,0.00007386467,0.000050017912,0.856914],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99985576,0.0000336402,0.0000025770103,0.000029616393,0.00004455897,0.00003375618],"domain_scores_gemma":[0.9998499,0.000027536254,0.000009566356,0.00001359822,0.00003052093,0.00006892363],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00014806405,0.00019517475,0.00015255727,0.00034484267,0.0024978586,0.0036763756,0.00029200022,0.00045037374,0.025059685],"category_scores_gemma":[0.00042855638,0.00012527227,0.00011126983,0.00050330465,0.0009981808,0.0018917342,0.0010853647,0.00091323786,0.0030804046],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003950031,0.00011490495,0.00219388,0.00011477002,0.0000064726282,0.00033786293,0.015906623,0.00013360132,0.0002535218,0.2985564,0.5664638,0.11587856],"study_design_scores_gemma":[0.000002570491,0.0000154366,0.0020411257,0.00011342603,0.0000033202123,0.00008655008,0.0049029402,0.000050464576,0.0000943675,0.004550815,0.98813534,0.0000036043896],"about_ca_topic_score_codex":0.020933008,"about_ca_topic_score_gemma":0.08430824,"teacher_disagreement_score":0.025059685,"about_ca_system_score_codex":0.0013430716,"about_ca_system_score_gemma":0.0013573846,"threshold_uncertainty_score":0.08383292},"labels":[],"label_agreement":null},{"id":"W2252412717","doi":"10.71781/9376","title":"La répétition dans Unforgiven : le destin cristallin de William Munny. Temps, éthique et cinéma","year":2007,"lang":"fr","type":"dissertation","venue":"Open MIND","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Philosophy; Humanities; Physics","score_opus":0.03558408669988857,"score_gpt":0.3060970551493758,"score_spread":0.27051296844948725,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2252412717","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0042775273,0.37027577,0.0014394394,0.5604719,0.010968606,0.000021324948,0.000097106444,0.000058802736,0.05238955],"genre_scores_gemma":[0.23910432,0.26760322,0.0034383344,0.09859561,0.013982951,0.00011505066,0.0000810857,0.00044720309,0.3766322],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988096,0.0006971486,0.00002856821,0.00012882556,0.00021273435,0.0001230781],"domain_scores_gemma":[0.99754924,0.0014736325,0.00011800589,0.0000756127,0.0004280133,0.000355597],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023289998,0.0006698163,0.00056612684,0.0010806173,0.006317435,0.0045843096,0.0008483709,0.0028379706,0.0068044956],"category_scores_gemma":[0.005294547,0.00041218058,0.00018765262,0.0010835433,0.008964477,0.0050898385,0.0019418594,0.0053983424,0.00095803343],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035725625,0.0000175746,0.00033957974,0.00013385252,0.0000063878415,0.00023434992,0.026474444,0.000069364396,0.0001307986,0.10967345,0.822252,0.04063252],"study_design_scores_gemma":[0.000004767167,0.000008038133,0.0007802404,0.0003547606,0.0000034290606,0.00019302416,0.008032659,0.00006230126,0.00011602083,0.01348103,0.9769479,0.000015673242],"about_ca_topic_score_codex":0.12730742,"about_ca_topic_score_gemma":0.2776715,"teacher_disagreement_score":0.12730742,"about_ca_system_score_codex":0.004877248,"about_ca_system_score_gemma":0.0045027533,"threshold_uncertainty_score":0.25313282},"labels":[],"label_agreement":null},{"id":"W2252445165","doi":"10.33137/q.i..v28i1.8554","title":"A Self-Conscious Mise-en-scène: Experimenting with 'Disownment and Appropriation’","year":2007,"lang":"en","type":"article","venue":"Quaderni d italianistica","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Appropriation; Ideology; Aesthetics; Negotiation; Meaning (existential); Subject (documents); Filmmaking; Context (archaeology); Sociology; Art; Psychology; History; Epistemology; Literature; Political science; Philosophy; Law; Social science; Psychotherapist; Politics","score_opus":0.01722185136532391,"score_gpt":0.22702674331161657,"score_spread":0.20980489194629265,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2252445165","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78195214,0.001357948,0.015255936,0.015227653,0.00046054678,0.000182817,0.00005898741,0.00013625537,0.18536764],"genre_scores_gemma":[0.990238,0.00029100184,0.002911963,0.0007044256,0.000073509385,0.00008517492,0.000020591371,0.00005371644,0.005621562],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9900782,0.008358214,0.00013138486,0.00054232014,0.00057536265,0.00031454774],"domain_scores_gemma":[0.97589684,0.017943464,0.0013927695,0.0032983304,0.00081941887,0.00064910826],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.011854249,0.0004389673,0.00034295683,0.00071284804,0.004340535,0.007900632,0.0011446249,0.0016987554,0.0040382235],"category_scores_gemma":[0.030714117,0.00035821646,0.00020498656,0.0005051996,0.023315182,0.0069724866,0.0059486637,0.0031613384,0.0004660568],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028633772,0.00040485183,0.002441427,0.00031168485,0.000032992913,0.00044246152,0.63003564,0.00016123202,0.010963234,0.31203005,0.005378565,0.037511524],"study_design_scores_gemma":[0.00027248412,0.0010150595,0.008588265,0.0005737783,0.000088061686,0.0013452375,0.44161028,0.0016782818,0.01803336,0.10799451,0.41870162,0.00009903345],"about_ca_topic_score_codex":0.0005210616,"about_ca_topic_score_gemma":0.0008719927,"teacher_disagreement_score":0.011854249,"about_ca_system_score_codex":0.0015842272,"about_ca_system_score_gemma":0.0006701912,"threshold_uncertainty_score":0.06269199},"labels":[],"label_agreement":null},{"id":"W2253403011","doi":"","title":"\"Analogue\": Pioneering video from the UK, Canada and Poland (1968 - 1988)","year":2006,"lang":"en","type":"article","venue":"CLOK (University of Central Lancashire)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science; History","score_opus":0.009347065398415384,"score_gpt":0.13821967378535488,"score_spread":0.1288726083869395,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2253403011","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.59319365,0.028619716,0.00078390463,0.007173051,0.0017328912,0.0002012052,0.06623197,0.00015223265,0.30191135],"genre_scores_gemma":[0.82595336,0.015120916,0.0009909288,0.00064383086,0.00048007796,0.000046973106,0.013013898,0.00015943943,0.14359054],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99974436,0.00001614364,0.000009977834,0.00003516407,0.000109130204,0.00008514045],"domain_scores_gemma":[0.99937195,0.00009359532,0.00007894681,0.000031298823,0.00031635544,0.00010786922],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029961235,0.00036958893,0.00019011597,0.0041362126,0.0019066101,0.0026971663,0.00039022832,0.00054339145,0.014775429],"category_scores_gemma":[0.0016686773,0.00017057668,0.00013691671,0.008329065,0.00092228956,0.0010839062,0.001221617,0.0008204041,0.0014165518],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011682507,0.000108952976,0.08375301,0.0031627128,0.00017762279,0.0051544853,0.069111615,0.00071118464,0.0035198822,0.011449787,0.4358596,0.38582283],"study_design_scores_gemma":[0.000011737688,0.00002437967,0.51337457,0.00067643553,0.000049724564,0.0005654699,0.020339781,0.000080343154,0.0008106242,0.00018987432,0.463847,0.000030021387],"about_ca_topic_score_codex":0.73314714,"about_ca_topic_score_gemma":0.903853,"teacher_disagreement_score":0.26685286,"about_ca_system_score_codex":0.0074051055,"about_ca_system_score_gemma":0.0043842243,"threshold_uncertainty_score":0.5368488},"labels":[],"label_agreement":null},{"id":"W2257943787","doi":"10.1017/cbo9781107279612.010","title":"Gender and Obscenity in<i>The Waste Land</i>","year":2015,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":9,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Environmental science","score_opus":0.07415212766564075,"score_gpt":0.1990801762331559,"score_spread":0.12492804856751516,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2257943787","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025780266,0.055752087,0.0011907232,0.053665724,0.0017568904,0.000015728267,0.00010394505,0.000022760518,0.8617119],"genre_scores_gemma":[0.6608843,0.019539054,0.0005006281,0.008435873,0.002920926,0.000058839592,0.000085674976,0.00016557192,0.3074092],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9988386,0.0006306806,0.00002898492,0.000097732634,0.0002026779,0.00020141447],"domain_scores_gemma":[0.998862,0.0007456851,0.00008342858,0.00008821804,0.0000962418,0.00012439006],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001385918,0.000498448,0.0004417938,0.0013814843,0.0063823787,0.009381656,0.00058052427,0.0027315747,0.020179655],"category_scores_gemma":[0.0029505542,0.00030780735,0.00017224689,0.0019093998,0.020129088,0.0071113887,0.003183827,0.0035625682,0.001625066],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015437694,0.000013100602,0.00019293964,0.000054682754,0.0000027241874,0.00007654237,0.022856202,0.000020023715,0.00008883627,0.92355746,0.03946965,0.01365237],"study_design_scores_gemma":[0.000010241887,0.000014429636,0.0011135843,0.00048244902,0.0000058624987,0.0001882508,0.02005992,0.000041079362,0.0002370112,0.25116044,0.72667336,0.00001342706],"about_ca_topic_score_codex":0.0074908654,"about_ca_topic_score_gemma":0.01620894,"teacher_disagreement_score":0.020179655,"about_ca_system_score_codex":0.0031629857,"about_ca_system_score_gemma":0.0017815196,"threshold_uncertainty_score":0.067507684},"labels":[],"label_agreement":null},{"id":"W2258488672","doi":"10.1093/oxfordhb/9780199892921.013.30","title":"Improvisatory Practices and the Dawn of the New American Cinema","year":2015,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Movie theater; Art; Narrative; Improvisation; Style (visual arts); Art history; Intertextuality; Hollywood; Literature; Visual arts","score_opus":0.034999271817374514,"score_gpt":0.20783132925353737,"score_spread":0.17283205743616287,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2258488672","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.055442024,0.027750796,0.004852627,0.024673484,0.0006694799,0.000030971445,0.000052845284,0.00007857946,0.8864492],"genre_scores_gemma":[0.82153875,0.023226883,0.0024042786,0.0014264586,0.0008845995,0.00009071126,0.000056504996,0.00008945809,0.15028226],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990345,0.00049479346,0.000022155658,0.00011318814,0.0002397951,0.00009560201],"domain_scores_gemma":[0.9981501,0.001289778,0.000090556074,0.00012652586,0.00020777197,0.00013532145],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013470845,0.00022278674,0.00014389292,0.0009899791,0.003111433,0.006557996,0.00053202995,0.0008399644,0.0039829756],"category_scores_gemma":[0.0033800225,0.00022246873,0.00012262499,0.00086896785,0.008105372,0.0044724736,0.0015680642,0.0029683444,0.0004686179],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000266106,0.00003223084,0.00040740086,0.00007529104,0.0000041859216,0.00007116757,0.03508843,0.00013531273,0.00030798826,0.90732557,0.015382342,0.04114345],"study_design_scores_gemma":[0.00000924624,0.00001996055,0.0035156978,0.000324337,0.000006196571,0.00016142892,0.012016521,0.00056752766,0.00044477053,0.079779424,0.90314025,0.000014511018],"about_ca_topic_score_codex":0.011479901,"about_ca_topic_score_gemma":0.015192602,"teacher_disagreement_score":0.011479901,"about_ca_system_score_codex":0.004933159,"about_ca_system_score_gemma":0.0017939046,"threshold_uncertainty_score":0.035792768},"labels":[],"label_agreement":null},{"id":"W2260348229","doi":"10.25071/1708-6701.34449","title":"Louis Riel (DVD Review)","year":2011,"lang":"fr","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.06772430611871631,"score_gpt":0.24925192516421057,"score_spread":0.18152761904549425,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2260348229","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00033889292,0.6585058,0.00045603697,0.101901084,0.09857652,0.00016963943,0.0016869591,0.0003609303,0.1380041],"genre_scores_gemma":[0.0042541255,0.3100696,0.00060140144,0.07214298,0.06510831,0.00019662152,0.0014665187,0.00023214988,0.54592836],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992786,0.00010767837,0.000038489477,0.00009626018,0.00038096993,0.000098056385],"domain_scores_gemma":[0.99856806,0.000266333,0.00014442514,0.0000537106,0.0007296533,0.00023774717],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012765287,0.00088123657,0.0008736079,0.0027698223,0.00059757254,0.0023698425,0.0010941144,0.0030017644,0.079569474],"category_scores_gemma":[0.003856195,0.0003747245,0.00049450755,0.0020101126,0.00043668973,0.001711142,0.0013313105,0.0026759466,0.06967054],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012203325,0.0000044783415,0.000012061486,0.00020796037,0.0000036905942,0.0000121975545,0.0000024666808,0.000008154884,0.000048803482,0.00029798126,0.97418433,0.025205718],"study_design_scores_gemma":[0.00001070613,0.000006401634,0.00009077293,0.00021725988,0.000004941585,0.00003302038,0.0000029987548,0.000004972473,0.0000337782,0.00015707895,0.9994361,0.0000019809258],"about_ca_topic_score_codex":0.0051704925,"about_ca_topic_score_gemma":0.011270882,"teacher_disagreement_score":0.99482954,"about_ca_system_score_codex":0.0024497898,"about_ca_system_score_gemma":0.0021163307,"threshold_uncertainty_score":0.26618642},"labels":[],"label_agreement":null},{"id":"W226037273","doi":"10.3138/cjfs.12.2.5","title":"Pleasing the Canadians: A National Flavour for Early Cinema, 1896-1914","year":2003,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Movie theater; Art; Art history","score_opus":0.06757847839570061,"score_gpt":0.25845030648606016,"score_spread":0.19087182809035955,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W226037273","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30738556,0.009263088,0.0008730776,0.028923828,0.000759114,0.00008161209,0.0015569524,0.00008300591,0.65107375],"genre_scores_gemma":[0.86829036,0.0054619494,0.00057883834,0.00076815224,0.0001373788,0.000016335614,0.00031343446,0.000049336948,0.12438422],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99950635,0.00007468726,0.00000811361,0.00005343026,0.00018943178,0.00016795487],"domain_scores_gemma":[0.9990363,0.00011275029,0.000071414506,0.000032901135,0.00043494138,0.0003116742],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007541562,0.00030786457,0.00015639489,0.0017345243,0.013827151,0.005109064,0.0005946114,0.00062599045,0.013435749],"category_scores_gemma":[0.0019671202,0.0001927243,0.00013226793,0.002465011,0.0039923973,0.001127812,0.0011958407,0.0012216165,0.0005069847],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021005684,0.000064608,0.028152335,0.00038406975,0.00003112759,0.0011678046,0.51608586,0.00024943842,0.002766174,0.10999758,0.2050413,0.13584974],"study_design_scores_gemma":[0.0000037437237,0.000013631831,0.048513867,0.00016065786,0.000013819116,0.00014594287,0.09517479,0.00007189163,0.00033260553,0.0004601966,0.8550854,0.000023536582],"about_ca_topic_score_codex":0.9759219,"about_ca_topic_score_gemma":0.9950488,"teacher_disagreement_score":0.046230696,"about_ca_system_score_codex":0.046230696,"about_ca_system_score_gemma":0.03080581,"threshold_uncertainty_score":0.33542877},"labels":[],"label_agreement":null},{"id":"W2261110582","doi":"","title":"Hollywood North: The Feature Film Industry in British Columbia [Book Review]","year":2003,"lang":"en","type":"article","venue":"Media international Australia, incorporating culture and policy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Feature (linguistics); Film industry; Feature film; Art history; Media studies; Engineering; History; Sociology; Movie theater; Philosophy","score_opus":0.033047312301593836,"score_gpt":0.2654422352935895,"score_spread":0.23239492299199568,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2261110582","genre_codex":"review","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006095925,0.9644627,0.00010775591,0.005241602,0.0020410945,0.000027011523,0.0009837012,0.000054663218,0.026471986],"genre_scores_gemma":[0.006287543,0.89980733,0.00025564883,0.0028112622,0.00076271937,0.000045679833,0.001146383,0.00003779227,0.08884561],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949133,0.000038063095,0.00002582404,0.000053007298,0.00030869726,0.000083021216],"domain_scores_gemma":[0.9984297,0.0001954487,0.000097906865,0.00003497792,0.0010662435,0.00017565647],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045642446,0.0010636988,0.0011628408,0.0056036934,0.0017057582,0.00406716,0.001320379,0.00152549,0.028406935],"category_scores_gemma":[0.0021308966,0.00046322754,0.00037859692,0.019948548,0.0007284085,0.0018068573,0.00069621205,0.0013218002,0.006323026],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021244012,0.000008475028,0.00037571075,0.0019133874,0.000013859291,0.00006804064,0.0001685648,0.00011020024,0.00007063928,0.00088515616,0.8396548,0.15670995],"study_design_scores_gemma":[0.0000046390965,0.000007692894,0.005346587,0.0028000688,0.000029701898,0.00013180256,0.00030839245,0.00003482592,0.000048682985,0.00032967568,0.9909429,0.000015068619],"about_ca_topic_score_codex":0.82601565,"about_ca_topic_score_gemma":0.93238735,"teacher_disagreement_score":0.17398435,"about_ca_system_score_codex":0.01167255,"about_ca_system_score_gemma":0.030836204,"threshold_uncertainty_score":0.3500179},"labels":[],"label_agreement":null},{"id":"W2262818857","doi":"","title":"We Want Some Too: Underground Desire and the Reinvention of Mass Culture","year":2001,"lang":"en","type":"article","venue":"Canadian women's studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mass culture; Aesthetics; Sociology; Art; Anthropology","score_opus":0.03869888357074587,"score_gpt":0.22400325472863905,"score_spread":0.18530437115789317,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2262818857","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38111752,0.007092079,0.0029621685,0.14229497,0.0004678014,0.00003980176,0.00022913802,0.00006711224,0.4657294],"genre_scores_gemma":[0.987334,0.0006448081,0.00021893282,0.0020479963,0.000067379646,0.000010959479,0.000016382812,0.000028630424,0.009630987],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99692327,0.00095438695,0.000045619137,0.0002096944,0.0006355921,0.001231473],"domain_scores_gemma":[0.9939055,0.0025260658,0.000712443,0.00059919094,0.0009067964,0.0013501],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033256758,0.0002775373,0.00037088164,0.0020373487,0.015254644,0.013651435,0.0012390333,0.0031377487,0.009267129],"category_scores_gemma":[0.010414052,0.00027031134,0.0002745502,0.0036319797,0.048627432,0.008592778,0.005219108,0.0047708848,0.000388871],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033134576,0.00002428947,0.0037043854,0.000038124424,0.0000069403654,0.00011576138,0.12567608,0.000067380846,0.00023371087,0.84922224,0.007324967,0.013553018],"study_design_scores_gemma":[0.000029005405,0.000040429248,0.025126094,0.00046812286,0.00003196543,0.00018696339,0.41487122,0.00034278646,0.0007074025,0.271117,0.28698292,0.000096132484],"about_ca_topic_score_codex":0.5897258,"about_ca_topic_score_gemma":0.71205884,"teacher_disagreement_score":0.5897258,"about_ca_system_score_codex":0.023962786,"about_ca_system_score_gemma":0.029899236,"threshold_uncertainty_score":0.8253808},"labels":[],"label_agreement":null},{"id":"W2269701027","doi":"10.25071/1718-4657.36560","title":"Incorporeal Encounters and Affective Relationality in Krzysztof Kieslowski’s The Double Life of Véronique","year":2010,"lang":"en","type":"article","venue":"Intersections conference journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Trilogy; Sensibility; Irrational number; Art; Literature; Psychoanalysis; Aesthetics; Psychology","score_opus":0.03356073824007061,"score_gpt":0.24766564115567016,"score_spread":0.21410490291559955,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2269701027","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38839316,0.014454243,0.008910259,0.025559062,0.0010101264,0.00005960232,0.00007876124,0.00007850695,0.5614563],"genre_scores_gemma":[0.98510635,0.0015097709,0.0004054457,0.0011249401,0.00014705655,0.0000210363,0.000018208768,0.00003627592,0.011630857],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978643,0.0011634061,0.00005522287,0.00022082494,0.00033538524,0.00036090837],"domain_scores_gemma":[0.9989017,0.0004914965,0.00019135745,0.00008506803,0.00010714738,0.00022317274],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014840149,0.000539726,0.00032880832,0.0016044376,0.009291924,0.015040213,0.00072384905,0.0018531731,0.0038264536],"category_scores_gemma":[0.0040036025,0.00041093628,0.00023033273,0.001351178,0.02499373,0.01218358,0.006313237,0.0046609906,0.00033887877],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004811627,0.000030143752,0.0008369305,0.000058168134,0.000010558097,0.00078829296,0.61523944,0.000057836412,0.000692952,0.37012628,0.0042161704,0.007895152],"study_design_scores_gemma":[0.00003458264,0.00005092971,0.006172762,0.00028241728,0.000020745932,0.0013120647,0.4478333,0.0002619029,0.0004620479,0.09800675,0.44550097,0.00006147755],"about_ca_topic_score_codex":0.009466047,"about_ca_topic_score_gemma":0.010435647,"teacher_disagreement_score":0.015040213,"about_ca_system_score_codex":0.0044031176,"about_ca_system_score_gemma":0.0009801727,"threshold_uncertainty_score":0.031946957},"labels":[],"label_agreement":null},{"id":"W227017415","doi":"","title":"Light in Dark Spaces: A Review of Allan Sekula and Noel Burch's Film Essay the Forgotten Space (2010)","year":2012,"lang":"en","type":"review","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Marxist philosophy; Politics; Media studies; Movie theater; Corporation; Sociology; Popularity; Jury; Popular culture; Aesthetics; Law; Political science; Art history; Art","score_opus":0.06452339291177561,"score_gpt":0.27652655575982693,"score_spread":0.21200316284805132,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W227017415","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000096587515,0.9892936,0.000039988678,0.005774632,0.002430995,0.00000425189,0.000013364341,0.0000031534535,0.0023435252],"genre_scores_gemma":[0.0011721437,0.9878164,0.00009252827,0.0064330064,0.002662495,0.000014454214,0.00003276246,0.000013036308,0.0017631717],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988589,0.00046546877,0.000120602854,0.00013849171,0.0003034246,0.000113113434],"domain_scores_gemma":[0.99575126,0.0027058404,0.0002862663,0.000074807824,0.0008701287,0.00031172184],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027520994,0.0010198944,0.0013114224,0.0053876024,0.002499343,0.006191796,0.0016151989,0.0040579652,0.0051458566],"category_scores_gemma":[0.006574572,0.0005905047,0.00048236898,0.006786557,0.0036626,0.006392578,0.0027340867,0.006322178,0.0029070033],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006657782,0.000080999824,0.00028853392,0.013285301,0.000056105226,0.0002054684,0.003943199,0.00006857551,0.0001972521,0.018137487,0.65622324,0.30744725],"study_design_scores_gemma":[0.0000031879802,0.000014903957,0.0003783312,0.008257786,0.000014601658,0.00018248132,0.0007850722,0.0000066905795,0.000032120908,0.00062343647,0.98969394,0.0000075004223],"about_ca_topic_score_codex":0.012382991,"about_ca_topic_score_gemma":0.029842645,"teacher_disagreement_score":0.012382991,"about_ca_system_score_codex":0.0043894746,"about_ca_system_score_gemma":0.0059164623,"threshold_uncertainty_score":0.031848073},"labels":[],"label_agreement":null},{"id":"W2271615529","doi":"","title":"Online representations of African Canadian cinema (2000-2010): an ethnographic and archival analysis","year":2010,"lang":"en","type":"article","venue":"Summit (Simon Fraser University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ethnography; Movie theater; Geography; Sociology; Anthropology; Media studies; Visual arts; Art","score_opus":0.02261843527202542,"score_gpt":0.21824166662463254,"score_spread":0.19562323135260712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2271615529","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98220336,0.0013418809,0.00030014684,0.0009510257,0.00004101091,0.00012257615,0.002030206,0.000015145714,0.012994606],"genre_scores_gemma":[0.9883249,0.0023861744,0.00044411398,0.00022836273,0.00003195258,0.00008631583,0.0008978897,0.000029694816,0.0075705685],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99875176,0.00023440074,0.00004223249,0.00012035208,0.00039840638,0.0004528498],"domain_scores_gemma":[0.99670213,0.0009967956,0.00042492483,0.00016381466,0.0011773505,0.0005349652],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017643372,0.0005639419,0.00036268652,0.009709137,0.014142485,0.0052109794,0.0013521996,0.0009758296,0.0044738394],"category_scores_gemma":[0.005786111,0.00042841546,0.00021457183,0.013703307,0.0037633306,0.002101371,0.0027445783,0.0016387634,0.00036698693],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042535674,0.000038871636,0.015333171,0.00010779055,0.0000078061385,0.00060358836,0.9624789,0.00002595922,0.0006029874,0.0014221332,0.0043865615,0.014949752],"study_design_scores_gemma":[0.0000018586869,0.000016547696,0.062329013,0.00015633261,0.000014093786,0.00029169142,0.8956238,0.000093628456,0.00025054533,0.00007590715,0.041121177,0.000025441448],"about_ca_topic_score_codex":0.937411,"about_ca_topic_score_gemma":0.9792174,"teacher_disagreement_score":0.06258899,"about_ca_system_score_codex":0.025913171,"about_ca_system_score_gemma":0.019591248,"threshold_uncertainty_score":0.18801409},"labels":[],"label_agreement":null},{"id":"W2272257320","doi":"10.14288/1.0089502","title":"Understanding the significance of a neighbourhood movie theatre as a cultural resource","year":2009,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Neighbourhood (mathematics); Sociology; Aesthetics; Art; Mathematics","score_opus":0.03490709942742652,"score_gpt":0.18511047367839298,"score_spread":0.15020337425096647,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2272257320","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47413263,0.011432133,0.0040985732,0.032776482,0.00061765715,0.00008206694,0.000120760415,0.000032352764,0.47670737],"genre_scores_gemma":[0.97287387,0.004627202,0.00195034,0.002472765,0.000073109884,0.000042877513,0.00006359934,0.000031420546,0.017864939],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9983352,0.0009552275,0.000025985788,0.000115069946,0.00020791378,0.00036069972],"domain_scores_gemma":[0.99821895,0.0006144503,0.00013960587,0.000064044114,0.00028585934,0.0006770922],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016928852,0.00036112033,0.0002748713,0.0016014858,0.013535753,0.016510407,0.0015116207,0.0020317102,0.0036144312],"category_scores_gemma":[0.0025566611,0.00030289136,0.00021824289,0.0011705969,0.019272914,0.0060698134,0.0052303127,0.0035442612,0.000343044],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003326942,0.000055115077,0.009954895,0.0001988146,0.000009631542,0.0011879401,0.84423727,0.00014571245,0.00044120706,0.09615349,0.010755435,0.036827326],"study_design_scores_gemma":[0.0000057094217,0.000023694705,0.0115419645,0.0004273921,0.000012464031,0.0003733491,0.7894946,0.00021273988,0.0001022013,0.012892217,0.184893,0.000020713258],"about_ca_topic_score_codex":0.37545663,"about_ca_topic_score_gemma":0.7135234,"teacher_disagreement_score":0.62454337,"about_ca_system_score_codex":0.012889665,"about_ca_system_score_gemma":0.011078035,"threshold_uncertainty_score":0.74654245},"labels":[],"label_agreement":null},{"id":"W2272292345","doi":"","title":"Their Excellencies to take part in the Opening Ceremony of the Montréal World Film Festival","year":2018,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ceremony; Art; Visual arts; Film festival; History; Archaeology","score_opus":0.050634126516270354,"score_gpt":0.21660088302034902,"score_spread":0.16596675650407866,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2272292345","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.113956206,0.006195811,0.0028918246,0.3439702,0.057508603,0.0013955173,0.006288398,0.0009278475,0.46686557],"genre_scores_gemma":[0.15352201,0.0014313454,0.0012666336,0.019335203,0.0029357818,0.00025763956,0.00086122216,0.00030847403,0.82008165],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.996855,0.000412571,0.00004326373,0.0002396899,0.00094265403,0.001506701],"domain_scores_gemma":[0.97796327,0.00029929407,0.00035200643,0.0002086916,0.0036162215,0.01756048],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031442135,0.0010761957,0.0006900905,0.0015651807,0.011530715,0.009538469,0.001344501,0.0022249583,0.12475095],"category_scores_gemma":[0.008386094,0.0005985533,0.0005496193,0.0009268483,0.0026358678,0.0015089127,0.0038378194,0.0058678025,0.026068354],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000120318786,0.00013153302,0.006141269,0.00007290176,0.000029496352,0.0005846523,0.0076151104,0.00008200123,0.0013224203,0.006853727,0.9581625,0.018884154],"study_design_scores_gemma":[0.000016355489,0.000033583907,0.013021691,0.00006196325,0.000011207428,0.00014701886,0.014910661,0.00006211915,0.0002133857,0.0006015317,0.97087777,0.000042710322],"about_ca_topic_score_codex":0.21775073,"about_ca_topic_score_gemma":0.54008144,"teacher_disagreement_score":0.7822493,"about_ca_system_score_codex":0.009831011,"about_ca_system_score_gemma":0.012244568,"threshold_uncertainty_score":0.43296653},"labels":[],"label_agreement":null},{"id":"W2273655358","doi":"10.5038/1911-9933.9.3.1383","title":"Book Review: Disposable Futures: The Seduction of Violence in the Age of Spectacle","year":2016,"lang":"en","type":"article","venue":"Genocide Studies and Prevention","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spectacle; Futures contract; Genocide; Sociology; Art; Political science; Law; Economics; Financial economics","score_opus":0.027212794012085824,"score_gpt":0.26536776402035034,"score_spread":0.23815497000826452,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2273655358","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00007195173,0.9694268,0.000079815516,0.012857939,0.009643358,0.000014882499,0.00008681137,0.000013008033,0.00780545],"genre_scores_gemma":[0.0011197381,0.9632732,0.00010334233,0.01105407,0.013017868,0.00003532838,0.0001275003,0.000029216339,0.011239668],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999371,0.00014202487,0.00004706879,0.000091775306,0.00030120247,0.00004702522],"domain_scores_gemma":[0.9956939,0.0030470102,0.00030087167,0.000069715294,0.00064412935,0.00024427287],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006101613,0.0009941283,0.0014253197,0.00239083,0.00089506106,0.0040338878,0.0015427705,0.0031049247,0.025054693],"category_scores_gemma":[0.005176328,0.00044930648,0.00045391012,0.004859017,0.0018279908,0.00310884,0.0011245635,0.0047362363,0.00795234],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017951776,0.000015106706,0.000054765977,0.004013025,0.00001607389,0.000041820407,0.00015734044,0.000048874874,0.000036486457,0.0023627202,0.93118966,0.062046275],"study_design_scores_gemma":[0.0000102883305,0.00001984999,0.0004338335,0.0072998377,0.000017267117,0.00042965167,0.00013054685,0.000016171205,0.000022719525,0.0012253044,0.9903846,0.000009859339],"about_ca_topic_score_codex":0.005493996,"about_ca_topic_score_gemma":0.013196579,"teacher_disagreement_score":0.025054693,"about_ca_system_score_codex":0.0019296161,"about_ca_system_score_gemma":0.0037354731,"threshold_uncertainty_score":0.08381629},"labels":[],"label_agreement":null},{"id":"W2274453348","doi":"","title":"Introduction: Ten Propositions On The Possibility of A New Cinema","year":2014,"lang":"en","type":"book-chapter","venue":"Ulster University Research Portal (Ulster University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Turkish; Media studies; Interpretation (philosophy); Art; Political science; Visual arts; Sociology; Philosophy; Linguistics","score_opus":0.06981582438394875,"score_gpt":0.23844998176641294,"score_spread":0.16863415738246418,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2274453348","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004990096,0.017556975,0.0070387344,0.016240891,0.0033749694,0.000047505655,0.0003513016,0.00008821581,0.9503113],"genre_scores_gemma":[0.24489436,0.020895105,0.009320837,0.006778843,0.0044838884,0.00021632487,0.00076908723,0.00021316308,0.71242833],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995078,0.00018461572,0.000019283943,0.00008588139,0.00014669647,0.000055725544],"domain_scores_gemma":[0.9985,0.0009987155,0.00006790494,0.00007542162,0.00027125966,0.0000868264],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00088701316,0.00053895614,0.00026201888,0.001160035,0.0019883325,0.0061601223,0.00093731727,0.0017520773,0.033319127],"category_scores_gemma":[0.0025182194,0.00025112717,0.00036734328,0.0010831067,0.0051426645,0.0052007777,0.0012745454,0.0028175868,0.0057096286],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023838886,0.000014881843,0.00014049197,0.00012173976,0.000002496599,0.00010338187,0.0024828739,0.00024332457,0.00009478308,0.88288015,0.097585075,0.016306989],"study_design_scores_gemma":[0.000005691706,0.000015440073,0.0005781445,0.0005804427,0.000004318512,0.00022447774,0.001958434,0.00035988286,0.00018788473,0.18550093,0.8105722,0.000012101763],"about_ca_topic_score_codex":0.0019054726,"about_ca_topic_score_gemma":0.0019369924,"teacher_disagreement_score":0.033319127,"about_ca_system_score_codex":0.0026435505,"about_ca_system_score_gemma":0.0013107912,"threshold_uncertainty_score":0.11146355},"labels":[],"label_agreement":null},{"id":"W2275993368","doi":"10.25071/1708-6701.37762","title":"Out of Time: The Vexed Life of Georg Tintner (Book Review)","year":2013,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History; Art; Philosophy","score_opus":0.027808830160187092,"score_gpt":0.23611178412352732,"score_spread":0.20830295396334023,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2275993368","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000071580835,0.8338464,0.00020625634,0.11796318,0.040143747,0.0000057386005,0.000060581915,0.000030739884,0.0076717404],"genre_scores_gemma":[0.0029171854,0.71421295,0.00050348934,0.1342654,0.08311918,0.000048438727,0.00014414128,0.0001439572,0.06464528],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987914,0.00035180492,0.000068809444,0.00016248293,0.00053615915,0.000089428664],"domain_scores_gemma":[0.99718046,0.0015432219,0.00018714827,0.00008302349,0.00072355533,0.00028262532],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023690534,0.00088946923,0.0011396995,0.0025353814,0.0010217805,0.0050099823,0.0012600614,0.0050426717,0.013071456],"category_scores_gemma":[0.009370499,0.0005253669,0.00041148765,0.0028835724,0.0026764646,0.0074652988,0.0018387467,0.008241287,0.0087209465],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008560096,0.0000033203678,0.0000109451785,0.00017713089,0.0000033202348,0.000016073385,0.000048117236,0.000019887335,0.000016391954,0.0042577954,0.96463704,0.03080151],"study_design_scores_gemma":[0.0000039987644,0.0000040257705,0.0000691464,0.0006410461,0.0000048347783,0.000093885064,0.000048850205,0.00000923382,0.000013596686,0.002202532,0.9969037,0.000005099569],"about_ca_topic_score_codex":0.005761271,"about_ca_topic_score_gemma":0.013171664,"teacher_disagreement_score":0.013071456,"about_ca_system_score_codex":0.0030982518,"about_ca_system_score_gemma":0.003698601,"threshold_uncertainty_score":0.04372835},"labels":[],"label_agreement":null},{"id":"W2277486677","doi":"10.22409/contracampo.v0i13.450","title":"Donnie Darko: Imagem, Tecnologias Digitais e Multimediaçao em um Filme entre o Underground e o Massivo","year":2005,"lang":"pt","type":"article","venue":"Revista Contracampo","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Discovery Air (Canada)","funders":"","keywords":"Art; Humanities","score_opus":0.022554802587566848,"score_gpt":0.23266542721983388,"score_spread":0.21011062463226704,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2277486677","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31917635,0.010786808,0.038889445,0.027928945,0.0011567938,0.00014776911,0.00041326403,0.00033362332,0.601167],"genre_scores_gemma":[0.8556173,0.005246224,0.012128724,0.0016684575,0.00015200718,0.000121286655,0.00009735921,0.00017311473,0.124795645],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.999154,0.00030943498,0.000026386264,0.00018236724,0.00025809032,0.00006967598],"domain_scores_gemma":[0.998173,0.0009922537,0.00015528327,0.00024466726,0.00023769186,0.00019707809],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012487806,0.00059881946,0.00016999603,0.001334411,0.0037094129,0.008495929,0.0010228641,0.0014005523,0.010556056],"category_scores_gemma":[0.0053520086,0.00033888654,0.0002302912,0.0011921017,0.007828267,0.0070894905,0.0041933777,0.0017398108,0.0009236685],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025607605,0.0000803551,0.006046635,0.00095834385,0.000027647762,0.0010719597,0.301152,0.0007783115,0.033321336,0.51089823,0.026332797,0.11907638],"study_design_scores_gemma":[0.000045172397,0.00017063793,0.010187235,0.0008060561,0.00005767926,0.002106606,0.1113833,0.0016087892,0.018366115,0.068781905,0.7863728,0.0001137534],"about_ca_topic_score_codex":0.012181027,"about_ca_topic_score_gemma":0.015708478,"teacher_disagreement_score":0.012181027,"about_ca_system_score_codex":0.00370233,"about_ca_system_score_gemma":0.0014025918,"threshold_uncertainty_score":0.035313487},"labels":[],"label_agreement":null},{"id":"W2277671414","doi":"","title":"Interview with Rick Prelinger","year":2015,"lang":"en","type":"article","venue":"SYNOPTIQUE: An Online Journal of Film and Moving Image Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Concordia University","funders":"","keywords":"Archivist; Amateur; Film director; Appropriation; Art history; Media studies; Special collections; Visual arts; Ephemeral key; Art; Library science; History; Sociology; World Wide Web; Movie theater; Computer science; Archaeology","score_opus":0.1132734162210179,"score_gpt":0.3056988149894569,"score_spread":0.192425398768439,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2277671414","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026829122,0.02634169,0.00059787434,0.8735064,0.008430749,0.00018580089,0.00064611767,0.00010263542,0.06335956],"genre_scores_gemma":[0.25999692,0.027626017,0.0014692915,0.46840197,0.0039380435,0.0006902829,0.00038454085,0.0002719962,0.23722097],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99796426,0.00082149537,0.000085749576,0.0002676077,0.00041817382,0.000442752],"domain_scores_gemma":[0.996148,0.0016836548,0.00023742512,0.00008388598,0.00094374426,0.0009034229],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024083687,0.0005468462,0.0007334432,0.0015735128,0.011817781,0.0035882024,0.00090816594,0.004544936,0.01696661],"category_scores_gemma":[0.013497247,0.0004906441,0.0002589004,0.0018427663,0.0033550812,0.004465291,0.0021846562,0.00903445,0.004333285],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030499714,0.00003486673,0.0011954537,0.000093435985,0.000003303545,0.0012927947,0.04284766,0.000054225067,0.00019967865,0.007025308,0.9376673,0.009555374],"study_design_scores_gemma":[0.000004739904,0.000018789928,0.00110833,0.00024388188,0.00000263792,0.0009789389,0.10273894,0.00003498289,0.00014155511,0.0010790179,0.89362293,0.000025272917],"about_ca_topic_score_codex":0.057186007,"about_ca_topic_score_gemma":0.06345629,"teacher_disagreement_score":0.057186007,"about_ca_system_score_codex":0.007368688,"about_ca_system_score_gemma":0.005155471,"threshold_uncertainty_score":0.11370629},"labels":[],"label_agreement":null},{"id":"W2280125050","doi":"","title":"Governor General and Mr. Jean-Daniel Lafond to attend launch of the NFB’s 65 Years of Animation Celebrations in Toronto","year":2018,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Governor; Animation; Art; Media studies; Art history; Visual arts; Sociology; Engineering","score_opus":0.01926423910284082,"score_gpt":0.23313095639202472,"score_spread":0.21386671728918388,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2280125050","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008020709,0.018080236,0.0025037874,0.33437112,0.047740158,0.00021725894,0.00599364,0.0016555924,0.58141744],"genre_scores_gemma":[0.0137311565,0.00237254,0.0005441649,0.005937452,0.0014604339,0.000030156874,0.0006991622,0.000287425,0.9749375],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991233,0.00007561993,0.00001959092,0.0001700814,0.00041762585,0.00019388298],"domain_scores_gemma":[0.996336,0.00022997065,0.00014361936,0.000102021215,0.0015266195,0.0016618556],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011308677,0.00062623475,0.00048244555,0.0008636918,0.0051779514,0.0030696865,0.00047216847,0.0020085634,0.205531],"category_scores_gemma":[0.0040874057,0.00042950988,0.00024337019,0.000628719,0.0008416489,0.0013546371,0.0015129282,0.0037996972,0.07146706],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020954942,0.0000058486644,0.00039812544,0.000014607215,0.0000015852768,0.000057627552,0.00016178716,0.00002747672,0.000118703,0.0010176621,0.9918813,0.006294267],"study_design_scores_gemma":[0.0000027470762,0.000005866323,0.0013854052,0.00001906376,0.0000014040196,0.00005604904,0.0003829495,0.00003665935,0.000074017276,0.00008836297,0.9979406,0.0000068026206],"about_ca_topic_score_codex":0.24316408,"about_ca_topic_score_gemma":0.54726964,"teacher_disagreement_score":0.75683594,"about_ca_system_score_codex":0.005800986,"about_ca_system_score_gemma":0.0037399943,"threshold_uncertainty_score":0.68756974},"labels":[],"label_agreement":null},{"id":"W2281355140","doi":"","title":"Strange Sisters and Boy Kings: Post-Queer Tranz-Gendered Bodies in Performance","year":2005,"lang":"en","type":"article","venue":"Canadian women's studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Gender studies; Sociology; Art","score_opus":0.03118812454322753,"score_gpt":0.21552561576502222,"score_spread":0.18433749122179469,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2281355140","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91424555,0.00087224966,0.00010527577,0.01248171,0.000094926145,0.000011176742,0.00022178091,0.000007852339,0.07195945],"genre_scores_gemma":[0.9920963,0.00018400258,0.000020876814,0.00021099058,0.000020025673,0.0000028956613,0.00003344496,0.000007896757,0.0074236714],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99860555,0.00035072083,0.00002440715,0.00009810591,0.00022370825,0.00069756294],"domain_scores_gemma":[0.99556065,0.0011776105,0.0008768844,0.00013540097,0.0007433077,0.0015060632],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019161898,0.00015552077,0.00026652717,0.0016052398,0.0091462275,0.0059101414,0.00076782494,0.0015530502,0.013683891],"category_scores_gemma":[0.0077998564,0.00021524639,0.00014422576,0.0026628242,0.008084303,0.0027799732,0.0025633848,0.0025162846,0.0005540293],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00035022077,0.00014234669,0.12416923,0.00003966404,0.000024913044,0.0006050049,0.73402786,0.00008775038,0.0004321978,0.09744716,0.014057042,0.028616576],"study_design_scores_gemma":[0.000014842457,0.000035125177,0.29518303,0.00008491847,0.0000137833185,0.00009559174,0.6663701,0.000056966506,0.00016104215,0.0031919435,0.034764793,0.000027876198],"about_ca_topic_score_codex":0.7190923,"about_ca_topic_score_gemma":0.84320235,"teacher_disagreement_score":0.7190923,"about_ca_system_score_codex":0.01170462,"about_ca_system_score_gemma":0.007832253,"threshold_uncertainty_score":0.56512403},"labels":[],"label_agreement":null},{"id":"W2282176867","doi":"10.14288/1.0044955","title":"Making \"Dead birds\" : Chronicle of a Film : [book review]","year":2010,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"History; Art; Visual arts","score_opus":0.018053359585694505,"score_gpt":0.19158498124934903,"score_spread":0.17353162166365452,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2282176867","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00070913887,0.9264462,0.00028554242,0.021846943,0.0059437733,0.000031506373,0.00019675322,0.00003745587,0.04450267],"genre_scores_gemma":[0.0079059955,0.87901187,0.0007523782,0.014558877,0.0069836266,0.000059094193,0.00028792233,0.0001204138,0.0903198],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994836,0.00011399108,0.000027947002,0.00005765785,0.00025828186,0.00005837579],"domain_scores_gemma":[0.9972651,0.0015281372,0.00016978921,0.00006906153,0.0007855175,0.0001825184],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001128953,0.0008603664,0.0010448153,0.0033317413,0.001482791,0.0048069935,0.0011475016,0.0038778987,0.018303426],"category_scores_gemma":[0.0042488296,0.0004153841,0.0003450745,0.0046634953,0.0016530653,0.0033071751,0.0010345461,0.0032563643,0.0050530224],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020867432,0.000019648282,0.00007387092,0.0012670946,0.000013532261,0.000066516586,0.00047258098,0.00004267634,0.00017958041,0.0037667542,0.8480126,0.14606413],"study_design_scores_gemma":[0.0000041834155,0.000011692066,0.0006178507,0.0017754651,0.000011168347,0.00023176834,0.0003117838,0.000016761725,0.00008761452,0.0004293421,0.9964946,0.000007690232],"about_ca_topic_score_codex":0.037216492,"about_ca_topic_score_gemma":0.08970397,"teacher_disagreement_score":0.037216492,"about_ca_system_score_codex":0.0023616876,"about_ca_system_score_gemma":0.0032335478,"threshold_uncertainty_score":0.0739997},"labels":[],"label_agreement":null},{"id":"W2282988331","doi":"10.33137/q.i..v29i2.8455","title":"From Nestoroff to Garbo: Pirandellian Humour in Its Cinematic Vernacular. 29","year":2008,"lang":"en","type":"article","venue":"Quaderni d italianistica","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hollywood; Vernacular; Art; Identity (music); Literature; Movie theater; Context (archaeology); Modernism (music); Art history; History; Aesthetics","score_opus":0.058469288843935596,"score_gpt":0.248475815483523,"score_spread":0.1900065266395874,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2282988331","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.028315017,0.020526918,0.0015648028,0.02162446,0.0008421372,0.000023403065,0.00013272073,0.00009182221,0.9268787],"genre_scores_gemma":[0.82532823,0.007195201,0.0008378092,0.003184701,0.0008414642,0.00006160958,0.00006196265,0.00010563518,0.16238336],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994087,0.00038441463,0.000005955054,0.000056673907,0.000058612342,0.00008563497],"domain_scores_gemma":[0.99959713,0.00024120045,0.000039795472,0.000021386168,0.0000295411,0.0000709634],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00070728734,0.00043205265,0.00013679951,0.0006825579,0.0025443134,0.0039389282,0.00038715932,0.0008353338,0.0075439634],"category_scores_gemma":[0.0021095392,0.00012886844,0.000112312366,0.0005139778,0.004517435,0.0017795447,0.0013286695,0.0013173505,0.00093134353],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013065492,0.000037167614,0.001662772,0.00025177648,0.0000077857185,0.00065506453,0.14289661,0.00007282522,0.0006189194,0.6336743,0.1593389,0.060653247],"study_design_scores_gemma":[0.0000059676204,0.00001483624,0.0036817673,0.00024450835,0.0000039008946,0.00023537873,0.014964937,0.0000831279,0.00017077362,0.0072575603,0.9733313,0.0000059358626],"about_ca_topic_score_codex":0.013010935,"about_ca_topic_score_gemma":0.030183258,"teacher_disagreement_score":0.013010935,"about_ca_system_score_codex":0.0024582106,"about_ca_system_score_gemma":0.0006287112,"threshold_uncertainty_score":0.025870442},"labels":[],"label_agreement":null},{"id":"W2286984105","doi":"","title":"Research guides: CIN201: Film Cultures 1: Art & Industry: Primary Sources: Other Toronto Libraries (TIFF, TPL)","year":2013,"lang":"en","type":"libguides","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Library science; Computer graphics (images); Computer science; Art","score_opus":0.0765126473405573,"score_gpt":0.2915951009308217,"score_spread":0.2150824535902644,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2286984105","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001030433,0.0014320335,0.00072243845,0.0015621214,0.0004983639,0.00077042176,0.2561601,0.0021409688,0.73568314],"genre_scores_gemma":[0.0050834063,0.0020067275,0.0017805243,0.0002658075,0.00021814929,0.0010109144,0.08437817,0.0020112358,0.90324503],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988174,0.00017120804,0.000089578665,0.00016587153,0.000592041,0.00016392813],"domain_scores_gemma":[0.9820098,0.0028010998,0.000703949,0.000987343,0.011070754,0.0024269845],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0021078545,0.0011749992,0.0009275896,0.012186278,0.0036199084,0.007214035,0.001661008,0.0012074059,0.7380373],"category_scores_gemma":[0.015499872,0.0012084737,0.00040837663,0.022520624,0.000723679,0.0041739354,0.00243064,0.0012953336,0.4473306],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015321488,0.000013427693,0.00028199304,0.0002908768,0.0000011020996,0.0000075261855,0.00022392512,0.000030358684,0.000028130182,0.0010189719,0.97244215,0.025646104],"study_design_scores_gemma":[0.00001121021,0.0000125578335,0.006201021,0.0005597394,0.000005380349,0.000019825984,0.0008490689,0.00006619354,0.00021749546,0.00054792414,0.991499,0.000010544041],"about_ca_topic_score_codex":0.26657268,"about_ca_topic_score_gemma":0.4953058,"teacher_disagreement_score":0.7380373,"about_ca_system_score_codex":0.01023021,"about_ca_system_score_gemma":0.018560154,"threshold_uncertainty_score":0.5300421},"labels":[],"label_agreement":null},{"id":"W2290560030","doi":"","title":"Film Manifestos and Global Cinema Cultures ed. by Scott MacKenzie (review)","year":2015,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Manifesto; Movie theater; Hollywood; Art history; Auteur theory; Colonialism; Film studies; Literature; History; Subject (documents); Art; Media studies; Sociology; Law; Political science; Library science; Computer science","score_opus":0.043982286047262086,"score_gpt":0.26898134585469885,"score_spread":0.22499905980743676,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2290560030","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00002879165,0.9949044,0.000018522853,0.0024970204,0.0011312766,0.000005410198,0.000021648451,0.0000041463945,0.0013886864],"genre_scores_gemma":[0.000583791,0.9936376,0.000057160665,0.0017257842,0.0013922951,0.000019951325,0.00005865285,0.0000064345318,0.0025183503],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992811,0.00020222734,0.00008752032,0.00010206005,0.0002512961,0.000075678116],"domain_scores_gemma":[0.9987451,0.0005280967,0.00018008518,0.000039989452,0.0003738875,0.00013280485],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015665389,0.0014171368,0.0012135775,0.0035667177,0.00079277396,0.0044918843,0.0011827929,0.0017418069,0.013925867],"category_scores_gemma":[0.0034855732,0.00066999695,0.00063220406,0.004043453,0.0014435442,0.005363309,0.0021345448,0.0039802413,0.006661253],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032176486,0.000025193742,0.00012566442,0.008645648,0.000042853626,0.000090972295,0.00057965616,0.000059204875,0.0001731069,0.003498352,0.71308964,0.27363765],"study_design_scores_gemma":[0.000008795572,0.000012885192,0.0005729642,0.007824318,0.000017818009,0.0002371488,0.00025875636,0.000012077971,0.000035282923,0.00045815323,0.99055207,0.000009830631],"about_ca_topic_score_codex":0.011040898,"about_ca_topic_score_gemma":0.01094031,"teacher_disagreement_score":0.013925867,"about_ca_system_score_codex":0.0023290738,"about_ca_system_score_gemma":0.003733403,"threshold_uncertainty_score":0.046586692},"labels":[],"label_agreement":null},{"id":"W229193929","doi":"10.3138/cjfs.13.1.2","title":"Room-for-Play: Beniamin's Gamble with Cinema the Martin Walsh Memorial Lecture 2003 Résumé:","year":2004,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; ESPACE; Art history","score_opus":0.027887990726326833,"score_gpt":0.23182862349029465,"score_spread":0.20394063276396782,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W229193929","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.046678763,0.015532342,0.0025325415,0.07654911,0.0021986845,0.00005299122,0.000052892923,0.00009877195,0.8563039],"genre_scores_gemma":[0.58495164,0.008259885,0.0017160011,0.003535862,0.0005226714,0.00007871803,0.000039008,0.0001214744,0.40077487],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992167,0.00045573738,0.000008908018,0.00006244046,0.00009219402,0.0001640262],"domain_scores_gemma":[0.9993216,0.0002931024,0.000043057527,0.000024670013,0.00005633526,0.00026130525],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012131406,0.00039464165,0.00023243074,0.00037768978,0.0047870185,0.0052610594,0.00054418447,0.0015979277,0.03513027],"category_scores_gemma":[0.0031104553,0.00019492628,0.00014643016,0.00036870208,0.0031109508,0.0031827027,0.002463955,0.0025840632,0.002747456],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019358919,0.00015078431,0.0016382356,0.00017353595,0.000009623061,0.00048829126,0.04453282,0.00031316798,0.00041418124,0.52560765,0.30020177,0.12627639],"study_design_scores_gemma":[0.000014707249,0.00004186087,0.0019911996,0.00035208237,0.0000051211705,0.00019133279,0.022533068,0.00043788474,0.00024771946,0.027521664,0.9466488,0.0000144792475],"about_ca_topic_score_codex":0.014943224,"about_ca_topic_score_gemma":0.038595192,"teacher_disagreement_score":0.98505676,"about_ca_system_score_codex":0.0042253896,"about_ca_system_score_gemma":0.0016822026,"threshold_uncertainty_score":0.11752242},"labels":[],"label_agreement":null},{"id":"W2292168419","doi":"10.1525/fq.2015.69.2.5","title":"Evidence of Visibility","year":2015,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Visibility; Visual arts; Art; State (computer science); Media studies; Geography; History; Meteorology; Computer science; Sociology; Movie theater; Algorithm","score_opus":0.10862365405141702,"score_gpt":0.2716748855635918,"score_spread":0.1630512315121748,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2292168419","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29770675,0.036387403,0.0020032157,0.11261519,0.0024460352,0.00013749811,0.02769707,0.00019563641,0.52081114],"genre_scores_gemma":[0.9790983,0.004793444,0.00022691753,0.0030388518,0.0012017499,0.000029692694,0.0023875197,0.000100914294,0.009122583],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9872465,0.0026543466,0.0010858318,0.0020293735,0.004944854,0.0020391224],"domain_scores_gemma":[0.7265069,0.13618757,0.06321891,0.018730927,0.0376629,0.017692823],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0066748317,0.00020804412,0.0005579354,0.0036595403,0.0017368706,0.009789334,0.0018551808,0.001755826,0.047872808],"category_scores_gemma":[0.18574215,0.0002594292,0.00037783614,0.006786209,0.0028507647,0.0063772798,0.003555584,0.002893835,0.003693676],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0012939796,0.00019575961,0.48300418,0.0023811245,0.0004476664,0.0012140492,0.012259732,0.00026410326,0.0005333082,0.12427761,0.25290668,0.12122186],"study_design_scores_gemma":[0.00013949754,0.00019547867,0.62364805,0.003165219,0.00024947844,0.0010308062,0.014096407,0.00042221902,0.0007358695,0.025420448,0.33081794,0.000078641475],"about_ca_topic_score_codex":0.028481774,"about_ca_topic_score_gemma":0.022631105,"teacher_disagreement_score":0.047872808,"about_ca_system_score_codex":0.002098143,"about_ca_system_score_gemma":0.0049835276,"threshold_uncertainty_score":0.16015053},"labels":[],"label_agreement":null},{"id":"W2294650471","doi":"10.3138/md.0598r","title":"Performing Catastrophe: Erwin Piscator’s Documentary Theatre","year":2016,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Dramaturgy; Political theatre; Argument (complex analysis); Art; Theatre director; Documentary evidence; Visual arts; History; Literature; Art history; Aesthetics; Law; Political science","score_opus":0.017009681130515535,"score_gpt":0.21050714479002489,"score_spread":0.19349746365950934,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2294650471","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11069485,0.0040261615,0.013684725,0.07055848,0.0033413882,0.000069447146,0.00023091897,0.00022116821,0.7971729],"genre_scores_gemma":[0.8500121,0.0020937133,0.002909716,0.0027513076,0.00067299634,0.00006351353,0.00008984836,0.00018105835,0.14122571],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986721,0.00076038163,0.000024358435,0.00013150551,0.0002472517,0.00016439112],"domain_scores_gemma":[0.9987858,0.00072746305,0.000078423465,0.00011730719,0.00013041163,0.00016055352],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011930134,0.00036769785,0.00016275364,0.000667172,0.006969615,0.007698805,0.00071234116,0.0013219574,0.008672115],"category_scores_gemma":[0.0040492117,0.00017031534,0.00015072715,0.00074482063,0.008431463,0.003571417,0.00345518,0.00302576,0.0010389077],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007730992,0.000039689457,0.00067685824,0.000070094655,0.0000059797558,0.00065607106,0.0730416,0.0004684793,0.0005161164,0.71566176,0.17847846,0.030307526],"study_design_scores_gemma":[0.0000087363105,0.000024173682,0.0009311376,0.00010775899,0.0000032586543,0.0004538472,0.030659165,0.00055330386,0.0005554459,0.03241557,0.934259,0.000028614188],"about_ca_topic_score_codex":0.008940354,"about_ca_topic_score_gemma":0.016367227,"teacher_disagreement_score":0.008940354,"about_ca_system_score_codex":0.0030400092,"about_ca_system_score_gemma":0.0012679888,"threshold_uncertainty_score":0.02901113},"labels":[],"label_agreement":null},{"id":"W2295226384","doi":"10.1177/1329878x0411300114","title":"A Comparative Analysis of Australian Film Assistance, 1997–2001","year":2004,"lang":"en","type":"article","venue":"Media International Australia","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Project commissioning; Political science; Publishing; Engineering; Visual arts; Art; Law","score_opus":0.10359395304136285,"score_gpt":0.3154952632200272,"score_spread":0.21190131017866434,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2295226384","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96289515,0.0036047217,0.00019356971,0.0010413507,0.000042313128,0.00008316267,0.0033495256,0.000019840372,0.028770268],"genre_scores_gemma":[0.97388124,0.0035488014,0.00042082331,0.00019352243,0.000043823897,0.00011704954,0.0040672272,0.000015922782,0.01771164],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9979766,0.000493188,0.00014479567,0.00015673054,0.0008675809,0.0003610285],"domain_scores_gemma":[0.9926037,0.0008710081,0.002277634,0.0002788765,0.0033915506,0.00057717145],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001712886,0.00031728094,0.0003592486,0.0067449994,0.0012068022,0.0014797188,0.0007654236,0.00045546223,0.0039828336],"category_scores_gemma":[0.010344083,0.0003287585,0.00026739994,0.01537948,0.0004719572,0.0010553141,0.0016275962,0.00067609025,0.0005847014],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0023456593,0.0007503382,0.4558323,0.003992394,0.00082144653,0.0026399014,0.091349155,0.0030045316,0.004054768,0.016270228,0.053248182,0.36569104],"study_design_scores_gemma":[0.0000049400423,0.000059643076,0.9763333,0.000052822037,0.000030306686,0.00009766199,0.0043858215,0.00017995917,0.0001036332,0.0000698866,0.018675162,0.0000068372083],"about_ca_topic_score_codex":0.24183388,"about_ca_topic_score_gemma":0.42424005,"teacher_disagreement_score":0.24183388,"about_ca_system_score_codex":0.0056553804,"about_ca_system_score_gemma":0.0034553143,"threshold_uncertainty_score":0.48085248},"labels":[],"label_agreement":null},{"id":"W2296825197","doi":"10.7834/phoenix.67.1-2.0081","title":"THE IRREDUCIBILITY OF MYTH: PLATO'S PHAEDRUS, APOLLO, ADMETUS, AND THE PROBLEM OF PEDERASTIC HIERARCHY","year":2013,"lang":"en","type":"article","venue":"Phoenix","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Apollo; Irreducibility; Mythology; Hierarchy; Philosophy; Mathematics; Literature; Art; Epistemology; Law; Political science","score_opus":0.01696440766862544,"score_gpt":0.20663791869676965,"score_spread":0.1896735110281442,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2296825197","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21513674,0.016570488,0.019181574,0.09709852,0.0020994481,0.00003290888,0.000071805334,0.00006737534,0.64974123],"genre_scores_gemma":[0.9866736,0.0016556227,0.0008860013,0.001347607,0.00046095517,0.000017460738,0.000010257867,0.000027343356,0.008921148],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99864036,0.0008605451,0.000029571818,0.0001528363,0.00019486062,0.00012186754],"domain_scores_gemma":[0.9979709,0.0015100737,0.00015067255,0.00016843912,0.00010017028,0.00009967113],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002631027,0.00032096863,0.00027341544,0.00094543165,0.003613432,0.0066791954,0.00057846017,0.001554632,0.00238651],"category_scores_gemma":[0.004951657,0.00016350493,0.00016235435,0.000629515,0.034783516,0.0071602524,0.003160566,0.0039633955,0.00020422046],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000067814026,0.0000026872058,0.000061279396,0.000009398217,6.756701e-7,0.000030617422,0.013255285,0.00003311076,0.00003080763,0.9836975,0.00087448634,0.00199746],"study_design_scores_gemma":[0.000014598142,0.000017249078,0.00045712898,0.00017087194,0.0000042263105,0.000121747114,0.016592056,0.00039508563,0.00020088658,0.86231595,0.11969952,0.000010639443],"about_ca_topic_score_codex":0.0016789952,"about_ca_topic_score_gemma":0.0012922105,"teacher_disagreement_score":0.0066791954,"about_ca_system_score_codex":0.0028922118,"about_ca_system_score_gemma":0.0014087377,"threshold_uncertainty_score":0.02098453},"labels":[],"label_agreement":null},{"id":"W2296881184","doi":"","title":"The Official Picture: The National Film Board of Canada's Still Photography Division and the Image of Canada, 1941–1971 by Carol Payne (review)","year":2014,"lang":"en","type":"article","venue":"British Journal of Canadian Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Division (mathematics); Photography; History; Media studies; Genealogy; Political science; Art history; Visual arts; Sociology; Art; Arithmetic; Mathematics","score_opus":0.011027275662925383,"score_gpt":0.19628059860422578,"score_spread":0.1852533229413004,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2296881184","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010554396,0.9244715,0.00009814216,0.045712058,0.006902398,0.000020802161,0.0011362503,0.000019669169,0.020583825],"genre_scores_gemma":[0.030277532,0.889754,0.00036959795,0.012002631,0.0037652173,0.000029206125,0.0013294966,0.00004716901,0.062425163],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99848914,0.00010580225,0.00005860886,0.0001336609,0.00093289657,0.00027989296],"domain_scores_gemma":[0.9939383,0.00045962585,0.00034608576,0.00009761313,0.0044422997,0.00071600033],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001463965,0.00087505905,0.0006339399,0.004029438,0.0043250327,0.006111762,0.0013872901,0.0022683977,0.01443704],"category_scores_gemma":[0.006154972,0.0005096102,0.00032803995,0.0077820234,0.0038332155,0.0029936044,0.0015992009,0.0039077085,0.0022346016],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029269278,0.000011260126,0.001018379,0.001142916,0.000022594373,0.000071317554,0.0006740505,0.00007802991,0.000080499776,0.0042313635,0.89204544,0.10059475],"study_design_scores_gemma":[0.000006262573,0.000004501244,0.011576015,0.0020520876,0.000026073882,0.00009663907,0.0013592672,0.000019044159,0.000076452976,0.00030278054,0.98445845,0.000022418475],"about_ca_topic_score_codex":0.97346187,"about_ca_topic_score_gemma":0.9863869,"teacher_disagreement_score":0.040824536,"about_ca_system_score_codex":0.040824536,"about_ca_system_score_gemma":0.09265255,"threshold_uncertainty_score":0.2962041},"labels":[],"label_agreement":null},{"id":"W2298455321","doi":"10.1080/10509208.2015.1135673","title":"Fourth Formation Cinema and Aboriginal Australian/Aboriginal Canadian Sovereignty","year":2016,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Government of Canada; Australian Government; Government of the United Kingdom","keywords":"Movie theater; Mainstream; Resistance (ecology); Colonialism; Ideology; Politics; Sovereignty; Media studies; Art; Art history; History; Gender studies; Sociology; Political science; Archaeology; Law","score_opus":0.0176734557518708,"score_gpt":0.25610988751140473,"score_spread":0.23843643175953394,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2298455321","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27958995,0.026268968,0.00075332663,0.07202343,0.000792605,0.000031947584,0.0004136492,0.000029912197,0.6200962],"genre_scores_gemma":[0.95599186,0.006084455,0.00032462217,0.002149638,0.00015971114,0.000009698214,0.00008554446,0.000014486296,0.03518009],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9993075,0.00018463805,0.000014336021,0.000070863796,0.00017052438,0.00025226083],"domain_scores_gemma":[0.99715936,0.0006402042,0.00038297958,0.00011540165,0.0009841478,0.0007179183],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016498342,0.00015863772,0.00016572466,0.0013517155,0.0058428883,0.005768412,0.00052595296,0.000940085,0.01691446],"category_scores_gemma":[0.004515705,0.00011663917,0.00016400458,0.0013863768,0.0062682354,0.0018254165,0.0015120662,0.0018487903,0.00039446767],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001425144,0.0000860193,0.037699595,0.0003480863,0.000052908148,0.0007334898,0.21001974,0.00021036228,0.0008880535,0.5854551,0.079167575,0.08519657],"study_design_scores_gemma":[0.00002058222,0.000048514554,0.1680526,0.0010665347,0.00007737122,0.00044533642,0.14870347,0.00037088426,0.00042635947,0.021259412,0.65946966,0.000059275695],"about_ca_topic_score_codex":0.8468265,"about_ca_topic_score_gemma":0.8868074,"teacher_disagreement_score":0.1531735,"about_ca_system_score_codex":0.014323884,"about_ca_system_score_gemma":0.012130696,"threshold_uncertainty_score":0.30815113},"labels":[],"label_agreement":null},{"id":"W2299930932","doi":"10.14288/1.0102661","title":"Multicultural women's films: Resisting current stereotypes","year":2009,"lang":"en","type":"article","venue":"Open Collections","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Multiculturalism; Political science; Gender studies; Sociology; Law","score_opus":0.04339954883293801,"score_gpt":0.26535278595694106,"score_spread":0.22195323712400306,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2299930932","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6753881,0.0027608622,0.00080039183,0.026362179,0.0010148337,0.00006464448,0.00006873256,0.000053461838,0.29348677],"genre_scores_gemma":[0.9762481,0.0009491546,0.00030653173,0.002746415,0.0002466187,0.000024960586,0.000024054318,0.00004037105,0.019413777],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99555075,0.0028384204,0.00009391264,0.00028089806,0.0006441261,0.0005920627],"domain_scores_gemma":[0.99249154,0.0033571518,0.0010108795,0.0007087008,0.0011015835,0.0013301466],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0060145073,0.0004436919,0.0003257397,0.0013504929,0.014115372,0.009692705,0.0009230935,0.0015854208,0.010985606],"category_scores_gemma":[0.014146227,0.0003171485,0.00020812862,0.00094459293,0.006486349,0.003483004,0.006417397,0.0030441366,0.000914378],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013330545,0.00010126037,0.012062698,0.00014927652,0.000022650658,0.0008905051,0.8937229,0.000021937174,0.0015236314,0.018581973,0.019524554,0.0532654],"study_design_scores_gemma":[0.000027963259,0.000090754016,0.011972165,0.00025525325,0.000023865266,0.0006067846,0.7945901,0.000067919784,0.0008149158,0.002907027,0.18861945,0.000023813021],"about_ca_topic_score_codex":0.008593298,"about_ca_topic_score_gemma":0.015444849,"teacher_disagreement_score":0.014115372,"about_ca_system_score_codex":0.001817098,"about_ca_system_score_gemma":0.0014463016,"threshold_uncertainty_score":0.036750555},"labels":[],"label_agreement":null},{"id":"W2303597373","doi":"10.14288/1.0070849","title":"Productive tensions : a theory of documentary theatre","year":2009,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Documentary evidence; Visual arts; Art; History; Sociology; Linguistics; Epistemology; Philosophy; Archaeology","score_opus":0.012810967880451657,"score_gpt":0.16832496657589957,"score_spread":0.1555139986954479,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2303597373","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04638034,0.0044184043,0.12082313,0.010151872,0.00061949826,0.0001348588,0.00018469912,0.0001394456,0.81714773],"genre_scores_gemma":[0.95078415,0.0016552382,0.018941898,0.0005546374,0.00041434067,0.0002761594,0.0001528774,0.00010795732,0.027112724],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.996729,0.0017430272,0.00012627356,0.0003578298,0.00059021206,0.0004536686],"domain_scores_gemma":[0.99608046,0.0022944128,0.00038795435,0.00041825054,0.00044487818,0.0003740757],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025463218,0.00067950704,0.0004432047,0.0025916463,0.006027354,0.013840271,0.0022262807,0.00314997,0.012996784],"category_scores_gemma":[0.0069517866,0.00046514676,0.00082351523,0.0026444383,0.021153225,0.013307117,0.0040523284,0.0037190665,0.0013926082],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000046222503,0.000005607113,0.000053351636,0.000015015748,0.0000011199435,0.0000190788,0.0027111927,0.00016877438,0.00002708992,0.99502385,0.00043597902,0.0015343542],"study_design_scores_gemma":[0.000026440975,0.000025760084,0.00025189246,0.00014120323,0.000009221033,0.0001511455,0.007235047,0.0042915484,0.00013297176,0.9406757,0.04704092,0.000018096847],"about_ca_topic_score_codex":0.005276166,"about_ca_topic_score_gemma":0.0023792936,"teacher_disagreement_score":0.013840271,"about_ca_system_score_codex":0.008499625,"about_ca_system_score_gemma":0.0021494185,"threshold_uncertainty_score":0.06166935},"labels":[],"label_agreement":null},{"id":"W2303718406","doi":"10.1093/fs/knw019","title":"A Companion to Jean-Luc Godard <i>A Companion to Jean-Luc Godard</i> . Edited by T <scp>om</scp> C <scp>onley</scp> and T. J <scp>efferson</scp> K <scp>line</scp> . (Wiley-Blackwell Companions to Film Directors, 10.) Chichester: Wiley-Blackwell, 2014. xiv + 560 pp., ill.","year":2016,"lang":"en","type":"article","venue":"French Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Art; Explication; Film director; Art history; Humanities; Reading (process); Movie theater; Philosophy; Linguistics","score_opus":0.024364223313031962,"score_gpt":0.23980618717422658,"score_spread":0.21544196386119463,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2303718406","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023882422,0.28401804,0.0034152842,0.0732897,0.10682931,0.00013785152,0.0015541981,0.0012966235,0.52707076],"genre_scores_gemma":[0.0055448627,0.03458786,0.001316024,0.0052404143,0.010309303,0.00005246089,0.00043240946,0.0006290362,0.9418877],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994097,0.00013622749,0.000023568155,0.00015327253,0.00023006846,0.0000472084],"domain_scores_gemma":[0.99894553,0.00023414679,0.00008024279,0.00006120586,0.00039084413,0.00028806977],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006381859,0.0011966029,0.0007547774,0.0016340114,0.0022228453,0.0047342475,0.0007670635,0.0015707681,0.16152391],"category_scores_gemma":[0.0028512336,0.0005337425,0.0003388006,0.001537584,0.00086974486,0.004541647,0.0024053736,0.0031538457,0.08061574],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008479485,0.000010062658,0.000042272586,0.00007977054,0.0000019304885,0.000044811448,0.00048530885,0.000013863139,0.0001683364,0.0022359556,0.96968293,0.027226275],"study_design_scores_gemma":[8.496217e-7,0.0000030691324,0.00011802987,0.000077244156,6.8104504e-7,0.000068679445,0.00017882249,0.00001016951,0.000027592416,0.00021327674,0.9992994,0.0000021772375],"about_ca_topic_score_codex":0.006426638,"about_ca_topic_score_gemma":0.010908222,"teacher_disagreement_score":0.16152391,"about_ca_system_score_codex":0.0019003936,"about_ca_system_score_gemma":0.0015907964,"threshold_uncertainty_score":0.5403513},"labels":[],"label_agreement":null},{"id":"W2304392733","doi":"","title":"Hot Docs: The Toronto Documentary Forum - Two Perspectives","year":2000,"lang":"en","type":"article","venue":"Metro Magazine: Media & Education Magazine","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Media studies; Documentary evidence; Documentary film; History; Visual arts; Political science; Sociology; Art; Law","score_opus":0.01445223912360955,"score_gpt":0.25748370138071514,"score_spread":0.2430314622571056,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2304392733","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0072541237,0.05447884,0.00033241426,0.5654388,0.04115844,0.00011966559,0.0041012955,0.00016939097,0.3269471],"genre_scores_gemma":[0.063113496,0.017535362,0.00045797063,0.05238376,0.020899052,0.00011660917,0.0015886889,0.00034713745,0.84355783],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9949557,0.0005074363,0.00012367692,0.00026212036,0.0021183705,0.0020327058],"domain_scores_gemma":[0.9895158,0.001697244,0.0007090756,0.0003143061,0.0025593964,0.005204256],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004716175,0.0013160933,0.00081033213,0.0035828296,0.020093456,0.034170024,0.0025751267,0.014294398,0.08585432],"category_scores_gemma":[0.008357667,0.0007285328,0.00062103046,0.007276628,0.005213954,0.0063477335,0.005354601,0.009560871,0.010814755],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028833345,0.000013303781,0.00025309675,0.00007741079,0.0000035289283,0.000115599425,0.0016062123,0.000021839589,0.000076057666,0.010610012,0.98317873,0.004015406],"study_design_scores_gemma":[0.000008440816,0.000004958608,0.0017677329,0.00012338176,0.0000046722225,0.000018876919,0.0040627215,0.000020969725,0.000045268655,0.0004989937,0.99342865,0.000015331218],"about_ca_topic_score_codex":0.7125633,"about_ca_topic_score_gemma":0.90666807,"teacher_disagreement_score":0.28743672,"about_ca_system_score_codex":0.050477613,"about_ca_system_score_gemma":0.04801082,"threshold_uncertainty_score":0.578259},"labels":[],"label_agreement":null},{"id":"W2304452009","doi":"","title":"Mary Pickford: Canada's Silent Siren, America's Sweetheart","year":2013,"lang":"en","type":"article","venue":"Canadian women's studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Siren (mythology); Humanity; Biography; Sociology; Art; Law; Literature; Political science","score_opus":0.01988806281569999,"score_gpt":0.20110012431382063,"score_spread":0.18121206149812064,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2304452009","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008671744,0.068941,0.00035282772,0.10826013,0.01822148,0.000054839697,0.0012972747,0.00033172706,0.793869],"genre_scores_gemma":[0.055833034,0.023788244,0.00029258712,0.014966295,0.0013465388,0.000025338877,0.0003870771,0.00029689385,0.9030641],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993717,0.00004332624,0.0000088923025,0.000070730945,0.00027776023,0.00022757925],"domain_scores_gemma":[0.99898154,0.000045541186,0.000026282667,0.00001906073,0.00037501656,0.00055250834],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00034911212,0.0007584044,0.0002711766,0.0009250239,0.018131366,0.009816429,0.00080803083,0.0026366261,0.09262941],"category_scores_gemma":[0.0011573011,0.00033492775,0.00017651508,0.0017562163,0.0028933522,0.0026136031,0.0025934784,0.0034565479,0.0127704535],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008613311,0.000004619334,0.00024201609,0.00004972716,0.0000015777251,0.00016726546,0.0037980925,0.000012643157,0.00014493176,0.0053855414,0.9798891,0.010295835],"study_design_scores_gemma":[9.401764e-7,0.000001401774,0.00068511255,0.00007720475,0.0000012865795,0.00006713911,0.00405735,0.000005299405,0.000037933274,0.000093475945,0.9949668,0.0000059989916],"about_ca_topic_score_codex":0.9261514,"about_ca_topic_score_gemma":0.983255,"teacher_disagreement_score":0.09262941,"about_ca_system_score_codex":0.031812955,"about_ca_system_score_gemma":0.028342662,"threshold_uncertainty_score":0.3098762},"labels":[],"label_agreement":null},{"id":"W23064664","doi":"10.1007/s00267-012-9957-8","title":"Oblique Views: Artistic Doubling, Ironic Mirroring and Photomontage in the Works of Norah Lange and Norah Borges","year":2005,"lang":"en","type":"article","venue":"Revista Canadiense de Estudios Hispánicos","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mirroring; Oblique case; Geology; Sociology; Philosophy; Communication; Linguistics","score_opus":0.030445727771578654,"score_gpt":0.23942541329761238,"score_spread":0.20897968552603374,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W23064664","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004191879,0.03468539,0.006795794,0.08656817,0.11630753,0.0000933534,0.0010919684,0.0012409833,0.749025],"genre_scores_gemma":[0.048625536,0.013428048,0.006216552,0.0066733574,0.022180967,0.00008397986,0.00028270908,0.0010035504,0.9015054],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937856,0.00021887505,0.000023713557,0.00012077646,0.0001999036,0.000058168163],"domain_scores_gemma":[0.9990355,0.000312875,0.00006198355,0.00017798439,0.00019975266,0.00021207888],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011586198,0.0010493766,0.0004531371,0.0015366127,0.0028641422,0.0029019695,0.0007504205,0.0011528356,0.11900082],"category_scores_gemma":[0.0030783566,0.00027021547,0.00043962308,0.000774272,0.00313525,0.0022013267,0.0033535408,0.00227632,0.03319054],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004084113,0.000015937796,0.00020757258,0.00009641108,0.0000053871663,0.00017157686,0.0015901679,0.00007612522,0.00038725522,0.020549003,0.9257725,0.05108711],"study_design_scores_gemma":[0.0000019462952,0.000002888492,0.00018318223,0.00005720565,0.0000014129276,0.00015373253,0.00029257254,0.000024508574,0.00005247498,0.0009859268,0.9982412,0.000002965197],"about_ca_topic_score_codex":0.0063444325,"about_ca_topic_score_gemma":0.018244902,"teacher_disagreement_score":0.11900082,"about_ca_system_score_codex":0.0013975298,"about_ca_system_score_gemma":0.00086366746,"threshold_uncertainty_score":0.3980974},"labels":[],"label_agreement":null},{"id":"W2308294497","doi":"","title":"Risk and Capitalist Power: Conceptual Tools for Studying the Political Economy of Hollywood","year":2016,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Hollywood; Movie theater; Earnings; Order (exchange); Politics; Economics; Power (physics); Sociology; Economy; Political science; History; Law; Art history; Finance","score_opus":0.04851341531312227,"score_gpt":0.23663286257198432,"score_spread":0.18811944725886204,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2308294497","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17627516,0.006782525,0.34257516,0.016885431,0.00022610638,0.00015685472,0.0001994071,0.000078414836,0.4568209],"genre_scores_gemma":[0.98404896,0.00099442,0.008264211,0.00024217862,0.00026243227,0.000107294676,0.000026091959,0.000026448108,0.0060280324],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9989372,0.00050216226,0.0000319182,0.00014594397,0.0002362551,0.00014651586],"domain_scores_gemma":[0.99447095,0.003667641,0.0008612803,0.00036032667,0.00022418097,0.0004156642],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028122438,0.00053659827,0.00041236175,0.0027322944,0.002133982,0.0049323933,0.0009833983,0.0013027132,0.0063568503],"category_scores_gemma":[0.0075236834,0.00025717338,0.00042961823,0.002248076,0.015235253,0.00895934,0.0024000886,0.0028569782,0.0003297966],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003759724,0.0000064566734,0.0004030225,0.000005353516,0.0000017302261,0.00001991597,0.00063567184,0.00039326007,0.00002613836,0.9970188,0.00012104249,0.0013648361],"study_design_scores_gemma":[0.0000041812723,0.000009136972,0.0008882031,0.00002162149,0.0000026904772,0.00002826821,0.0006345995,0.0028929743,0.000061666186,0.9890723,0.00637806,0.000006291426],"about_ca_topic_score_codex":0.0021194515,"about_ca_topic_score_gemma":0.001720597,"teacher_disagreement_score":0.0063568503,"about_ca_system_score_codex":0.0038385228,"about_ca_system_score_gemma":0.00088173134,"threshold_uncertainty_score":0.027850568},"labels":[],"label_agreement":null},{"id":"W2312248707","doi":"10.1386/jepc.5.1.59_1","title":"Transnational connections in European crime film series (1908–1914)","year":2014,"lang":"en","type":"article","venue":"Journal of European Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"Arts and Humanities Research Council","keywords":"Movie theater; Modernization theory; Ethos; Ideology; Globalization; Sociology; History; Economic history; Art history; Political science; Law","score_opus":0.025691904135629186,"score_gpt":0.2190646099829024,"score_spread":0.1933727058472732,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2312248707","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62358093,0.008044556,0.000562483,0.004979159,0.0011950359,0.000039382536,0.0024003324,0.000048065514,0.35914996],"genre_scores_gemma":[0.97280437,0.001741632,0.000119530356,0.00013447185,0.00035060768,0.000015558573,0.0004472026,0.000034413875,0.02435218],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9992938,0.00028517222,0.000037112528,0.000101410325,0.00014017559,0.00014226644],"domain_scores_gemma":[0.9982022,0.0007108477,0.00038401387,0.00013146632,0.00037456557,0.00019684473],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008536515,0.0003504062,0.00023067996,0.0036150238,0.0016556957,0.0038609656,0.00030641188,0.0005852239,0.01847024],"category_scores_gemma":[0.003714599,0.00013669,0.00011717471,0.0036207426,0.0015603699,0.0016969014,0.0014938172,0.00090296747,0.0009951798],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00084464735,0.00034637508,0.060612157,0.0010310382,0.00015065022,0.003890528,0.21627173,0.0007554489,0.0020616006,0.33487013,0.18550137,0.19366431],"study_design_scores_gemma":[0.00001710695,0.000090589274,0.17424583,0.0005547959,0.00003445773,0.0014760037,0.05106083,0.00034580313,0.0013002024,0.0018902494,0.7689482,0.00003593067],"about_ca_topic_score_codex":0.009124284,"about_ca_topic_score_gemma":0.012209541,"teacher_disagreement_score":0.01847024,"about_ca_system_score_codex":0.0019913702,"about_ca_system_score_gemma":0.0003522297,"threshold_uncertainty_score":0.061789095},"labels":[],"label_agreement":null},{"id":"W2312293853","doi":"10.1386/sfc.11.1.71_1","title":"Negative ethics: The missed event in the French films of Michael Haneke","year":2011,"lang":"en","type":"article","venue":"Studies in French Cinema","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Documentary film; Event (particle physics); History; Art; Art history; Physics; Astrophysics","score_opus":0.16767999607576703,"score_gpt":0.30743676843710777,"score_spread":0.13975677236134074,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2312293853","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6744753,0.010055504,0.001984288,0.13517301,0.0012477322,0.000029244953,0.00016915117,0.000064279186,0.17680153],"genre_scores_gemma":[0.985148,0.00087493315,0.00016134074,0.001960289,0.00022691344,0.0000072082476,0.000012199671,0.000017864182,0.011591262],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99781466,0.001565041,0.000017986997,0.000119185635,0.00018821766,0.00029494424],"domain_scores_gemma":[0.9971173,0.0018315329,0.0004031002,0.000070854825,0.00027617833,0.00030114577],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017650233,0.00048171217,0.0003014702,0.0007913788,0.007396535,0.006416114,0.00040794103,0.0023423054,0.0038499392],"category_scores_gemma":[0.005143709,0.00018045129,0.0001868775,0.0004494482,0.0075894385,0.00254038,0.0013705975,0.0024663378,0.00023108414],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021467243,0.00008703379,0.0060228733,0.00019325539,0.00003709219,0.0052069672,0.68175125,0.00038839213,0.001903302,0.22203399,0.058578763,0.023582414],"study_design_scores_gemma":[0.00001910057,0.00007909721,0.017856684,0.0004234744,0.000018704997,0.002294726,0.3490527,0.000505519,0.00089249277,0.010041172,0.61874175,0.00007451372],"about_ca_topic_score_codex":0.051250935,"about_ca_topic_score_gemma":0.06146486,"teacher_disagreement_score":0.051250935,"about_ca_system_score_codex":0.008188483,"about_ca_system_score_gemma":0.00091159344,"threshold_uncertainty_score":0.10190523},"labels":[],"label_agreement":null},{"id":"W2313066366","doi":"10.1386/public.24.47.142_1","title":"Colin Low and Transitions 3D: Innovating immersive cinema","year":2013,"lang":"en","type":"article","venue":"Public","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McMaster University","funders":"","keywords":"Movie theater; Exhibition; Perspective (graphical); Animation; Ideology; Stereoscopy; Visual arts; Subject (documents); Space (punctuation); Film studies; Art; Sociology; Aesthetics; Media studies; Computer science; Political science; Politics; Library science","score_opus":0.028265788695222362,"score_gpt":0.20135438379588916,"score_spread":0.1730885951006668,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2313066366","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.057442676,0.01492086,0.0456552,0.18783726,0.0016616881,0.00014371354,0.00011411975,0.00032501417,0.69189954],"genre_scores_gemma":[0.83690304,0.010862254,0.030329896,0.00997377,0.00055310235,0.00013930202,0.000054438886,0.00021107544,0.11097313],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977276,0.0012238183,0.000039089307,0.00018263265,0.00065156864,0.0001752598],"domain_scores_gemma":[0.99572325,0.002500543,0.00014384018,0.0002157823,0.0008773032,0.00053928525],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034325633,0.00025151487,0.00013217803,0.0010825224,0.0033736997,0.0087523395,0.00069867104,0.0015503921,0.008925402],"category_scores_gemma":[0.008459303,0.00022518798,0.00013658381,0.0006909493,0.007800344,0.0046078963,0.0024537935,0.0018787106,0.0006940412],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049594706,0.00005806056,0.0017194115,0.00019899542,0.000007810216,0.0003133762,0.02600129,0.00069502677,0.0011915667,0.7157663,0.13983577,0.11416278],"study_design_scores_gemma":[0.000011575386,0.000033072083,0.001430848,0.0003120698,0.000007829594,0.00025314468,0.01292025,0.0017024139,0.0015639013,0.06301737,0.91871035,0.000037183196],"about_ca_topic_score_codex":0.045345716,"about_ca_topic_score_gemma":0.08975492,"teacher_disagreement_score":0.045345716,"about_ca_system_score_codex":0.0063957768,"about_ca_system_score_gemma":0.00293581,"threshold_uncertainty_score":0.09016359},"labels":[],"label_agreement":null},{"id":"W2315647848","doi":"10.1525/fq.2010.64.1.29","title":"Desire and Technology: An Interview with Atom Egoyan","year":2010,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Fantasy; Adoration; Art; Filmmaking; Art history; Visual arts; Literature","score_opus":0.019806437786501957,"score_gpt":0.2126978475799316,"score_spread":0.19289140979342964,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2315647848","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17163712,0.028180325,0.002088429,0.5260841,0.0018813984,0.00014795054,0.0002730165,0.000075853255,0.26963177],"genre_scores_gemma":[0.8139099,0.013523015,0.0012656283,0.077050135,0.00021030211,0.00013531871,0.00006995301,0.000090533176,0.09374524],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99507767,0.0026407093,0.00011564454,0.00032567923,0.0007163222,0.0011239556],"domain_scores_gemma":[0.9978738,0.0010877316,0.00013049276,0.00003741905,0.00035048457,0.0005200883],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031236382,0.00035571386,0.0005725831,0.0011342214,0.019930176,0.006446731,0.0010839975,0.003531286,0.004089802],"category_scores_gemma":[0.0050015445,0.0006637141,0.00019540156,0.002084967,0.010160139,0.004510777,0.0035099988,0.007451116,0.00058491214],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000088299406,0.00007381077,0.00233259,0.000117380565,0.000008259435,0.0018178647,0.70136356,0.00018002001,0.00077821396,0.08050733,0.19531292,0.017419683],"study_design_scores_gemma":[0.000005436439,0.000017346276,0.0016224082,0.00017786317,0.0000045939832,0.00045605502,0.40499082,0.000103970604,0.00018438084,0.0025735258,0.58982325,0.000040374787],"about_ca_topic_score_codex":0.27234286,"about_ca_topic_score_gemma":0.31102544,"teacher_disagreement_score":0.27234286,"about_ca_system_score_codex":0.017115196,"about_ca_system_score_gemma":0.011537385,"threshold_uncertainty_score":0.5415153},"labels":[],"label_agreement":null},{"id":"W2317588933","doi":"10.1177/1362480610397416","title":"Crime behind the glass: Exploring the sublime in crime at the Vienna Kriminalmuseum","year":2011,"lang":"en","type":"article","venue":"Theoretical Criminology","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":26,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Macabre; Sublime; Entertainment; Merge (version control); Media studies; Tourism; Sociology; Criminology; Humanity; Advertising; Presentation (obstetrics); Visual arts; Political science; Aesthetics; Art; Law","score_opus":0.19564709881472508,"score_gpt":0.25443115944722855,"score_spread":0.058784060632503465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2317588933","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7746464,0.003048471,0.0014790884,0.008744996,0.00023090742,0.000028968674,0.00008853152,0.000024185636,0.21170847],"genre_scores_gemma":[0.9935773,0.00050870056,0.00021202638,0.00018750955,0.00003365736,0.00000885097,0.000013971912,0.000021094018,0.0054368638],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987018,0.0008325094,0.000013146872,0.0000701116,0.000104255974,0.00027818754],"domain_scores_gemma":[0.9990386,0.00057318946,0.00012707169,0.0000382867,0.000044160235,0.00017869502],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012482948,0.00027987268,0.00029660398,0.0020271807,0.007968438,0.009349316,0.0008579542,0.0013322905,0.006262512],"category_scores_gemma":[0.001875308,0.00030652495,0.00024905082,0.0016311846,0.014567423,0.0040925667,0.0052753855,0.0023310934,0.00044064637],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009673771,0.00006387415,0.006975246,0.00017025748,0.000023645362,0.0017879863,0.702857,0.00035712298,0.0004493094,0.25883445,0.010957315,0.017427176],"study_design_scores_gemma":[0.00001120231,0.000051569066,0.027119104,0.0004537834,0.000022403647,0.00066503405,0.7958753,0.00055196736,0.0003472527,0.022589272,0.15227221,0.000040895924],"about_ca_topic_score_codex":0.020485235,"about_ca_topic_score_gemma":0.04421522,"teacher_disagreement_score":0.020485235,"about_ca_system_score_codex":0.0051832525,"about_ca_system_score_gemma":0.0015742352,"threshold_uncertainty_score":0.040731966},"labels":[],"label_agreement":null},{"id":"W2319119351","doi":"10.1386/public.24.47.200_1","title":"Transitions, images and stereoscopic 3D cinema","year":2013,"lang":"en","type":"article","venue":"Public","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Emily Carr University of Art and Design","funders":"","keywords":"Stereoscopy; Movie theater; Computer graphics (images); Computer science; Product (mathematics); Production (economics); Multimedia; Visual arts; Computer vision; Art; Mathematics; Geometry","score_opus":0.02802562943183771,"score_gpt":0.2028401548551013,"score_spread":0.1748145254232636,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2319119351","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45488682,0.011166361,0.02256986,0.02304689,0.0007587587,0.000051491108,0.00044680948,0.00014327442,0.4869296],"genre_scores_gemma":[0.9908613,0.0008638769,0.0011658646,0.00019596181,0.00014902913,0.0000053045137,0.00003414776,0.000010321513,0.0067141284],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996779,0.00017126079,0.0000091876145,0.000035673038,0.000057107318,0.00004887029],"domain_scores_gemma":[0.9983321,0.0009307256,0.00032413332,0.0000873886,0.00016817996,0.00015751505],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005372787,0.00011916076,0.00009186967,0.00094042305,0.0005056565,0.0030549965,0.00023505333,0.000557288,0.014012307],"category_scores_gemma":[0.0035527707,0.00008756535,0.00011580378,0.00054217153,0.003066051,0.0022251755,0.00091767014,0.00062554074,0.00031256097],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015470177,0.000076844626,0.004182842,0.00014306403,0.000010703475,0.00040236203,0.006868233,0.0010756234,0.0012063036,0.926023,0.011265077,0.048591256],"study_design_scores_gemma":[0.00004238081,0.00013085257,0.030442217,0.0003146621,0.000017370787,0.0012917352,0.015720109,0.006624677,0.0013946551,0.74445516,0.19951452,0.0000517358],"about_ca_topic_score_codex":0.0023154104,"about_ca_topic_score_gemma":0.0014404258,"teacher_disagreement_score":0.014012307,"about_ca_system_score_codex":0.00086878566,"about_ca_system_score_gemma":0.00023981211,"threshold_uncertainty_score":0.046875834},"labels":[],"label_agreement":null},{"id":"W2319354341","doi":"10.1386/public.24.47.110_1","title":"Of motors, martians and jazz age cities : The stereoscopic inventions of Laurens Hammond","year":2013,"lang":"en","type":"article","venue":"Public","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Movie theater; Art; Shadowgraph; Jazz; Art history; Stereoscopy; Visual arts; Musical; Aesthetics; Computer science; Artificial intelligence; Optics; Physics","score_opus":0.04226533234238194,"score_gpt":0.2027397075908718,"score_spread":0.16047437524848984,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2319354341","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25788766,0.016802602,0.0029161307,0.14420986,0.0010195856,0.000026549293,0.00018536753,0.0000546517,0.57689756],"genre_scores_gemma":[0.9261647,0.0052453433,0.0007985816,0.0034693219,0.0007450747,0.000013777948,0.00003300786,0.0000244062,0.06350583],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9992667,0.00032907826,0.000010692255,0.00009540543,0.00016519375,0.00013291958],"domain_scores_gemma":[0.99893373,0.0004534475,0.00016437557,0.00007609153,0.00015866006,0.00021381851],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012393437,0.00018912158,0.00010466347,0.0009966813,0.002600327,0.003591527,0.00031250468,0.00088740274,0.009918819],"category_scores_gemma":[0.003036784,0.00014141283,0.000088131565,0.00074820657,0.005089761,0.0029569748,0.0020110703,0.0012464682,0.0004510431],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009793762,0.000066114386,0.0056883967,0.00006319879,0.0000067875026,0.00054189784,0.019873645,0.00028434888,0.00048946677,0.8239865,0.08376949,0.065132186],"study_design_scores_gemma":[0.000013619622,0.00004644632,0.011262248,0.00017644888,0.0000073420933,0.00046692116,0.016727885,0.00052370847,0.00067337457,0.053037524,0.9170319,0.000032637614],"about_ca_topic_score_codex":0.025680186,"about_ca_topic_score_gemma":0.046054333,"teacher_disagreement_score":0.025680186,"about_ca_system_score_codex":0.004151224,"about_ca_system_score_gemma":0.0013331058,"threshold_uncertainty_score":0.05106139},"labels":[],"label_agreement":null},{"id":"W2320888724","doi":"10.1386/miraj.1.1.13_1","title":"Brakhage's sour grapes, or notes on experimental cinema in the art world","year":2012,"lang":"en","type":"article","venue":"Moving Image Review & Art Journal (MIRAJ)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Movie theater; Historicity (philosophy); Art; Contemporary art; Aesthetics; Interrogation; Art history; Visual arts; History; Performance art; Law; Political science; Archaeology","score_opus":0.060939281644296454,"score_gpt":0.297003737332618,"score_spread":0.23606445568832152,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2320888724","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09260048,0.12734021,0.005641169,0.05609421,0.003899877,0.000050824878,0.00020424102,0.000091529284,0.7140774],"genre_scores_gemma":[0.8282216,0.045958225,0.0019600505,0.0069810254,0.0037599658,0.00006774596,0.00009059733,0.00010073799,0.11285999],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937856,0.00036031753,0.000017588118,0.000077373996,0.000108187865,0.000057936963],"domain_scores_gemma":[0.99751556,0.0020307738,0.00013054696,0.00014301672,0.000085612504,0.000094477444],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001339452,0.0002156852,0.00017814997,0.0010609031,0.0024206454,0.0039266786,0.0003975061,0.0010386364,0.009740445],"category_scores_gemma":[0.0044206926,0.00013731745,0.00014923254,0.0008323467,0.00673652,0.004437534,0.0019508324,0.0019930312,0.00058396265],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007233152,0.000030975618,0.0009535677,0.00026519687,0.000008940106,0.00025924935,0.034902826,0.00008273725,0.00052397535,0.85802084,0.06234963,0.042529624],"study_design_scores_gemma":[0.000011924446,0.00004550725,0.0045509855,0.0007917887,0.000008350318,0.00034087728,0.01588491,0.00009526543,0.00045804985,0.034558382,0.94323725,0.000016642345],"about_ca_topic_score_codex":0.0049933596,"about_ca_topic_score_gemma":0.010231643,"teacher_disagreement_score":0.009740445,"about_ca_system_score_codex":0.0012864541,"about_ca_system_score_gemma":0.0006091903,"threshold_uncertainty_score":0.032585025},"labels":[],"label_agreement":null},{"id":"W232221700","doi":"","title":"Les 4es Rencontres internationales du documentaire de Montréal : Empathie","year":2002,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.012000034068873178,"score_gpt":0.1701310639421856,"score_spread":0.15813102987331243,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W232221700","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16408153,0.120769255,0.008264752,0.07550768,0.010054696,0.0003214624,0.01679364,0.0010381354,0.60316885],"genre_scores_gemma":[0.3565334,0.03097614,0.005126438,0.0019479181,0.0027438565,0.00021238526,0.004556093,0.0005110805,0.5973927],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9957963,0.0006795757,0.0001623189,0.0005175652,0.0018504848,0.0009937085],"domain_scores_gemma":[0.99437547,0.0010704201,0.0006648438,0.0003403956,0.0022132176,0.0013356488],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026113049,0.0012985311,0.00047909256,0.0052824463,0.005350032,0.008317033,0.0011180392,0.0017887453,0.06272437],"category_scores_gemma":[0.009643415,0.0006574487,0.00077922794,0.006539042,0.0021250572,0.0026449412,0.0023167217,0.004404303,0.0040673767],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00041981484,0.00018901491,0.023498936,0.00066745665,0.00018733974,0.001384087,0.011494161,0.0018304717,0.0053910157,0.1521964,0.46318647,0.33955485],"study_design_scores_gemma":[0.000018151162,0.000021421529,0.03886518,0.00013860338,0.000027389304,0.00015880396,0.0018355127,0.0002329128,0.0010531102,0.00073285773,0.9568638,0.00005213622],"about_ca_topic_score_codex":0.86884195,"about_ca_topic_score_gemma":0.8817019,"teacher_disagreement_score":0.86884195,"about_ca_system_score_codex":0.025292702,"about_ca_system_score_gemma":0.020844335,"threshold_uncertainty_score":0.26386088},"labels":[],"label_agreement":null},{"id":"W232297881","doi":"","title":"Notes on the Toronto Film Festival","year":2004,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Inclusion (mineral); Media studies; Sociology; History; Social science","score_opus":0.04318878820716263,"score_gpt":0.23273872296785736,"score_spread":0.18954993476069473,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W232297881","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0056590433,0.02752173,0.00034938144,0.10212436,0.03645638,0.00025012516,0.0062338323,0.00021765412,0.82118756],"genre_scores_gemma":[0.048424374,0.010029888,0.0003571909,0.013698535,0.00537009,0.00018607757,0.0020336467,0.00025545486,0.9196447],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981055,0.0002128737,0.000055789507,0.00016234115,0.00080774055,0.0006557128],"domain_scores_gemma":[0.99795246,0.00023726706,0.00007613148,0.00012242475,0.00071014976,0.0009016044],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015449093,0.0008919312,0.00038695085,0.001990739,0.01920285,0.009244326,0.0016693304,0.003067659,0.08747117],"category_scores_gemma":[0.0034077566,0.00059972727,0.0005430551,0.0027406004,0.003452549,0.001910876,0.0041422625,0.0054455576,0.011332555],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002023456,0.000007422371,0.00012600972,0.000053780197,0.0000020844236,0.00015523558,0.0013750213,0.000027053293,0.00008423352,0.013130159,0.9818808,0.0031380216],"study_design_scores_gemma":[0.000001937518,0.0000024759381,0.0008798766,0.000049597787,9.0883975e-7,0.000014230631,0.0010666325,0.0000051623847,0.000020661992,0.00013437317,0.99781907,0.0000050041854],"about_ca_topic_score_codex":0.86560094,"about_ca_topic_score_gemma":0.95290667,"teacher_disagreement_score":0.13439906,"about_ca_system_score_codex":0.044313654,"about_ca_system_score_gemma":0.023862459,"threshold_uncertainty_score":0.32151955},"labels":[],"label_agreement":null},{"id":"W2323558448","doi":"10.1386/sdf.5.1.45_1","title":"Angels, Stones, Hunters: Murder, celebrity and direct cinema","year":2011,"lang":"en","type":"article","venue":"Studies in Documentary Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Lethbridge","funders":"Brock University","keywords":"Movie theater; Art; Visual arts; Media studies; Advertising; Sociology; Business","score_opus":0.10067074762676678,"score_gpt":0.27923026472257484,"score_spread":0.17855951709580806,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2323558448","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.48951048,0.06577157,0.0037543324,0.058475155,0.0006992717,0.000039082963,0.00028717684,0.00003393088,0.38142905],"genre_scores_gemma":[0.9821034,0.007020261,0.0002371678,0.0004082545,0.0003391979,0.000011846554,0.000027513666,0.000008881854,0.009843424],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990897,0.0006593306,0.000017548979,0.000067276094,0.0000773402,0.00008885035],"domain_scores_gemma":[0.99402833,0.0044436445,0.0008351192,0.00015482238,0.00019247497,0.0003456291],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013990012,0.00026010408,0.00020125385,0.0010758338,0.0017148041,0.005597633,0.00044697424,0.00116372,0.008843961],"category_scores_gemma":[0.007625626,0.00020438118,0.00009951172,0.0010495131,0.0072385836,0.003669823,0.0017363656,0.0013373373,0.00037475865],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020665172,0.00014959562,0.020213654,0.0005192564,0.000043049982,0.00082643353,0.10089388,0.00024133624,0.00037185752,0.7852763,0.034577053,0.05668101],"study_design_scores_gemma":[0.00007280375,0.00024726248,0.079182334,0.0019400388,0.00009419502,0.0019377385,0.19205007,0.0011676728,0.0008789161,0.21351102,0.5088478,0.00007013552],"about_ca_topic_score_codex":0.0049671163,"about_ca_topic_score_gemma":0.0060415864,"teacher_disagreement_score":0.008843961,"about_ca_system_score_codex":0.0021994715,"about_ca_system_score_gemma":0.0005756985,"threshold_uncertainty_score":0.029586017},"labels":[],"label_agreement":null},{"id":"W2324029037","doi":"10.1177/1527476415577211","title":"Scenes from an Imaginary Country","year":2015,"lang":"en","type":"article","venue":"Television & New Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":24,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"Research England; Social Sciences and Humanities Research Council of Canada; Microsoft Research","keywords":"NTSC; The Imaginary; Perception; Test (biology); Representation (politics); Computer science; Politics; Sociology; Telecommunications; Psychology; Law; Political science; High-definition television","score_opus":0.06541921989701711,"score_gpt":0.2664138120524865,"score_spread":0.2009945921554694,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2324029037","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16846456,0.0030637933,0.0068863695,0.016167197,0.0027622818,0.00008662524,0.0030239117,0.00029890882,0.7992464],"genre_scores_gemma":[0.90060085,0.0018454251,0.004078796,0.002390215,0.00074534543,0.000046762314,0.0018192347,0.00030506557,0.088168316],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997024,0.0001619333,0.0000054694256,0.00003563831,0.000047880723,0.00004665409],"domain_scores_gemma":[0.9995895,0.00019352669,0.000025839754,0.00006412617,0.000050390463,0.00007663123],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00038434519,0.00034841287,0.00015504016,0.00075982156,0.0027464477,0.0046098502,0.0003422672,0.0006015936,0.02709474],"category_scores_gemma":[0.0016698637,0.00015585271,0.0002913934,0.0009169648,0.002187498,0.0019012005,0.0016337173,0.001765425,0.002121302],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004633769,0.0001289447,0.0033007402,0.00035141807,0.000041938336,0.0015381534,0.048028123,0.000991538,0.0023454453,0.5232484,0.356403,0.06315894],"study_design_scores_gemma":[0.000017941044,0.0000619496,0.0046478733,0.00014740703,0.000012965654,0.00054565084,0.018462837,0.00046558364,0.0005934428,0.014764742,0.96025413,0.000025520627],"about_ca_topic_score_codex":0.0063062645,"about_ca_topic_score_gemma":0.0155019015,"teacher_disagreement_score":0.02709474,"about_ca_system_score_codex":0.0012593246,"about_ca_system_score_gemma":0.00038528454,"threshold_uncertainty_score":0.09064096},"labels":[],"label_agreement":null},{"id":"W2324306425","doi":"10.3167/hrrh.2012.380309","title":"The Kids Are All Right But the Lesbians Aren't: The Illusion of Progress in Popular Film","year":2012,"lang":"en","type":"article","venue":"Historical Reflections/Réflexions Historiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Lesbian; Mainstream; Hollywood; Queer; Illusion; Gender studies; Sociology; Aesthetics; Representation (politics); Media studies; Art; Politics; Political science; Psychology; Art history; Law","score_opus":0.05764435698137676,"score_gpt":0.28351862275857337,"score_spread":0.2258742657771966,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2324306425","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40548205,0.024675032,0.003014467,0.1291183,0.0016145254,0.000027995531,0.0003768524,0.00007846952,0.43561232],"genre_scores_gemma":[0.97606546,0.008311213,0.00033647462,0.0016946589,0.000652242,0.0000102321155,0.0000400665,0.00004937616,0.0128402235],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9986449,0.0009810197,0.000028282198,0.00008699525,0.00013701867,0.00012172591],"domain_scores_gemma":[0.99733824,0.0017782755,0.0003375673,0.00016542431,0.00016389093,0.00021672921],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021820778,0.00025154438,0.00019751226,0.0012378036,0.003500357,0.01163079,0.00040341806,0.0011471185,0.004741416],"category_scores_gemma":[0.006052784,0.00026026386,0.00012024501,0.0011476382,0.013206376,0.0073874868,0.0020751029,0.0021399304,0.00036034037],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018316798,0.000057243116,0.0060180454,0.00021536942,0.00002749773,0.0009056412,0.24437091,0.00020778172,0.00058722973,0.6695042,0.038635183,0.039287746],"study_design_scores_gemma":[0.000027162794,0.000093760325,0.01733843,0.0011483724,0.00004368076,0.0009222862,0.296222,0.0005464367,0.0007782855,0.07872041,0.6041062,0.000053005104],"about_ca_topic_score_codex":0.006992572,"about_ca_topic_score_gemma":0.010016828,"teacher_disagreement_score":0.01163079,"about_ca_system_score_codex":0.0032388098,"about_ca_system_score_gemma":0.0006715773,"threshold_uncertainty_score":0.02349931},"labels":[],"label_agreement":null},{"id":"W2325071267","doi":"10.5117/necsus2013.2.kred","title":"The business of audience festivals: Calgary International Film Festival 2012","year":2013,"lang":"en","type":"article","venue":"NECSUS","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film festival; Advertising; Business; Visual arts; Media studies; Art; Sociology","score_opus":0.023553143176632933,"score_gpt":0.2190619734865726,"score_spread":0.19550883030993968,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2325071267","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5409687,0.01691173,0.0011055779,0.04435601,0.002687404,0.00016078004,0.008378414,0.00033558047,0.38509575],"genre_scores_gemma":[0.86868167,0.0047164625,0.000445722,0.0014395295,0.0009986022,0.000044857865,0.0025328337,0.00021143019,0.12092882],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993973,0.000130609,0.000015535421,0.0000610988,0.00019743502,0.00019807905],"domain_scores_gemma":[0.99691147,0.0004935349,0.0003449703,0.00010489351,0.0008639927,0.0012812001],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014885013,0.0003875428,0.00019609794,0.0016737506,0.003296108,0.007613075,0.00059961417,0.0010518143,0.014335993],"category_scores_gemma":[0.0049563013,0.00026510286,0.0001412627,0.0022293027,0.0008272419,0.001779938,0.0014744975,0.002396505,0.0014399573],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000778478,0.00029039496,0.08542468,0.00047421412,0.00013903802,0.0009430361,0.055121243,0.0006643579,0.0014491356,0.02834282,0.6743238,0.15204881],"study_design_scores_gemma":[0.000025342079,0.000084251864,0.39669582,0.00042370256,0.00005160498,0.00010943764,0.07079606,0.00069194956,0.00076609076,0.0018115244,0.5284928,0.00005137326],"about_ca_topic_score_codex":0.18026976,"about_ca_topic_score_gemma":0.45306388,"teacher_disagreement_score":0.8197302,"about_ca_system_score_codex":0.0066078766,"about_ca_system_score_gemma":0.0026952303,"threshold_uncertainty_score":0.358441},"labels":[],"label_agreement":null},{"id":"W2325408608","doi":"10.1386/josc.2.1.61_1","title":"If it ain't on the page, it ain't on the stage: screenwriting, national specificity and the English-Canadian feature film","year":2010,"lang":"en","type":"article","venue":"Journal of Screenwriting","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Movie theater; Screenwriting; Sociology; Narrative; National identity; Exhibition; Gender studies; Gatekeeping; Media studies; History; Political science; Law; Literature; Art; Art history","score_opus":0.03584443592524145,"score_gpt":0.23431541612531345,"score_spread":0.198470980200072,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2325408608","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.368222,0.0039474717,0.0007670936,0.01169624,0.00025876798,0.000029118657,0.00023015848,0.000034494613,0.61481464],"genre_scores_gemma":[0.97642386,0.0014202892,0.00024315644,0.0006180482,0.000027052009,0.0000070302704,0.000060475533,0.000022336912,0.021177722],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9993055,0.00014642849,0.0000120354,0.00007042976,0.00018729614,0.00027830157],"domain_scores_gemma":[0.9988589,0.00028020685,0.00011161559,0.000045203902,0.00036566224,0.00033845298],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006042914,0.00026179315,0.00013324278,0.0007767777,0.009628676,0.008438993,0.0007910753,0.00062448904,0.004585015],"category_scores_gemma":[0.002140848,0.0001243293,0.00009912786,0.0011481921,0.009679249,0.0018337072,0.0013364487,0.0013335153,0.00021154218],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015683367,0.00011409424,0.042373627,0.00033172162,0.000026828266,0.0020651633,0.39033782,0.00046726095,0.0022261126,0.42873988,0.05186597,0.08129465],"study_design_scores_gemma":[0.000011195145,0.000035815585,0.102793746,0.0006730874,0.00005341985,0.0006159413,0.5038838,0.00044089227,0.0012206004,0.006104997,0.3840925,0.00007406659],"about_ca_topic_score_codex":0.93534565,"about_ca_topic_score_gemma":0.9726696,"teacher_disagreement_score":0.06465435,"about_ca_system_score_codex":0.026866166,"about_ca_system_score_gemma":0.017527876,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W2326805543","doi":"10.1386/public.24.47.123_1","title":"Industrial magic and light: 3D at the New York World’s Fair (1939)","year":2013,"lang":"en","type":"article","venue":"Public","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Animation; MAGIC (telescope); Context (archaeology); Engineering; Political science; Visual arts; Art; History; Physics","score_opus":0.07737205414480611,"score_gpt":0.20640954447219415,"score_spread":0.12903749032738804,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2326805543","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.616614,0.0031818182,0.002131048,0.008935688,0.00044518092,0.00010115336,0.0014081163,0.000045212222,0.36713776],"genre_scores_gemma":[0.94893926,0.0011068515,0.0012341017,0.00021213663,0.000102134305,0.000033585606,0.00022716133,0.000024099341,0.04812052],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99981254,0.00006758395,0.000003216964,0.000030448093,0.000054940956,0.000031283314],"domain_scores_gemma":[0.9995146,0.00026483397,0.00004308585,0.0000378733,0.00007546544,0.00006417912],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00077176595,0.00018497725,0.00010641619,0.0007425238,0.0025077953,0.0022384757,0.00029897544,0.00042672947,0.027100502],"category_scores_gemma":[0.0015090593,0.00014125193,0.00009617759,0.0006729134,0.0024239307,0.0012564546,0.0010035655,0.0007646493,0.0005537241],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010943506,0.0006498654,0.041519787,0.00053364324,0.00008643645,0.0028206278,0.15265377,0.0038749822,0.007757381,0.33463204,0.23291807,0.22145906],"study_design_scores_gemma":[0.00009016572,0.00027690784,0.16178893,0.0005191357,0.00004030984,0.00032996255,0.07083154,0.001943684,0.0033006219,0.015706945,0.74509174,0.000080113336],"about_ca_topic_score_codex":0.18241158,"about_ca_topic_score_gemma":0.3065519,"teacher_disagreement_score":0.18241158,"about_ca_system_score_codex":0.004741953,"about_ca_system_score_gemma":0.0007815776,"threshold_uncertainty_score":0.36269963},"labels":[],"label_agreement":null},{"id":"W2327132458","doi":"10.17742/image.periph.5-1.7","title":"FILMSTADT IN THE VORSTADT: LOCATIONALITY IN THE FILMMAKING PRACTICE OF MIHÁLY/ MICHAEL KERTÉSZ/ CURTIZ","year":2014,"lang":"en","type":"article","venue":"Imaginations Journal of Cross-Cultural Image Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Filmmaking; Art; Art history","score_opus":0.06087722976175224,"score_gpt":0.3923866375868716,"score_spread":0.33150940782511934,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2327132458","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5236322,0.01748016,0.0025853186,0.051791348,0.001102158,0.000029844792,0.00008845706,0.00008520505,0.4032053],"genre_scores_gemma":[0.977706,0.002181925,0.00023357781,0.0006336497,0.00011133458,0.000008769796,0.000010885725,0.00004307006,0.019070914],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.998922,0.0006850202,0.000017793811,0.00010588274,0.00011867344,0.00015063964],"domain_scores_gemma":[0.99901164,0.0005685829,0.00016001287,0.00006402404,0.000050601368,0.00014504153],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012985559,0.00029756242,0.00018981693,0.00092769996,0.004781027,0.006779341,0.00040900387,0.0010664165,0.0043174545],"category_scores_gemma":[0.003232615,0.00023431939,0.000091132984,0.00077068637,0.007897423,0.0035419837,0.003339769,0.0019405013,0.0005344776],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016056636,0.00004970202,0.0026968403,0.00017144768,0.000021193435,0.0020663703,0.57416564,0.00023880608,0.0018690055,0.3303575,0.045831643,0.042371344],"study_design_scores_gemma":[0.000019921596,0.000047471996,0.0076803355,0.0005576158,0.000019236146,0.0010307587,0.31723273,0.00028410385,0.0013236366,0.01459377,0.65717804,0.000032318367],"about_ca_topic_score_codex":0.0066350573,"about_ca_topic_score_gemma":0.0159341,"teacher_disagreement_score":0.006779341,"about_ca_system_score_codex":0.003183087,"about_ca_system_score_gemma":0.0006978282,"threshold_uncertainty_score":0.023095012},"labels":[],"label_agreement":null},{"id":"W2327298556","doi":"10.1386/public.25.49.133_5","title":"Review of: Explosion in the Movie Machine, edited by Chris Gehman (Toronto: The Liaison of Independent Filmmakers of Toronto and the Images Festival, 2013).","year":2013,"lang":"en","type":"article","venue":"Public","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Art history; Media studies; Art; Cartography; History; Computer graphics (images); Sociology; Computer science; Geography","score_opus":0.020244872345983468,"score_gpt":0.22959563038767355,"score_spread":0.2093507580416901,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2327298556","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00007165801,0.97404456,0.000052498166,0.01124887,0.009855933,0.0000037808015,0.0001810438,0.000008321973,0.004533247],"genre_scores_gemma":[0.0016721527,0.9653547,0.000102959595,0.004434619,0.016828183,0.000008481895,0.0002753976,0.00001813868,0.01130529],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995728,0.000080475394,0.000040378723,0.00007446009,0.00017374282,0.000058102338],"domain_scores_gemma":[0.9977329,0.0008284698,0.00020414982,0.00006067718,0.00089163025,0.000282214],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00095660513,0.0013284284,0.0012149955,0.004773528,0.0008158537,0.0037697714,0.0012096248,0.0022681875,0.02321105],"category_scores_gemma":[0.004175283,0.0005542805,0.00043995766,0.0068371305,0.001512118,0.0033329164,0.0011101279,0.0028687883,0.009341687],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009633715,0.000005795389,0.000069984024,0.0010788304,0.000011293522,0.00002296661,0.000057927507,0.000047183607,0.0000399655,0.0020273153,0.95566285,0.04096631],"study_design_scores_gemma":[0.000002516942,0.0000055048254,0.00067958253,0.0011996019,0.0000096745825,0.00009043458,0.00007530554,0.000018438968,0.000026081174,0.00060372404,0.9972826,0.000006539611],"about_ca_topic_score_codex":0.029978983,"about_ca_topic_score_gemma":0.073913045,"teacher_disagreement_score":0.029978983,"about_ca_system_score_codex":0.004114624,"about_ca_system_score_gemma":0.004109818,"threshold_uncertainty_score":0.07764876},"labels":[],"label_agreement":null},{"id":"W2329072463","doi":"10.1177/1206331212451676","title":"The Production of Space in the Franchise City Film","year":2013,"lang":"en","type":"article","venue":"Space and Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Globalization; Modernity; Postmodernity; Sociology; Context (archaeology); Rhetoric; Franchise; Movie theater; Global city; Tourism; Aesthetics; Economic geography; Political science; Art; Art history; History; Law; Geography; Philosophy; Business","score_opus":0.013812359653434676,"score_gpt":0.1962246036931992,"score_spread":0.18241224403976453,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2329072463","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72362345,0.0026428003,0.0024863323,0.0069359206,0.00032317516,0.000024543266,0.00027632777,0.000041475403,0.26364598],"genre_scores_gemma":[0.98791283,0.0005635432,0.00023533481,0.0001292122,0.00009744254,0.0000065894797,0.000034396064,0.000022246684,0.010998461],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99886,0.0006146703,0.000022564533,0.000116538344,0.00016425608,0.00022195783],"domain_scores_gemma":[0.99767655,0.0012738097,0.0003324142,0.00014291993,0.00027979937,0.000294417],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011340674,0.0003859841,0.00021600707,0.0015131213,0.005123192,0.0068926173,0.00043678697,0.00088437845,0.0054333867],"category_scores_gemma":[0.003507531,0.00022326602,0.00017226281,0.0014630877,0.008017536,0.004526734,0.0024797926,0.0011927651,0.00032156805],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029281707,0.00007107188,0.013439013,0.00029963383,0.00003472346,0.0025689472,0.58168614,0.0005735349,0.003115968,0.32814625,0.023474623,0.04629724],"study_design_scores_gemma":[0.000038715654,0.0001812585,0.049219605,0.0005005374,0.000029532663,0.0016190916,0.40841874,0.00092407636,0.0021061264,0.013752965,0.52309304,0.000116295545],"about_ca_topic_score_codex":0.022296635,"about_ca_topic_score_gemma":0.04029998,"teacher_disagreement_score":0.022296635,"about_ca_system_score_codex":0.004881888,"about_ca_system_score_gemma":0.00089110254,"threshold_uncertainty_score":0.044333696},"labels":[],"label_agreement":null},{"id":"W2329175242","doi":"10.17742/image.sightoil.3-2.12","title":"PRELUDE TO THE ENERGY ERA IN FILM STUDIES","year":2012,"lang":"en","type":"article","venue":"Imaginations Journal of Cross-Cultural Image Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Footprint; Natural (archaeology); Ecological footprint; Natural resource; Energy (signal processing); Art; Environmental science; Geography; Political science; Physics; Archaeology; Sustainable development","score_opus":0.06299387594010313,"score_gpt":0.37938597347360226,"score_spread":0.3163920975334991,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2329175242","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06491942,0.04940578,0.009513198,0.2853072,0.005281384,0.000048812617,0.00024653153,0.0000493446,0.5852283],"genre_scores_gemma":[0.9205297,0.010553491,0.0018465577,0.015446012,0.004981091,0.00007044495,0.00007561988,0.0001817469,0.04631525],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99758565,0.0014801795,0.00007424066,0.00031122458,0.0003244193,0.00022426715],"domain_scores_gemma":[0.9848626,0.0118794935,0.0004289441,0.0009841959,0.0011444412,0.0007001553],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004833686,0.00032995857,0.0004218571,0.0021858301,0.005605625,0.009310065,0.0010175451,0.0037550943,0.013939473],"category_scores_gemma":[0.016113583,0.00024288129,0.00024673104,0.0014648283,0.027818313,0.013307468,0.003806803,0.0075815525,0.0009691345],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001768908,0.000018164537,0.00029864645,0.0000488061,0.000003119576,0.00006688318,0.01176304,0.000020418653,0.00007870069,0.97142,0.009474917,0.0067894855],"study_design_scores_gemma":[0.000011977932,0.000019270356,0.0022569231,0.0006824862,0.000009425772,0.00022823339,0.020800881,0.00016531415,0.00037775483,0.36467996,0.61075085,0.000016978303],"about_ca_topic_score_codex":0.0040532,"about_ca_topic_score_gemma":0.0073889596,"teacher_disagreement_score":0.013939473,"about_ca_system_score_codex":0.0041030007,"about_ca_system_score_gemma":0.001779794,"threshold_uncertainty_score":0.04663217},"labels":[],"label_agreement":null},{"id":"W2329200232","doi":"10.1386/host.5.1.65_1","title":"Frenetic aesthetics: Observational horror and spectatorship","year":2014,"lang":"en","type":"article","venue":"Horror Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Aesthetics; Movie theater; Observational study; Art; Style (visual arts); Character (mathematics); Paranormal; Visual arts","score_opus":0.11375579012575121,"score_gpt":0.2732429778621625,"score_spread":0.1594871877364113,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2329200232","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13341576,0.0059940256,0.017066756,0.027038835,0.0010768322,0.00003746773,0.00006241695,0.00012626429,0.8151817],"genre_scores_gemma":[0.97898567,0.00068339997,0.0007091267,0.00061794295,0.00028331182,0.000016711514,0.000015108368,0.000066201435,0.018622486],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9949498,0.0039593503,0.000054145567,0.00034164835,0.00039864422,0.0002963552],"domain_scores_gemma":[0.9946213,0.0035714398,0.00053736207,0.00054520776,0.00042152015,0.00030323135],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0040043285,0.00063856307,0.0002997075,0.0016479634,0.0054374053,0.008787382,0.0008736028,0.0016239539,0.009320358],"category_scores_gemma":[0.008336441,0.0002451796,0.00025198245,0.0008352753,0.03297869,0.0066661965,0.005220755,0.0027741336,0.0005336488],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000384796,0.000012224845,0.00067224563,0.000079620644,0.000007444367,0.00028284182,0.19114435,0.00010320188,0.00029209387,0.7924002,0.006589315,0.008378109],"study_design_scores_gemma":[0.000030302639,0.00009658064,0.0030186116,0.0005828292,0.000023691136,0.0013861055,0.22176898,0.0008787555,0.0005902274,0.22169216,0.54988766,0.000044029657],"about_ca_topic_score_codex":0.0031480212,"about_ca_topic_score_gemma":0.0033822446,"teacher_disagreement_score":0.009320358,"about_ca_system_score_codex":0.002584218,"about_ca_system_score_gemma":0.0006648397,"threshold_uncertainty_score":0.031179667},"labels":[],"label_agreement":null},{"id":"W2329298678","doi":"10.7227/cst.2.1.8","title":"Dirty Lesbian Pictures: Art and Pornography in <i>The L Word</i>","year":2007,"lang":"en","type":"article","venue":"Critical Studies in Television The International Journal of Television Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Lesbian; Pornography; Art; Word (group theory); Sociology; Psychology; Linguistics; Psychoanalysis; Philosophy","score_opus":0.07863939475523596,"score_gpt":0.3636239734113153,"score_spread":0.28498457865607935,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2329298678","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1323938,0.02467095,0.00078534207,0.022218158,0.0013541952,0.000031149488,0.000091679685,0.00009130972,0.8183633],"genre_scores_gemma":[0.79805595,0.010502208,0.00054675376,0.004721887,0.0012569604,0.000038226986,0.00006275025,0.00022032084,0.1845949],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9995185,0.00030837345,0.000008184094,0.000028328543,0.00008110309,0.000055428583],"domain_scores_gemma":[0.99967945,0.00015617577,0.00003842165,0.000028363384,0.000038027007,0.00005968185],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006056028,0.0004528547,0.00015292574,0.0010233773,0.008163724,0.007457565,0.00039563156,0.0015554804,0.015134323],"category_scores_gemma":[0.000855665,0.00029317936,0.00012853892,0.000851308,0.0077322884,0.002599632,0.0021140561,0.002194287,0.0013542842],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008304211,0.00009271521,0.0030398353,0.00036558017,0.00001132177,0.0017184621,0.71216977,0.000060788872,0.0020348425,0.14641115,0.09177055,0.042241942],"study_design_scores_gemma":[0.000006332743,0.000047870413,0.00826838,0.0006687227,0.000009556022,0.0014292407,0.24676633,0.00008073654,0.0006003319,0.0033508167,0.7387552,0.000016382552],"about_ca_topic_score_codex":0.011380997,"about_ca_topic_score_gemma":0.044165462,"teacher_disagreement_score":0.015134323,"about_ca_system_score_codex":0.0015368009,"about_ca_system_score_gemma":0.00070530176,"threshold_uncertainty_score":0.050629377},"labels":[],"label_agreement":null},{"id":"W2329557562","doi":"10.3167/proj.2011.050102","title":"How Act Structure Sculpts Shot Lengths and Shot Transitions in Hollywood Film","year":2011,"lang":"en","type":"article","venue":"Projections","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":26,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Shot (pellet); Aside; Narrative; Style (visual arts); Quarter (Canadian coin); Art; Optics; Art history; History; Literature; Physics; Materials science; Archaeology","score_opus":0.08106430218940051,"score_gpt":0.23797398353408905,"score_spread":0.15690968134468852,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2329557562","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96760935,0.00050924567,0.0018095059,0.00032583083,0.000026610953,0.000029394885,0.00018085493,0.000025311307,0.029483838],"genre_scores_gemma":[0.9971994,0.00013038963,0.00070543756,0.00003732781,0.000009242126,0.000013816875,0.00011006087,0.00002639197,0.0017678915],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9987978,0.00062434736,0.000050213883,0.00015198474,0.0002105002,0.00016518192],"domain_scores_gemma":[0.9915603,0.0051524537,0.001680571,0.00028844888,0.0006035838,0.00071469165],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013618883,0.00019359268,0.00015435513,0.0021130512,0.001728946,0.005044988,0.00042401085,0.000444513,0.0049174004],"category_scores_gemma":[0.012241147,0.0002486029,0.00011925739,0.0013162901,0.0016288566,0.0034795827,0.0017247382,0.0009368227,0.00046301165],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0012480135,0.00032622548,0.31665975,0.00033960261,0.000102886275,0.0013009094,0.4910713,0.0006975497,0.010449684,0.045974083,0.0058576255,0.12597236],"study_design_scores_gemma":[0.00002980806,0.00019265173,0.74273515,0.00023499558,0.000049420036,0.00063164934,0.20977664,0.001473799,0.0015315296,0.013028694,0.030240895,0.000074824486],"about_ca_topic_score_codex":0.00388346,"about_ca_topic_score_gemma":0.008920565,"teacher_disagreement_score":0.005044988,"about_ca_system_score_codex":0.001285177,"about_ca_system_score_gemma":0.00041349998,"threshold_uncertainty_score":0.016450405},"labels":[],"label_agreement":null},{"id":"W2329677738","doi":"10.1386/sfc.11.1.57_1","title":"The ‘ghost image’ of horror and pornography in Michael Haneke's <i>La Pianiste</i> (2001)","year":2011,"lang":"en","type":"article","venue":"Studies in French Cinema","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Pornography; Art; Visual arts; Psychology; Psychoanalysis","score_opus":0.06149506186766177,"score_gpt":0.2589670863267221,"score_spread":0.19747202445906034,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2329677738","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8794233,0.002418589,0.0007711495,0.015657667,0.00019184056,0.000010356639,0.0000604024,0.000020830044,0.10144578],"genre_scores_gemma":[0.9912828,0.00028636644,0.0000880817,0.00024465297,0.00004223575,0.0000019644772,0.000007813269,0.0000112151865,0.008035024],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995376,0.0003015631,0.000005896199,0.000037529437,0.000049399638,0.00006803082],"domain_scores_gemma":[0.9987664,0.0006970644,0.00025165098,0.000043780754,0.00010057657,0.00014047194],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008090066,0.00020008537,0.00020238922,0.0005569864,0.0035248785,0.004379273,0.00027549913,0.0010064178,0.0046627675],"category_scores_gemma":[0.0021133008,0.00018183928,0.000084005085,0.00040169523,0.0057439525,0.0018092686,0.0014134073,0.0014779691,0.00020020179],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019566207,0.00007915186,0.010137053,0.0001490213,0.000013625021,0.0032597615,0.79539764,0.000191156,0.0014894118,0.1411496,0.027148865,0.0207891],"study_design_scores_gemma":[0.000028513454,0.00014282693,0.06906166,0.00040393134,0.000021758877,0.0038271733,0.5301301,0.0008415694,0.0014852061,0.010372992,0.38360614,0.00007810657],"about_ca_topic_score_codex":0.018332057,"about_ca_topic_score_gemma":0.029507011,"teacher_disagreement_score":0.018332057,"about_ca_system_score_codex":0.0028395392,"about_ca_system_score_gemma":0.00043972512,"threshold_uncertainty_score":0.036450744},"labels":[],"label_agreement":null},{"id":"W2331750226","doi":"10.1386/fiin.11.6.86_5","title":"Toronto Film Festival 2013","year":2013,"lang":"en","type":"article","venue":"Film International","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Visual arts","score_opus":0.021325234789823042,"score_gpt":0.22432754613172062,"score_spread":0.20300231134189758,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2331750226","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023306401,0.013563543,0.0009755763,0.028770171,0.015291986,0.00025939458,0.123580806,0.00084867596,0.79340357],"genre_scores_gemma":[0.082926095,0.004778089,0.0005878352,0.0007486645,0.0020291554,0.00008069492,0.025131665,0.0003423418,0.8833754],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99940026,0.000040718318,0.000016737558,0.000076831624,0.0003074112,0.0001581785],"domain_scores_gemma":[0.99807394,0.00008302541,0.0000887877,0.000113054295,0.00080029014,0.0008409318],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000800471,0.0008655586,0.00038909758,0.0030177329,0.0048619676,0.0067378506,0.00074402895,0.0008618631,0.23911637],"category_scores_gemma":[0.0017840228,0.00036143773,0.00038367143,0.0032787463,0.000796248,0.0010343761,0.0016852851,0.0015474705,0.026998514],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007398638,0.00001644431,0.0008007899,0.00008659045,0.000009903734,0.000064639054,0.00031036747,0.000103640836,0.00016866068,0.0028100403,0.9848257,0.010729313],"study_design_scores_gemma":[0.000010818894,0.000014579213,0.016430821,0.00013860234,0.0000092328055,0.000026272408,0.0010061172,0.00012360404,0.0003128344,0.00048321913,0.98143023,0.000013609982],"about_ca_topic_score_codex":0.5676796,"about_ca_topic_score_gemma":0.8731465,"teacher_disagreement_score":0.43232042,"about_ca_system_score_codex":0.015902063,"about_ca_system_score_gemma":0.009864986,"threshold_uncertainty_score":0.86973286},"labels":[],"label_agreement":null},{"id":"W2332066324","doi":"10.1080/00085006.2014.11092754","title":"The Pleasures and Problems of Leonid Osyka’s<i>Zakhar Berkut</i>: Poetic Cinema and Its Limits","year":2014,"lang":"en","type":"article","venue":"Canadian Slavonic Papers","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Ukrainian; Poetry; Filmmaking; Mainstream; Art; Literature; Art history; Political science; Law; Philosophy","score_opus":0.019399761648733922,"score_gpt":0.18281087227035459,"score_spread":0.16341111062162067,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2332066324","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47761995,0.04659147,0.0041188993,0.05492169,0.0017766906,0.000029838247,0.0001213202,0.00011405372,0.4147061],"genre_scores_gemma":[0.98774827,0.00248105,0.0002850315,0.0006246792,0.00017153451,0.000008643285,0.000011959306,0.000033584136,0.008635232],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992175,0.0004734408,0.00001775452,0.000075769276,0.00007773457,0.00013774411],"domain_scores_gemma":[0.9994267,0.00027665193,0.00008269338,0.000061102226,0.00005520005,0.00009765188],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014314887,0.00028248024,0.00027140006,0.00072559086,0.0078409435,0.008711776,0.00044171527,0.0009990128,0.0027499525],"category_scores_gemma":[0.0023722732,0.00022386649,0.00014342033,0.00059632736,0.013774589,0.004432694,0.0037226724,0.0025584372,0.0002853865],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000125598,0.00002844828,0.0017719202,0.00018339542,0.00001405847,0.00069490954,0.22470245,0.0002927604,0.0010285554,0.7215997,0.02015738,0.029400857],"study_design_scores_gemma":[0.00001999803,0.00004797145,0.008195533,0.0005483588,0.000018301325,0.0011046279,0.15094437,0.0003402899,0.0007758972,0.060701605,0.77726483,0.00003821945],"about_ca_topic_score_codex":0.0086619705,"about_ca_topic_score_gemma":0.012264111,"teacher_disagreement_score":0.008711776,"about_ca_system_score_codex":0.0043689706,"about_ca_system_score_gemma":0.0014052645,"threshold_uncertainty_score":0.0316993},"labels":[],"label_agreement":null},{"id":"W2332526662","doi":"10.1177/1206331214543867","title":"Berlin","year":2014,"lang":"en","type":"article","venue":"Space and Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"The Imaginary; Style (visual arts); Nazism; Action (physics); Art history; Aesthetics; Art; Sociology; Literature; History; German; Psychoanalysis; Physics; Archaeology; Psychology","score_opus":0.012009377958008867,"score_gpt":0.19181525139657285,"score_spread":0.179805873438564,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2332526662","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009575865,0.023664933,0.0031795092,0.0068885894,0.0031993713,0.00007274104,0.00842035,0.0009065395,0.94409204],"genre_scores_gemma":[0.06581591,0.015481445,0.0031973324,0.00084176095,0.00058223057,0.00011647242,0.0038545297,0.00050969026,0.9096006],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995421,0.000065112436,0.000033004013,0.00015513574,0.0001355806,0.00006903475],"domain_scores_gemma":[0.99974304,0.000056674704,0.00003807973,0.000049412807,0.00005024866,0.00006246073],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003567497,0.0009884505,0.0004659733,0.0015820421,0.0010138935,0.003419911,0.0005264327,0.0011473392,0.33660904],"category_scores_gemma":[0.0010214113,0.00032509599,0.00029274225,0.0013649826,0.0006611938,0.0019594755,0.0020417336,0.0013377749,0.17314824],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022294268,0.00008416701,0.0017642233,0.000706406,0.000036692643,0.0007495268,0.00081307924,0.0007158141,0.003363252,0.14147907,0.43678445,0.41328046],"study_design_scores_gemma":[0.000008470457,0.000017405362,0.0017204036,0.00014625821,0.0000045772454,0.00037118624,0.00015703627,0.0001292869,0.0006546027,0.004712297,0.99206793,0.0000106460275],"about_ca_topic_score_codex":0.0021654642,"about_ca_topic_score_gemma":0.003730196,"teacher_disagreement_score":0.33660904,"about_ca_system_score_codex":0.0011193926,"about_ca_system_score_gemma":0.0005979585,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W2333493653","doi":"10.5429/2225-0301.2011.01","title":"Entertainment tourism: Musicals at the Stratford Festival in Canada","year":2012,"lang":"en","type":"article","venue":"IASPM proceedings","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Entertainment; Tourism; Advertising; Business; Geography; Art; Visual arts; Archaeology","score_opus":0.0270885980689506,"score_gpt":0.2040165166203223,"score_spread":0.1769279185513717,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2333493653","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.869625,0.0052014207,0.00029949297,0.025769021,0.0011472858,0.00009869065,0.005200974,0.00008925086,0.09256883],"genre_scores_gemma":[0.94355553,0.0016593087,0.00014839142,0.0008960087,0.00014891979,0.000018147992,0.000984081,0.000053847136,0.0525357],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99905425,0.00006546897,0.00001146122,0.00006042004,0.00018431315,0.0006240496],"domain_scores_gemma":[0.9980533,0.00007095591,0.000069788926,0.000021923377,0.00035806495,0.00142587],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006902438,0.0003764568,0.0004026865,0.0015517044,0.014681593,0.006994122,0.0011268336,0.0018380188,0.015164673],"category_scores_gemma":[0.0013751319,0.0002802099,0.00027253112,0.0032734054,0.0024818492,0.0011186337,0.0025018884,0.0023868596,0.00087712385],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.001283628,0.00052194484,0.19494136,0.00070990593,0.00020157293,0.0041012038,0.20369036,0.0012906605,0.0027036574,0.021744998,0.4694605,0.099350244],"study_design_scores_gemma":[0.000014514268,0.00005184649,0.46932957,0.00026403193,0.00002280938,0.00012684579,0.32825688,0.00026169882,0.00017270632,0.00048821792,0.20095903,0.00005184956],"about_ca_topic_score_codex":0.98298925,"about_ca_topic_score_gemma":0.9975508,"teacher_disagreement_score":0.03740655,"about_ca_system_score_codex":0.03740655,"about_ca_system_score_gemma":0.043876752,"threshold_uncertainty_score":0.2714048},"labels":[],"label_agreement":null},{"id":"W2333651513","doi":"10.5594/j12405","title":"Message from Editorial Vice-President","year":2003,"lang":"en","type":"article","venue":"SMPTE Motion Imaging Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Canadian Bio-Systems (Canada)","funders":"","keywords":"Vice president; Computer science; Telecommunications; Management; Economics","score_opus":0.016116205758968896,"score_gpt":0.21840040640729252,"score_spread":0.20228420064832364,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2333651513","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00022297252,0.0022493873,0.00023346292,0.13592179,0.8368045,0.00010265216,0.00025739058,0.00023235919,0.023975464],"genre_scores_gemma":[0.0032183598,0.0034780286,0.00047590747,0.16503873,0.53074646,0.00017676367,0.00039370637,0.0002653909,0.29620668],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99792624,0.00016141451,0.00018192528,0.00029177236,0.0012165138,0.00022211902],"domain_scores_gemma":[0.98959607,0.00089860486,0.00048495474,0.00030772612,0.0060263327,0.0026862486],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002841507,0.0014716912,0.0010759337,0.0012563079,0.0019996385,0.0054278495,0.0014186633,0.009685101,0.0957243],"category_scores_gemma":[0.01120825,0.00049092475,0.0009541183,0.000644859,0.0006403133,0.003134228,0.0012580641,0.0084362645,0.09992209],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000138961095,0.000009769463,0.00003015843,0.00003148789,0.0000015413168,0.000044689896,0.0000050547765,0.0000049324676,0.000051056933,0.0001476087,0.9952394,0.004420441],"study_design_scores_gemma":[0.000016584005,0.000022616017,0.00039395105,0.00006460996,0.0000052965443,0.0001107192,0.000044608496,0.000037468915,0.00011158225,0.00026911218,0.99891496,0.000008529552],"about_ca_topic_score_codex":0.0007982042,"about_ca_topic_score_gemma":0.0018406142,"teacher_disagreement_score":0.0957243,"about_ca_system_score_codex":0.001227263,"about_ca_system_score_gemma":0.0024131208,"threshold_uncertainty_score":0.3202297},"labels":[],"label_agreement":null},{"id":"W2334070851","doi":"10.1386/fiin.10.6.86_7","title":"Around the Circuit","year":2012,"lang":"en","type":"article","venue":"Film International","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"New horizons; Art history; Art; Media studies; Humanities; Political science; Sociology; Engineering","score_opus":0.05591637115529243,"score_gpt":0.24071469055619457,"score_spread":0.18479831940090213,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2334070851","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010244051,0.0034471613,0.0002258959,0.017813139,0.008054463,0.000040085586,0.00083613733,0.00021894873,0.96833986],"genre_scores_gemma":[0.0043053976,0.0007241401,0.000039888957,0.0016687067,0.00031618582,0.000009011375,0.0001502436,0.000067890884,0.99271846],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994522,0.000037586295,0.000007402804,0.00009681184,0.0001837194,0.00022229772],"domain_scores_gemma":[0.999308,0.000031259955,0.0000146876055,0.000039246846,0.0002563388,0.0003504356],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00030177677,0.0004980161,0.0003136021,0.0006637008,0.005840625,0.0068891845,0.0006714375,0.0019787129,0.47190034],"category_scores_gemma":[0.0013113117,0.00028055982,0.00026228884,0.00073680864,0.0009649906,0.0020723448,0.002212725,0.003556605,0.13382484],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014795828,0.0000062765434,0.00009543512,0.000017111635,0.0000011856416,0.000045700097,0.000118828706,0.000014226851,0.000057482906,0.008400534,0.9777093,0.013519035],"study_design_scores_gemma":[0.0000019580739,0.0000025604086,0.000235902,0.00001541483,8.864296e-7,0.000010011011,0.00019630491,0.0000059393196,0.000019006711,0.00025543506,0.9992551,0.0000015738157],"about_ca_topic_score_codex":0.13601704,"about_ca_topic_score_gemma":0.37087774,"teacher_disagreement_score":0.47190034,"about_ca_system_score_codex":0.005954534,"about_ca_system_score_gemma":0.0059707426,"threshold_uncertainty_score":0.75327003},"labels":[],"label_agreement":null},{"id":"W2334963234","doi":"10.5594/j18417","title":"Themed Entertainment: From Analog to Digital","year":2014,"lang":"en","type":"article","venue":"SMPTE Motion Imaging Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Entertainment; Computer graphics (images); Digital media; Computer science; Attraction; Advertising; Visual arts; Art; Business; World Wide Web","score_opus":0.01332766410598997,"score_gpt":0.20210678865426082,"score_spread":0.18877912454827084,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2334963234","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25038183,0.01160898,0.0135887945,0.007824886,0.000368727,0.000080737664,0.00027105454,0.00011211272,0.715763],"genre_scores_gemma":[0.95850176,0.0066774273,0.0034837902,0.00091416435,0.00023168423,0.000034978555,0.00009710309,0.000045208108,0.030013803],"study_design_codex":"design_other","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9995915,0.000121590456,0.000009969851,0.000047431637,0.00016189527,0.00006747834],"domain_scores_gemma":[0.99949515,0.00022216295,0.000056195488,0.000037186295,0.0001070591,0.00008210541],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047150388,0.00021189405,0.00010772549,0.0010998788,0.00079238805,0.005929267,0.00044961664,0.00044360038,0.017727436],"category_scores_gemma":[0.0018886279,0.00014326615,0.0001594337,0.0014662677,0.002381869,0.0027227716,0.0018579633,0.0006008636,0.0009923985],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003658001,0.00020849082,0.029002938,0.0008601252,0.000038216684,0.0011377655,0.016391493,0.0020065717,0.0040948666,0.44406468,0.021746075,0.48008308],"study_design_scores_gemma":[0.000074608986,0.0004660337,0.0798665,0.0018161514,0.00007500593,0.002852085,0.055182446,0.0069807954,0.0041251476,0.10741819,0.7410694,0.00007366041],"about_ca_topic_score_codex":0.011393493,"about_ca_topic_score_gemma":0.012331011,"teacher_disagreement_score":0.017727436,"about_ca_system_score_codex":0.0022109014,"about_ca_system_score_gemma":0.0007430518,"threshold_uncertainty_score":0.059304178},"labels":[],"label_agreement":null},{"id":"W2335391078","doi":"10.7202/1023108ar","title":"Establishing Sound","year":2014,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sound (geography); Hollywood; Shot (pellet); Key (lock); Computer science; Acoustics; History; Computer security; Art history; Physics","score_opus":0.037589090157917913,"score_gpt":0.22784369816607292,"score_spread":0.190254608008155,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2335391078","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012734751,0.002316086,0.056547396,0.009296199,0.0018116481,0.0002918664,0.00028298673,0.00044539853,0.91627365],"genre_scores_gemma":[0.66111046,0.0049991733,0.06311499,0.005815264,0.0019428205,0.00044780405,0.00056666066,0.0007937134,0.26120907],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99311066,0.0025935043,0.00033419236,0.001315556,0.0018910513,0.0007550702],"domain_scores_gemma":[0.9903377,0.0032797554,0.0007376248,0.0016139165,0.002960895,0.0010701675],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0055205114,0.0007637751,0.0005352826,0.002023213,0.00626801,0.011208604,0.0017834981,0.0024307717,0.051955115],"category_scores_gemma":[0.020382544,0.00047662013,0.00046350315,0.0013611101,0.010711762,0.010318395,0.008813095,0.005210789,0.01238666],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044186243,0.00003610485,0.001239929,0.00016467265,0.000009038608,0.00024072,0.0108950455,0.00014359498,0.0010773572,0.85211366,0.025903841,0.10813188],"study_design_scores_gemma":[0.000015108586,0.000103830534,0.0018089148,0.00044858642,0.000021489672,0.00028856975,0.007005395,0.00028101218,0.0015374976,0.123946264,0.8645074,0.00003588198],"about_ca_topic_score_codex":0.0042715715,"about_ca_topic_score_gemma":0.0046558194,"teacher_disagreement_score":0.051955115,"about_ca_system_score_codex":0.004019675,"about_ca_system_score_gemma":0.0038391706,"threshold_uncertainty_score":0.1738072},"labels":[],"label_agreement":null},{"id":"W2335837941","doi":"10.14288/1.0102813","title":"Obscenity, hate and artistic freedom","year":2009,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Aesthetics; Political science; Sociology; Art","score_opus":0.013455373021732357,"score_gpt":0.1614338870458857,"score_spread":0.14797851402415335,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2335837941","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02377425,0.002876111,0.0006561016,0.0050538154,0.00067925145,0.000019525582,0.0006834096,0.00003546419,0.9662221],"genre_scores_gemma":[0.5818919,0.003913088,0.0010042886,0.001391304,0.0009874266,0.0000310906,0.0007131571,0.000093387825,0.40997437],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992847,0.000121492296,0.000039859176,0.00006427803,0.00037264457,0.000117028016],"domain_scores_gemma":[0.9983418,0.0004512291,0.00020857052,0.0003594213,0.00029299856,0.00034588558],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005267092,0.00023098478,0.00026270802,0.001477117,0.0030521383,0.0051646703,0.0002815985,0.0006741834,0.07741849],"category_scores_gemma":[0.00324655,0.0002293022,0.00016892958,0.0015032192,0.0048357877,0.0022247266,0.0022322736,0.0013825551,0.00711976],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040569092,0.000083540646,0.007828908,0.00034784744,0.00004152868,0.00053791795,0.009816631,0.00018654024,0.0024762466,0.4643782,0.34044966,0.17344727],"study_design_scores_gemma":[0.00001542963,0.00006209632,0.03051587,0.0003588154,0.00001430549,0.0009741366,0.0044530653,0.000086154425,0.0006299728,0.029469168,0.9333853,0.00003573098],"about_ca_topic_score_codex":0.008348883,"about_ca_topic_score_gemma":0.018507883,"teacher_disagreement_score":0.07741849,"about_ca_system_score_codex":0.0011475447,"about_ca_system_score_gemma":0.0006279749,"threshold_uncertainty_score":0.25899065},"labels":[],"label_agreement":null},{"id":"W2337000988","doi":"10.14288/1.0096263","title":"Echoes of myth : the feature films of John Boorman","year":2010,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Feature (linguistics); Mythology; Art; Philosophy; Literature; Linguistics","score_opus":0.008485577440573117,"score_gpt":0.15734196194682537,"score_spread":0.14885638450625224,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2337000988","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39542812,0.01706988,0.0014176873,0.11754157,0.0049848678,0.00006442386,0.00042728198,0.000101889855,0.46296424],"genre_scores_gemma":[0.8568631,0.0053191804,0.0008555393,0.0063267453,0.0012115396,0.000030323446,0.000103743514,0.000102542595,0.12918738],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99965596,0.000118666896,0.000006028781,0.000042198546,0.000103626764,0.00007343257],"domain_scores_gemma":[0.99921036,0.00036392966,0.00006681799,0.00002933957,0.00018210884,0.00014739692],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00054950383,0.00017492787,0.000109439265,0.000674734,0.00487828,0.003192917,0.00031836992,0.00067268644,0.004892135],"category_scores_gemma":[0.002332003,0.00016439725,0.000069166344,0.0006720062,0.0022029392,0.0022612433,0.0010740412,0.0017382138,0.00037311632],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002631892,0.00008762012,0.004144963,0.00022517126,0.000018265424,0.0024633189,0.19628401,0.0001658054,0.0043326244,0.12699236,0.60532695,0.059695665],"study_design_scores_gemma":[0.0000065698187,0.000018312592,0.008720708,0.00016425175,0.000005327774,0.00055601564,0.03215652,0.00010782715,0.00064951455,0.0018601861,0.9557305,0.000024384779],"about_ca_topic_score_codex":0.05626504,"about_ca_topic_score_gemma":0.17851944,"teacher_disagreement_score":0.05626504,"about_ca_system_score_codex":0.0034807075,"about_ca_system_score_gemma":0.00095885526,"threshold_uncertainty_score":0.11187512},"labels":[],"label_agreement":null},{"id":"W2337055381","doi":"10.1080/23268743.2016.1148331","title":"Porn in the art gallery: collecting a genre","year":2016,"lang":"en","type":"article","venue":"Porn Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Art; Visual arts; Art history; Computer graphics (images); Computer science","score_opus":0.09890872501715157,"score_gpt":0.27658466826916883,"score_spread":0.17767594325201724,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2337055381","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5941588,0.008433982,0.009673852,0.005880831,0.0018504125,0.003011791,0.018414,0.00037693314,0.35819936],"genre_scores_gemma":[0.700895,0.01050205,0.04134686,0.0029935266,0.003395659,0.004796293,0.025445666,0.0020425038,0.20858243],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970149,0.0010904218,0.00025268883,0.00046483232,0.00083523453,0.0003419861],"domain_scores_gemma":[0.9877978,0.002806954,0.0010710756,0.001869855,0.0052847615,0.001169553],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004144039,0.00071285386,0.00057691627,0.020609306,0.005983058,0.0048755333,0.0010136738,0.0010749502,0.02471875],"category_scores_gemma":[0.015863538,0.00051441154,0.00041587674,0.013538051,0.0020151772,0.0029966473,0.005176954,0.0016426031,0.005575892],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00038609764,0.00058181863,0.061135624,0.0027381151,0.00006026316,0.0012741715,0.27990898,0.00015744072,0.010531575,0.017911568,0.24837933,0.37693498],"study_design_scores_gemma":[0.000014072014,0.000089958354,0.16255622,0.0014282301,0.000046767527,0.0005205618,0.16924194,0.00023735048,0.002602712,0.0014106049,0.66180885,0.000042781776],"about_ca_topic_score_codex":0.009899634,"about_ca_topic_score_gemma":0.040114164,"teacher_disagreement_score":0.02471875,"about_ca_system_score_codex":0.0022139298,"about_ca_system_score_gemma":0.001847629,"threshold_uncertainty_score":0.082692504},"labels":[],"label_agreement":null},{"id":"W2338279375","doi":"10.3138/seminar.52.4.06","title":"Watching the Night: Surveillance and Cross-Sectional Montage in Nikolaus Geyrhalter’s <i>Abendland</i> (2011)","year":2016,"lang":"en","type":"article","venue":"Seminar A Journal of Germanic Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Film director; Power (physics); Perception; Cross-sectional study; Visual arts; Aesthetics; Sociology; Art; Psychology; Medicine; Movie theater; Pathology","score_opus":0.04104647001524976,"score_gpt":0.2808084288852964,"score_spread":0.23976195887004664,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2338279375","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8248289,0.004625851,0.003261471,0.0074038077,0.0003869917,0.000021238902,0.00020327265,0.000048279602,0.15922016],"genre_scores_gemma":[0.9901272,0.0007911462,0.0006874823,0.00026916136,0.000055091838,0.000005655965,0.000059996248,0.000029644521,0.007974634],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995654,0.00023105691,0.000011925962,0.000071857554,0.00005458013,0.00006511258],"domain_scores_gemma":[0.9990995,0.00046203082,0.0001976365,0.00007601935,0.00006508099,0.00009990364],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00092700997,0.00019816305,0.000104495935,0.0006692513,0.002535853,0.003533587,0.0002760039,0.0005881988,0.0032465467],"category_scores_gemma":[0.002422387,0.00017824225,0.000122328,0.00048223956,0.0030503396,0.002952791,0.0019343983,0.0012912768,0.00025000647],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024851644,0.000095642186,0.0151014,0.00016567289,0.00003206757,0.0016037129,0.77172065,0.00024616308,0.0033805892,0.13113508,0.022067107,0.05420342],"study_design_scores_gemma":[0.000017854996,0.000106768835,0.100908644,0.0005936834,0.000044459634,0.0020647189,0.3318528,0.00062974537,0.0022081365,0.013178306,0.5483189,0.000076016986],"about_ca_topic_score_codex":0.008359995,"about_ca_topic_score_gemma":0.018044423,"teacher_disagreement_score":0.008359995,"about_ca_system_score_codex":0.0015023743,"about_ca_system_score_gemma":0.00030796672,"threshold_uncertainty_score":0.016622663},"labels":[],"label_agreement":null},{"id":"W2338288605","doi":"","title":"Le film des fils. Sauvage innocence, de Philippe Garrel, France-Italie 2001, 135 minutes. Le pornographe, de Bertrand Bonello, France-Canada 2001, 108 minutes.","year":2003,"lang":"fr","type":"article","venue":"Spirale : Arts &#8226; Lettres &#8226; Sciences humaines","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Innocence; Humanities; Political science; Law","score_opus":0.028891040654447506,"score_gpt":0.22281455929180402,"score_spread":0.19392351863735652,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2338288605","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031150803,0.14807445,0.00075219746,0.05415668,0.023749998,0.0001110258,0.0065726154,0.0012300278,0.762238],"genre_scores_gemma":[0.0073400517,0.01428155,0.0002950804,0.0010506359,0.001724787,0.000033824144,0.0011785139,0.00029010331,0.97380537],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999653,0.00006202287,0.000013315807,0.00006473636,0.00013937257,0.00006745881],"domain_scores_gemma":[0.9994487,0.00014829382,0.000040068342,0.000023308465,0.00020543409,0.00013425612],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00057909737,0.0013026722,0.00051569194,0.0015188501,0.0021816243,0.0042752014,0.0005365857,0.0015439108,0.42968658],"category_scores_gemma":[0.0022286696,0.00044094553,0.00035053617,0.0015410555,0.0004940378,0.0024908183,0.0011166965,0.0013602128,0.18211107],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003429545,0.0000060794487,0.000087481174,0.000054021868,0.0000018791575,0.00004049935,0.00008739121,0.000027276697,0.000066409964,0.0008498205,0.97164583,0.02709903],"study_design_scores_gemma":[0.0000045223715,0.0000054400175,0.0009141848,0.00009520048,0.0000013246628,0.00004543509,0.0001559015,0.000026707414,0.000036184687,0.00013810553,0.99857414,0.0000028019026],"about_ca_topic_score_codex":0.027224684,"about_ca_topic_score_gemma":0.05924015,"teacher_disagreement_score":0.42968658,"about_ca_system_score_codex":0.0029191428,"about_ca_system_score_gemma":0.001192468,"threshold_uncertainty_score":0.8134829},"labels":[],"label_agreement":null},{"id":"W2339342987","doi":"10.7202/1038324ar","title":"Le pouvoir de consommer : le spectateur comme enjeu et acteur de l’économie du théâtre musical1","year":2016,"lang":"fr","type":"article","venue":"L’Annuaire théâtral Revue québécoise d’études théâtrales","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.03582874485573662,"score_gpt":0.235534755792629,"score_spread":0.1997060109368924,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2339342987","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21311927,0.01318804,0.004503298,0.07984439,0.0010747667,0.000045726705,0.000088841574,0.000053913147,0.68808174],"genre_scores_gemma":[0.8702757,0.0043276274,0.00075133593,0.0022862216,0.00031566323,0.00002247308,0.000019449755,0.000060732313,0.1219408],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985464,0.0007027262,0.000017303104,0.00016607787,0.0002786498,0.0002888089],"domain_scores_gemma":[0.99818534,0.00080527604,0.00019078578,0.00011110589,0.00032333736,0.0003841715],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022924882,0.00034112638,0.00019476782,0.0010808135,0.006478613,0.008274998,0.00054620905,0.0016050249,0.012047092],"category_scores_gemma":[0.0033973695,0.00023524795,0.00015639608,0.0011942288,0.0115330955,0.004027027,0.0022050783,0.0024903088,0.0011901911],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016328326,0.000058290323,0.005260275,0.00020105475,0.000014454944,0.00057048746,0.07172451,0.00029172277,0.0017888618,0.7980607,0.04422708,0.07763921],"study_design_scores_gemma":[0.00002043717,0.000087756074,0.025061052,0.0004896602,0.00001529557,0.00023147829,0.058721047,0.00059440633,0.0010137927,0.036825534,0.8768833,0.000056272675],"about_ca_topic_score_codex":0.13170145,"about_ca_topic_score_gemma":0.20177639,"teacher_disagreement_score":0.13170145,"about_ca_system_score_codex":0.011584612,"about_ca_system_score_gemma":0.006585297,"threshold_uncertainty_score":0.2618698},"labels":[],"label_agreement":null},{"id":"W2340974248","doi":"10.33137/caribbeanquilt.v3i1.22628","title":"Cover art for Main Edition","year":2015,"lang":"en","type":"article","venue":"Caribbean Quilt","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cover (algebra); Art; Art history; Geography; Engineering","score_opus":0.06447440885423866,"score_gpt":0.24555586474973226,"score_spread":0.1810814558954936,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2340974248","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017453048,0.0006799115,0.00051967613,0.0008250057,0.0031643258,0.00011792667,0.0017126106,0.000797278,0.9920087],"genre_scores_gemma":[0.0005200665,0.00042803722,0.00023583056,0.00021779064,0.00042110984,0.000034249377,0.0005660768,0.0004098314,0.99716693],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996158,0.000025166608,0.000009796752,0.000051861847,0.0002345042,0.000062910614],"domain_scores_gemma":[0.99894685,0.00013815709,0.000037591624,0.000116545365,0.00055214,0.00020859466],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003436558,0.0012374293,0.0010226186,0.0024219411,0.0019842933,0.005187847,0.0013184431,0.0013452107,0.90944284],"category_scores_gemma":[0.0027145867,0.00057289127,0.00071548193,0.001888928,0.0004112798,0.003174312,0.0022633323,0.0014916692,0.7957816],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008045247,0.000008382152,0.000012137434,0.000044536453,5.6175566e-7,0.000014216119,0.000016959855,0.000016601063,0.00015163195,0.0007162931,0.97656095,0.022449762],"study_design_scores_gemma":[0.000003809769,0.0000062011454,0.00019899524,0.000060838585,0.0000015547873,0.000026840182,0.00006363673,0.000030773685,0.000094771625,0.00045904523,0.9990502,0.0000033753875],"about_ca_topic_score_codex":0.0057877703,"about_ca_topic_score_gemma":0.012499354,"teacher_disagreement_score":0.09055716,"about_ca_system_score_codex":0.0011725777,"about_ca_system_score_gemma":0.0011189459,"threshold_uncertainty_score":0.12916881},"labels":[],"label_agreement":null},{"id":"W2340981442","doi":"","title":"Unifarm: A Story of Conflict and Change by Carrol Jaques (review)","year":2003,"lang":"en","type":"article","venue":"Canadian Historical Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sociology; History","score_opus":0.07124468028783783,"score_gpt":0.23837407546719433,"score_spread":0.1671293951793565,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2340981442","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00012908578,0.9376936,0.000024153353,0.05620136,0.0039787525,0.0000033761548,0.000056866604,0.0000051497846,0.0019076195],"genre_scores_gemma":[0.003177982,0.9625035,0.00008278596,0.026106974,0.0051193126,0.000013694543,0.00008560192,0.000014455797,0.0028956793],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982603,0.00045397488,0.000113609385,0.0002069708,0.0006693082,0.0002957747],"domain_scores_gemma":[0.9928336,0.0027635272,0.00059663644,0.00019975196,0.0026782367,0.00092821027],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0038895186,0.0009357223,0.0016667577,0.00599419,0.0034107035,0.0077418135,0.0015083913,0.005865486,0.006040913],"category_scores_gemma":[0.011881783,0.0006423554,0.0004897999,0.014413936,0.0044726776,0.006890362,0.0024817323,0.0062453714,0.0021049879],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043732733,0.000011715774,0.0002959428,0.0015075819,0.00003425561,0.000116652314,0.0007909329,0.000055614593,0.00004992663,0.0064204717,0.8853571,0.10531612],"study_design_scores_gemma":[0.00000783076,0.000007787625,0.0012766748,0.002219821,0.000022287091,0.00013449107,0.00077066617,0.000010331814,0.000022904343,0.0012566617,0.9942556,0.000015016495],"about_ca_topic_score_codex":0.23124093,"about_ca_topic_score_gemma":0.37433034,"teacher_disagreement_score":0.7687591,"about_ca_system_score_codex":0.01207698,"about_ca_system_score_gemma":0.018568406,"threshold_uncertainty_score":0.45978993},"labels":[],"label_agreement":null},{"id":"W234237840","doi":"","title":"Nobody's Perfect: Writings from the New Yorker","year":2003,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"nobody; Admiration; Criticism; Movie theater; Originality; Aesthetics; Embarrassment; Irony; Literature; Art; Sociology; Law; Political science; Psychology; Social psychology","score_opus":0.04721313672219601,"score_gpt":0.22568263042211745,"score_spread":0.17846949369992143,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W234237840","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007467824,0.51030064,0.0007198172,0.24215958,0.056246337,0.000041659645,0.00026092216,0.00006689516,0.18273625],"genre_scores_gemma":[0.104635164,0.27729413,0.001671733,0.038941152,0.024126587,0.00018887468,0.00039890045,0.0004937356,0.5522497],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985915,0.00055992045,0.000104431536,0.00017187497,0.00044614877,0.00012608914],"domain_scores_gemma":[0.9971283,0.0015499338,0.00021968903,0.00011843989,0.0005472204,0.00043635996],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025531298,0.0010853518,0.0007152232,0.0022215173,0.0079354225,0.008004278,0.001024263,0.0023988753,0.0095449],"category_scores_gemma":[0.0064854515,0.00063186313,0.00022139169,0.0018133991,0.0055049523,0.007988108,0.004229894,0.0071142004,0.0026843525],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027418531,0.000031863678,0.00016949685,0.00019821008,0.0000089214145,0.0002553409,0.026665483,0.00004038878,0.00021463078,0.02487791,0.9163417,0.031168548],"study_design_scores_gemma":[0.0000023169503,0.0000055942837,0.00049708923,0.00049594505,0.0000023969083,0.0001104932,0.0059364606,0.000016549411,0.00006882409,0.0016561205,0.9911975,0.000010660491],"about_ca_topic_score_codex":0.05327815,"about_ca_topic_score_gemma":0.10219393,"teacher_disagreement_score":0.05327815,"about_ca_system_score_codex":0.009051101,"about_ca_system_score_gemma":0.0052070552,"threshold_uncertainty_score":0.10593605},"labels":[],"label_agreement":null},{"id":"W2342725211","doi":"10.4000/map.2047","title":"Film Studies and the Philosophy of Science: Bordwellian Paradigms and Marxist Quarrels","year":2016,"lang":"en","type":"article","venue":"Mise au point","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Humanities; Philosophy","score_opus":0.03964185199012284,"score_gpt":0.24833139539463597,"score_spread":0.20868954340451312,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2342725211","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07868748,0.039789893,0.021257227,0.10174447,0.0013773387,0.00008356702,0.0001176614,0.00005372499,0.7568886],"genre_scores_gemma":[0.9644823,0.009855569,0.0029378657,0.001975472,0.00063316047,0.00008905246,0.000028558283,0.000043855587,0.019954093],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9962734,0.0026944552,0.0000927319,0.00031187464,0.0003415726,0.0002858968],"domain_scores_gemma":[0.9935742,0.0047545526,0.00055967824,0.00035575213,0.00040190024,0.000353916],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.004214377,0.00059593766,0.0004149875,0.003981595,0.0056820693,0.012560009,0.0015604626,0.0033384184,0.0089153815],"category_scores_gemma":[0.0058678943,0.0003585354,0.00042971983,0.0024773073,0.031979863,0.013110939,0.0036712056,0.003589227,0.000467949],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008752874,0.000008547425,0.00014890968,0.00004648885,0.0000021739331,0.000045525896,0.02060279,0.000050118764,0.000057016394,0.975466,0.0009617834,0.0026017707],"study_design_scores_gemma":[0.000028589959,0.000032831922,0.001378235,0.00058954733,0.00001890701,0.00016004182,0.06186425,0.00087374664,0.000292433,0.75734663,0.17739001,0.000024726862],"about_ca_topic_score_codex":0.007857234,"about_ca_topic_score_gemma":0.010020399,"teacher_disagreement_score":0.99431795,"about_ca_system_score_codex":0.010877581,"about_ca_system_score_gemma":0.0023827064,"threshold_uncertainty_score":0.07892275},"labels":[],"label_agreement":null},{"id":"W2344295720","doi":"10.14288/1.0088260","title":"Afferent drama / efferent cinema: the structure of modern Canadian and Quebecois film-mediated drama from 1972 to 1992","year":2009,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Movie theater; Efferent; Afferent; Art; Psychology; Literature; Neuroscience","score_opus":0.007954612021294586,"score_gpt":0.1556743041954198,"score_spread":0.14771969217412523,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2344295720","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6611294,0.011331184,0.0018983139,0.007439348,0.000250578,0.00014500602,0.0039750487,0.00018262341,0.31364852],"genre_scores_gemma":[0.96865404,0.0020942145,0.00075473805,0.00033547945,0.00004646535,0.00004230089,0.0007665752,0.000052083855,0.027254071],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99912935,0.00013542785,0.000018221124,0.00016529932,0.00026133994,0.00029045096],"domain_scores_gemma":[0.99841666,0.00034868685,0.00012840696,0.00007395216,0.0006998515,0.00033241342],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008463741,0.000659973,0.0002919596,0.005707834,0.01268494,0.007620871,0.0012383868,0.0009076578,0.011600374],"category_scores_gemma":[0.0037947043,0.00027773716,0.00021899998,0.006469911,0.0068088085,0.0015015869,0.0017366895,0.0014407686,0.0003923766],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026727875,0.00008224089,0.029474877,0.00065448397,0.000071106595,0.0012202854,0.6122126,0.0006780398,0.0064599044,0.15830784,0.042220455,0.14835083],"study_design_scores_gemma":[0.0000147728615,0.00005117978,0.22319248,0.0007383378,0.00009294554,0.0005080114,0.26591188,0.0007638135,0.0016523219,0.0024283065,0.5045263,0.00011970065],"about_ca_topic_score_codex":0.98434365,"about_ca_topic_score_gemma":0.99354196,"teacher_disagreement_score":0.10138397,"about_ca_system_score_codex":0.10138397,"about_ca_system_score_gemma":0.035975277,"threshold_uncertainty_score":0.7355956},"labels":[],"label_agreement":null},{"id":"W235738474","doi":"","title":"TIFF '08 and Liverpool","year":2009,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Marketing buzz; Media studies; Ticket; Advertising; Box office; Midnight; Mainland China; Movie theater; Film festival; Icon; Visual arts; History; Art history; Art; China; Sociology; Business; Computer science","score_opus":0.025524421876022635,"score_gpt":0.21097539720138572,"score_spread":0.1854509753253631,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W235738474","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00088418834,0.0023907558,0.000317274,0.0036126457,0.0032103094,0.0000439293,0.0013865053,0.0005504966,0.9876039],"genre_scores_gemma":[0.0016496223,0.00043886155,0.000094202405,0.0003101429,0.000104865925,0.000017179565,0.00027793556,0.00014244243,0.9969649],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994259,0.000051180887,0.000020056874,0.00015191305,0.00018281254,0.00016832376],"domain_scores_gemma":[0.9992567,0.00005588736,0.000030324494,0.00009079386,0.0001972358,0.00036903255],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00040946697,0.0010519631,0.0004198844,0.0011570944,0.0051394748,0.008801353,0.0010818497,0.0024695473,0.79368293],"category_scores_gemma":[0.0017132602,0.00052410754,0.00043181426,0.0017067669,0.0013274894,0.0033778595,0.0037189922,0.002041208,0.40695557],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008515378,0.000011614441,0.00017098169,0.00013997691,0.000003192747,0.00043233295,0.00050883566,0.00004615099,0.00041773808,0.0095934365,0.94358826,0.04500231],"study_design_scores_gemma":[0.0000031403822,0.0000075955045,0.00037869546,0.0000763664,7.719086e-7,0.000056566165,0.000376758,0.0000119612405,0.00006167483,0.00035697396,0.99866426,0.000005160347],"about_ca_topic_score_codex":0.049261358,"about_ca_topic_score_gemma":0.19861068,"teacher_disagreement_score":0.79368293,"about_ca_system_score_codex":0.004411753,"about_ca_system_score_gemma":0.0035949822,"threshold_uncertainty_score":0.29428625},"labels":[],"label_agreement":null},{"id":"W236002475","doi":"10.3138/cjfs.14.1.51","title":"Goethe’s Faust, Gertrude Stein’s <i>Doctor Faustus Lights the Lights</i>, and Stan Brakhage’s Faust Series","year":2005,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"FAUST; Art; Art history; Philosophy; Humanities","score_opus":0.03486387095591442,"score_gpt":0.23652516189283815,"score_spread":0.20166129093692373,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W236002475","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029755061,0.022288103,0.009134632,0.13909139,0.005802055,0.000036976067,0.00017899097,0.00012032987,0.79359245],"genre_scores_gemma":[0.49056628,0.012840418,0.0036099404,0.009670256,0.0015424534,0.000051097864,0.00010409004,0.0003010967,0.48131442],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99908555,0.0002994232,0.0000256222,0.00013825984,0.00030929846,0.00014191514],"domain_scores_gemma":[0.99876887,0.0006155498,0.00014345802,0.000098470686,0.0001975477,0.00017605028],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010885177,0.0005495161,0.00018567914,0.0014473005,0.0033504746,0.0049101124,0.00054260244,0.0021633273,0.013182833],"category_scores_gemma":[0.0045461506,0.00027503542,0.0002079178,0.0012634329,0.009120563,0.0047900383,0.0023207876,0.003441226,0.0019739077],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021223028,0.0000059313065,0.00020130146,0.0000320819,0.0000029709483,0.00005647316,0.0033857268,0.00007971158,0.00012566993,0.9379789,0.04909865,0.009011336],"study_design_scores_gemma":[0.000008106739,0.000013410416,0.0011370119,0.0001191163,0.0000066560324,0.00016314311,0.0023814596,0.00019698756,0.00045452444,0.232106,0.7633935,0.000020053332],"about_ca_topic_score_codex":0.011571705,"about_ca_topic_score_gemma":0.02727785,"teacher_disagreement_score":0.013182833,"about_ca_system_score_codex":0.005736721,"about_ca_system_score_gemma":0.0025906332,"threshold_uncertainty_score":0.04410094},"labels":[],"label_agreement":null},{"id":"W236488249","doi":"","title":"Actor, Screenwriter, Director, Chinese, American, Woman, Mother: Who Is Joan Chen?","year":2007,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Wife; China; Cultural revolution; Gender studies; Sociology; Art history; Media studies; History; Political science; Law","score_opus":0.022195137021079746,"score_gpt":0.25384101376665485,"score_spread":0.2316458767455751,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W236488249","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45515013,0.007254001,0.0006811446,0.025137512,0.0032177616,0.00017079977,0.0012063684,0.0002730755,0.50690913],"genre_scores_gemma":[0.68431586,0.0053739096,0.00044283646,0.00552415,0.00096962193,0.00019030011,0.000495166,0.00021114462,0.302477],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997377,0.00009621132,0.00000878252,0.00004763033,0.00004851022,0.0000611132],"domain_scores_gemma":[0.9993704,0.00021258157,0.0000656693,0.000017893746,0.00010886396,0.00022464461],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003578494,0.00048106082,0.00023093063,0.0007170448,0.00723147,0.0024844846,0.00039779762,0.0007814212,0.01366346],"category_scores_gemma":[0.0012666018,0.00020360472,0.00005921673,0.0010857515,0.0016505474,0.0013637708,0.0011448724,0.001305542,0.002533201],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008203307,0.00007132616,0.0088254735,0.00031129067,0.000007061822,0.0033591723,0.6959946,0.00002900349,0.0038928154,0.0063611525,0.2560581,0.025007922],"study_design_scores_gemma":[0.000004350822,0.000028363618,0.021101177,0.00013765671,0.00000715632,0.0013623253,0.6150082,0.00006135055,0.00059506757,0.00008843734,0.36158687,0.000019107849],"about_ca_topic_score_codex":0.045745563,"about_ca_topic_score_gemma":0.10307503,"teacher_disagreement_score":0.045745563,"about_ca_system_score_codex":0.0024296772,"about_ca_system_score_gemma":0.0016167383,"threshold_uncertainty_score":0.090958595},"labels":[],"label_agreement":null},{"id":"W236773777","doi":"","title":"The Films of Jack Chambers","year":2004,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Filmography; Filmmaking; Realism; Art history; Movie theater; Painting; Art; The arts; Visual arts; Craft; Poetry; Film studies; History; Literature","score_opus":0.04381508723545144,"score_gpt":0.23273686374982708,"score_spread":0.18892177651437564,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W236773777","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014920567,0.1271264,0.0009180177,0.08976535,0.01923526,0.00010143771,0.0010546104,0.00015567518,0.7467227],"genre_scores_gemma":[0.12053015,0.05817762,0.0014869414,0.013032144,0.0023291754,0.00007021185,0.0004931548,0.00031810522,0.80356246],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994198,0.00013424466,0.000014004793,0.00010581263,0.00021369582,0.00011231613],"domain_scores_gemma":[0.99933124,0.00009476656,0.000047154164,0.000039376842,0.0002725481,0.00021494713],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00064674456,0.0006484353,0.00026982315,0.0007672756,0.0063310578,0.0047987727,0.00058632146,0.0010220878,0.03252602],"category_scores_gemma":[0.0023553674,0.00046283536,0.00021088465,0.0011465041,0.0024744915,0.0032182627,0.0021573224,0.0023027062,0.004949033],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002849538,0.0000072791076,0.00021284744,0.000078431265,0.0000026039843,0.00012672605,0.005362645,0.000015072266,0.00032490588,0.010459872,0.96360505,0.019776056],"study_design_scores_gemma":[0.0000014736929,0.000003090385,0.0006802149,0.0000942819,0.0000017558144,0.000095510695,0.003338705,0.0000066088046,0.00009878963,0.00036749386,0.9953067,0.0000053464737],"about_ca_topic_score_codex":0.2954378,"about_ca_topic_score_gemma":0.4871604,"teacher_disagreement_score":0.7045622,"about_ca_system_score_codex":0.0064093606,"about_ca_system_score_gemma":0.0055735284,"threshold_uncertainty_score":0.5874363},"labels":[],"label_agreement":null},{"id":"W237280512","doi":"10.3138/cjfs.20.2.2","title":"From Art House to Your House: The Distribution of Quality Cinema on Home Video","year":2011,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Zeitgeist; Movie theater; Art history; Philosophy","score_opus":0.11477834665909224,"score_gpt":0.27576048740333964,"score_spread":0.16098214074424738,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W237280512","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.48803937,0.0020470188,0.017879363,0.008918402,0.00044798353,0.00013075725,0.00038396928,0.00029125193,0.4818618],"genre_scores_gemma":[0.97552013,0.0004572373,0.0015545808,0.0002951878,0.00018053541,0.000020793444,0.000051090366,0.00012350618,0.021797005],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989912,0.00044846538,0.00002735826,0.00013968641,0.0002464106,0.00014682942],"domain_scores_gemma":[0.9971359,0.0012544552,0.000407304,0.00046878253,0.0004129671,0.00032055352],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013232619,0.00016186343,0.00012715478,0.0012611552,0.001985526,0.006081472,0.00062644994,0.0007278156,0.017680386],"category_scores_gemma":[0.008442453,0.0002335176,0.00012720196,0.0011723053,0.002775353,0.0045741294,0.0024147446,0.0007946334,0.00097090844],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006091557,0.00016193927,0.03513949,0.00032147413,0.0000453597,0.001759732,0.20184298,0.0010265993,0.0072411643,0.33247685,0.037107512,0.3822677],"study_design_scores_gemma":[0.00009180838,0.00036018452,0.11680237,0.0007528018,0.0000754307,0.0026602156,0.20051932,0.0037752164,0.0060268184,0.041586496,0.62726825,0.00008096585],"about_ca_topic_score_codex":0.010244249,"about_ca_topic_score_gemma":0.009913848,"teacher_disagreement_score":0.017680386,"about_ca_system_score_codex":0.0026008242,"about_ca_system_score_gemma":0.0007206848,"threshold_uncertainty_score":0.059146762},"labels":[],"label_agreement":null},{"id":"W238482922","doi":"10.1017/asr.2014.130","title":"Julia Ivanova, director. Family Portrait in Black and White. 2011. 85 minutes. In Ukrainian and English, with English subtitles. Canada. Interfilm Productions. $24.99.","year":2014,"lang":"en","type":"article","venue":"African Studies Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"White (mutation); Portrait; Ukrainian; Art; Art history; Political science; Linguistics; Philosophy","score_opus":0.02766478080930385,"score_gpt":0.2147369905343981,"score_spread":0.18707220972509425,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W238482922","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004387402,0.40132037,0.0010596568,0.10621016,0.02258818,0.00019726228,0.010629507,0.00092939375,0.45267817],"genre_scores_gemma":[0.012885986,0.10998652,0.00060568383,0.005388289,0.0010255103,0.00012725666,0.001995832,0.00030870156,0.86767626],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999848,0.0000400011,0.000006965091,0.000026667578,0.000039640785,0.000038677626],"domain_scores_gemma":[0.99951565,0.00006906019,0.00004167852,0.000010822774,0.00021321226,0.00014958884],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00060692604,0.0005121847,0.00030768616,0.0010718217,0.0013944189,0.00072366826,0.00046679532,0.00062290963,0.23262228],"category_scores_gemma":[0.001355592,0.00035305755,0.00015713242,0.0014345646,0.00014526836,0.001038546,0.0007623789,0.000854925,0.11003083],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000087418075,0.000002486895,0.000087054475,0.00012513473,6.9133705e-7,0.000032644122,0.00018208125,0.0000050555404,0.00004812169,0.00030151618,0.97949433,0.0197121],"study_design_scores_gemma":[0.0000020530865,0.0000038202793,0.0015287839,0.00024004251,0.0000014957933,0.00005334662,0.0006572371,0.0000045718093,0.00003368674,0.00006405228,0.9974088,0.0000020938173],"about_ca_topic_score_codex":0.041025124,"about_ca_topic_score_gemma":0.09537796,"teacher_disagreement_score":0.9589749,"about_ca_system_score_codex":0.001177399,"about_ca_system_score_gemma":0.0014245721,"threshold_uncertainty_score":0.7781991},"labels":[],"label_agreement":null},{"id":"W2385050224","doi":"10.3138/cras.2015.007","title":"Archival Futurism in Paul Auster’s <i>The Book of Illusions</i>","year":2016,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Illusion; Vision; Queer; Context (archaeology); Art history; Art; Object (grammar); Literature; Philosophy; History; Psychoanalysis; Theology; Psychology","score_opus":0.03006919104292634,"score_gpt":0.2573562396930831,"score_spread":0.22728704865015673,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2385050224","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024168635,0.12702447,0.005472889,0.41392967,0.0039524203,0.000029232966,0.000108029766,0.00009510646,0.4252196],"genre_scores_gemma":[0.76085544,0.058897592,0.0033713782,0.0601687,0.0069337604,0.000104550185,0.00006989682,0.00027197975,0.10932668],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971129,0.0019101577,0.000055424367,0.00017794418,0.0005364734,0.00020718527],"domain_scores_gemma":[0.9954491,0.0034744947,0.00033222762,0.00024282985,0.00028280728,0.00021848903],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029050868,0.000317758,0.00027606759,0.0015780418,0.00664958,0.011854941,0.00083071296,0.0037375642,0.0038993498],"category_scores_gemma":[0.0071953274,0.0003078675,0.00021991857,0.0017173305,0.031918403,0.013667573,0.0030317928,0.0075495807,0.0004892423],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000075762237,0.0000074273207,0.00008530751,0.000043861943,0.0000018608988,0.0000720201,0.034777693,0.00004042131,0.000032575288,0.90716946,0.05157651,0.0061852187],"study_design_scores_gemma":[0.000007082121,0.000006535977,0.00032099753,0.00045282562,0.0000033024812,0.00021430734,0.015610801,0.00008744606,0.00012293381,0.17741054,0.80574626,0.000016979098],"about_ca_topic_score_codex":0.014001757,"about_ca_topic_score_gemma":0.025430989,"teacher_disagreement_score":0.014001757,"about_ca_system_score_codex":0.0062653907,"about_ca_system_score_gemma":0.0035408542,"threshold_uncertainty_score":0.045458794},"labels":[],"label_agreement":null},{"id":"W2388017570","doi":"","title":"Les Nouveaux Cinémas : photos de Jacques Dufresne, Introduction de Daniel Langlois, préface de Wim Wenders, Montréal : Festival international du nouveau Cinéma et des nouveaux Médias / Les 400 Coups, 2001, 109 pages","year":2002,"lang":"fr","type":"article","venue":"S&#233;quences : La revue de cin&#233;ma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.03690665465485219,"score_gpt":0.24509460568796176,"score_spread":0.20818795103310958,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2388017570","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002036269,0.632673,0.0032093232,0.06041177,0.056726012,0.000103202095,0.0015901505,0.00031586754,0.24293447],"genre_scores_gemma":[0.025623407,0.25904304,0.003402286,0.012382008,0.044723853,0.000120940516,0.0011026188,0.00053735374,0.6530646],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997547,0.00006100959,0.000009667813,0.000057952526,0.00008797454,0.000028726774],"domain_scores_gemma":[0.99938655,0.00023839812,0.000025716985,0.000026314017,0.00022122276,0.00010179474],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00055697287,0.0011456759,0.00047265817,0.0028306057,0.0026392343,0.0037659004,0.0006754478,0.0015756928,0.058310743],"category_scores_gemma":[0.001518015,0.0005568858,0.00039077108,0.002136225,0.0012615252,0.0032652619,0.0011744922,0.0027364865,0.014193],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016676171,0.000012752041,0.00008184466,0.00021414783,0.00000257174,0.000040868297,0.00084300677,0.000069054724,0.00034233683,0.008785489,0.9549769,0.03461433],"study_design_scores_gemma":[0.0000019556335,0.0000032460678,0.00045264766,0.00018844848,0.0000015514851,0.00006445307,0.00035500745,0.000024310844,0.00006245939,0.0008960283,0.99794513,0.0000047653307],"about_ca_topic_score_codex":0.0462161,"about_ca_topic_score_gemma":0.093830645,"teacher_disagreement_score":0.95378387,"about_ca_system_score_codex":0.002721402,"about_ca_system_score_gemma":0.0014228385,"threshold_uncertainty_score":0.1950689},"labels":[],"label_agreement":null},{"id":"W2397745143","doi":"10.7202/1035772ar","title":"Les répliques d’une explosion (carambolages et remake de soi dans Death Proof de Quentin Tarantino)","year":2016,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.05390871015978774,"score_gpt":0.27169404975672984,"score_spread":0.2177853395969421,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2397745143","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.036195785,0.027498918,0.013968815,0.0723537,0.01586748,0.00008981693,0.000522727,0.00026105894,0.83324164],"genre_scores_gemma":[0.55105615,0.011050469,0.0060103107,0.008805372,0.004819694,0.00008671511,0.0002695095,0.00046708796,0.4174347],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99906164,0.00041857976,0.00003300001,0.00016194052,0.00020353252,0.00012129814],"domain_scores_gemma":[0.99859804,0.00070899515,0.0001453733,0.00013518851,0.0003008688,0.00011156388],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001081707,0.00063841883,0.00029986326,0.0013536311,0.006249987,0.0039357026,0.00075764407,0.0024636856,0.014259617],"category_scores_gemma":[0.0044510625,0.0004075273,0.00048648767,0.0006550883,0.005756752,0.0043781567,0.0016749502,0.0039879614,0.0018151522],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012069541,0.000016154705,0.0006794756,0.00026316306,0.000012911234,0.0008789458,0.020245928,0.00019333386,0.0008009753,0.8528222,0.11076321,0.013202923],"study_design_scores_gemma":[0.000013336487,0.000021896933,0.0010476247,0.00030114042,0.000017776361,0.00069829,0.004839412,0.00026519343,0.0010077356,0.03376946,0.9579909,0.000027288492],"about_ca_topic_score_codex":0.015756465,"about_ca_topic_score_gemma":0.03209236,"teacher_disagreement_score":0.015756465,"about_ca_system_score_codex":0.004534521,"about_ca_system_score_gemma":0.001511348,"threshold_uncertainty_score":0.047703147},"labels":[],"label_agreement":null},{"id":"W2407346262","doi":"10.1177/0961463x15604517","title":"Televisual waiting: Images of time and waiting in <i>CSI</i>","year":2015,"lang":"en","type":"article","venue":"Time & Society","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Narrative; Drama; Conviction; Representation (politics); Embodied cognition; Sociology; Aesthetics; Psychology; Criminology; Media studies; History; Computer science; Visual arts; Art; Literature; Artificial intelligence; Law; Political science","score_opus":0.032058685056425125,"score_gpt":0.22731690918534642,"score_spread":0.1952582241289213,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2407346262","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53930295,0.001961421,0.010156319,0.013833576,0.00060216186,0.000026809841,0.0006123151,0.00023346358,0.43327096],"genre_scores_gemma":[0.9861129,0.00043969255,0.00072032283,0.0002733091,0.00017768437,0.000009161803,0.00007103353,0.000065246415,0.01213066],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99984324,0.00007258961,0.000003561385,0.00001542268,0.00002830269,0.000036944588],"domain_scores_gemma":[0.998995,0.0005847954,0.00016200602,0.000071800874,0.00007675939,0.000109572975],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00044890164,0.00017167872,0.00006850435,0.0009158751,0.0014354726,0.0025779072,0.0003360515,0.00042753507,0.010331887],"category_scores_gemma":[0.0022576025,0.000082890576,0.00013105154,0.0008790776,0.0027561293,0.0022329595,0.0011027555,0.0007819821,0.00039828807],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00056678924,0.000051477888,0.008891987,0.00031097856,0.000023955907,0.0015973866,0.22523963,0.000801836,0.003998514,0.64997625,0.049033374,0.059507772],"study_design_scores_gemma":[0.000041934287,0.00017589302,0.034937255,0.00053965475,0.000050360417,0.001726322,0.18755968,0.0025288167,0.0023058704,0.057191934,0.7128796,0.00006273991],"about_ca_topic_score_codex":0.0043705185,"about_ca_topic_score_gemma":0.0063639414,"teacher_disagreement_score":0.010331887,"about_ca_system_score_codex":0.001302669,"about_ca_system_score_gemma":0.00051995646,"threshold_uncertainty_score":0.03456366},"labels":[],"label_agreement":null},{"id":"W2409760410","doi":"10.6000/1929-7092.2016.05.17","title":"Modeling the Main Determinants of Movie Sales: An Econometric Study of Chinese Marketplace","year":2016,"lang":"en","type":"article","venue":"Journal of Reviews on Global Economics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Econometric model; Econometric analysis; Econometrics; Economics; Business","score_opus":0.05334765844583614,"score_gpt":0.29087687109406324,"score_spread":0.2375292126482271,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2409760410","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9979767,0.00015059486,0.0010757064,0.00012725663,0.000004921989,0.000025545432,0.00021910649,0.000016876418,0.00040330144],"genre_scores_gemma":[0.9980096,0.00018254391,0.00038280658,0.000021446816,0.000012773667,0.00002326942,0.0005702344,0.0000055107507,0.00079174567],"study_design_codex":"observational","study_design_gemma":"simulation_or_modeling","domain_scores_codex":[0.9995528,0.000118600794,0.00002364125,0.000098904806,0.00005369848,0.00015238552],"domain_scores_gemma":[0.9971411,0.0017350564,0.0004919796,0.00013019105,0.0002118389,0.00028980526],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021447928,0.0007738773,0.00088575843,0.0019714066,0.00066419755,0.0015003913,0.0010623544,0.00071956037,0.0033465964],"category_scores_gemma":[0.004180868,0.0005652415,0.0016048584,0.0019745436,0.00076796795,0.0009825634,0.00094382913,0.0009808695,0.00035746171],"study_design_candidate":"simulation_or_modeling","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002093972,0.00038425054,0.9311888,0.00007609655,0.00033284078,0.0007641548,0.0005910954,0.04703104,0.000808347,0.0033450744,0.0010401101,0.014228673],"study_design_scores_gemma":[0.000046066158,0.00015385421,0.56669486,0.000023626686,0.00022882654,0.00005964463,0.0011216309,0.4294932,0.0004037615,0.0009432306,0.0007822188,0.0000491284],"about_ca_topic_score_codex":0.18707548,"about_ca_topic_score_gemma":0.09012295,"teacher_disagreement_score":0.18707548,"about_ca_system_score_codex":0.0022208674,"about_ca_system_score_gemma":0.0019611611,"threshold_uncertainty_score":0.37197322},"labels":[],"label_agreement":null},{"id":"W2412384246","doi":"","title":"Ain't There No More: The Times- Picayune Downsizes","year":2016,"lang":"en","type":"article","venue":"Journal of case studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Carr; Journalism; Media studies; Management; Sociology","score_opus":0.03565189025438655,"score_gpt":0.263874604801053,"score_spread":0.22822271454666646,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2412384246","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.032700714,0.0095875645,0.00058533764,0.69797575,0.043971986,0.00004373697,0.00039855734,0.00062876096,0.21410762],"genre_scores_gemma":[0.20527083,0.0100456495,0.0013768391,0.28303578,0.022516284,0.00010128207,0.00089509325,0.0013219842,0.47543627],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9969067,0.00044961553,0.00010006698,0.00029157434,0.0013117711,0.0009402858],"domain_scores_gemma":[0.99236685,0.00088967604,0.0004204821,0.0002863367,0.0014636391,0.004573057],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028093182,0.00063768664,0.00026047087,0.00073952397,0.011548533,0.01325814,0.001106194,0.0064752647,0.046475098],"category_scores_gemma":[0.010733,0.0004068158,0.00047032826,0.00086087734,0.002657703,0.008207465,0.0043187602,0.010691075,0.012124526],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042768395,0.000035737638,0.0009331754,0.000031466792,0.0000030842562,0.00037625385,0.0009866486,0.00002083942,0.00022912312,0.0058200196,0.97278124,0.018739624],"study_design_scores_gemma":[0.000008621659,0.00005646455,0.0034499157,0.00007579962,0.0000044631047,0.00030639558,0.0035621324,0.00008908861,0.0002256317,0.0009817244,0.9912192,0.00002057085],"about_ca_topic_score_codex":0.022590112,"about_ca_topic_score_gemma":0.039762758,"teacher_disagreement_score":0.046475098,"about_ca_system_score_codex":0.0032732813,"about_ca_system_score_gemma":0.005390061,"threshold_uncertainty_score":0.15547466},"labels":[],"label_agreement":null},{"id":"W2433795437","doi":"10.1093/notesj/gjw025","title":"<i>The Return of the Native</i>and<i>The Spectator</i>","year":2016,"lang":"en","type":"article","venue":"Notes and Queries","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of New Brunswick","funders":"","keywords":"nobody; Face (sociological concept); Character (mathematics); The Thing; Art; History; Art history; Aesthetics; Literature; Philosophy; Linguistics; Computer science; Mathematics","score_opus":0.012779120397135788,"score_gpt":0.19268339198613527,"score_spread":0.17990427158899946,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2433795437","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05130656,0.0131633375,0.0023566538,0.08498033,0.017285349,0.000053691994,0.00022661382,0.00023714478,0.83039033],"genre_scores_gemma":[0.36427537,0.002867152,0.00057685026,0.016834548,0.00355318,0.00004729456,0.00015663951,0.00042863435,0.6112603],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99892163,0.0004534353,0.000017357426,0.00015734615,0.00019325301,0.0002569854],"domain_scores_gemma":[0.99928147,0.00014093792,0.000063313404,0.00007954938,0.00016626797,0.0002685596],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010711413,0.0006359557,0.00027034458,0.0003998381,0.009584131,0.00608565,0.00091252715,0.0017318957,0.020867739],"category_scores_gemma":[0.002433471,0.00017629979,0.00021810374,0.00037029252,0.010623428,0.0036787502,0.0050987736,0.0065877927,0.003160324],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010436022,0.000029949644,0.0012066438,0.00015789797,0.000011155646,0.00121202,0.14977095,0.000055433116,0.00080808037,0.27384615,0.5466946,0.026102886],"study_design_scores_gemma":[0.0000034325533,0.000028275359,0.00093118194,0.00011800796,0.00000225654,0.00060657866,0.028266424,0.000027804941,0.00021858374,0.0038572722,0.96592295,0.000017250459],"about_ca_topic_score_codex":0.021723675,"about_ca_topic_score_gemma":0.04931652,"teacher_disagreement_score":0.021723675,"about_ca_system_score_codex":0.0033393612,"about_ca_system_score_gemma":0.0021794797,"threshold_uncertainty_score":0.069809556},"labels":[],"label_agreement":null},{"id":"W2439715732","doi":"10.5539/ach.v8n2p83","title":"Chinese Netizens’ Reactions to Red Classics Cinema Animation A Case Study of Taking Tiger Mountain by Strategy (2011)","year":2016,"lang":"en","type":"article","venue":"Asian Culture and History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"China Scholarship Council","keywords":"Movie theater; Exhibition; Animation; Spectacle; Sociology; Media studies; Opera; China; Aesthetics; Art; Visual arts; History; Political science; Law; Archaeology","score_opus":0.03025994848501272,"score_gpt":0.2454230826898589,"score_spread":0.21516313420484617,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2439715732","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9921211,0.00012511693,0.00003409798,0.00039951448,0.000015561323,0.000015592252,0.000035830402,0.0000034463592,0.007249691],"genre_scores_gemma":[0.9950991,0.00020363422,0.00006368864,0.00015032811,0.000008675265,0.000017625785,0.000043808013,0.0000039277843,0.0044092317],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9995421,0.00016509453,0.0000192136,0.000061912695,0.00011876059,0.000092967224],"domain_scores_gemma":[0.99926454,0.00025250387,0.00013828329,0.000042761018,0.00013290979,0.00016894692],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009400692,0.00027268732,0.00016085121,0.00086642336,0.0041265343,0.0016515754,0.0003466602,0.00058560463,0.0029935986],"category_scores_gemma":[0.0016488613,0.00014295788,0.00014580542,0.001275924,0.0015571712,0.00075364724,0.0012792422,0.00076854444,0.0002025929],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012248154,0.000088310626,0.061058167,0.00020167348,0.000017857747,0.0038220112,0.90160006,0.000078123914,0.0054330025,0.0032254527,0.005083649,0.019269217],"study_design_scores_gemma":[0.000009752597,0.000100150806,0.19091775,0.00008813221,0.00003157772,0.0007989012,0.7623173,0.0003850244,0.0014655164,0.00016988658,0.043669075,0.00004702254],"about_ca_topic_score_codex":0.05876358,"about_ca_topic_score_gemma":0.11711649,"teacher_disagreement_score":0.05876358,"about_ca_system_score_codex":0.0034506463,"about_ca_system_score_gemma":0.0013597187,"threshold_uncertainty_score":0.116843045},"labels":[],"label_agreement":null},{"id":"W245810656","doi":"","title":"Wotcha Lookin' at, Anyway? an Examination of Point-of-View in Denys Arcand's Stardom","year":2003,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Face (sociological concept); Shot (pellet); Art; Literature; Media studies; Art history; Point (geometry); Swift; History; Sociology; Social science; Computer science","score_opus":0.03506602289722884,"score_gpt":0.23204678187377015,"score_spread":0.1969807589765413,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W245810656","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06581344,0.010055075,0.0033710925,0.055186037,0.001840461,0.000028525632,0.00007922608,0.00011515888,0.863511],"genre_scores_gemma":[0.7514519,0.004198054,0.001440275,0.0073006605,0.0003268073,0.00003218927,0.000050221875,0.0002842479,0.23491561],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978011,0.0010749142,0.00002184982,0.00024480454,0.0005212794,0.0003360033],"domain_scores_gemma":[0.9992495,0.00023501528,0.00007142757,0.00004659464,0.00020211472,0.00019523664],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013566712,0.0004970405,0.00023290722,0.0006935635,0.01457318,0.009585118,0.0009826673,0.0015003699,0.006426854],"category_scores_gemma":[0.0032214643,0.00023907678,0.00019181792,0.0007895846,0.013277736,0.005605096,0.0025277943,0.0042792307,0.0011294284],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008015427,0.000052606072,0.0017744175,0.00009379978,0.000005998942,0.0020239693,0.4578069,0.00004790943,0.000733974,0.35680547,0.144526,0.036048792],"study_design_scores_gemma":[0.0000056079566,0.000020345542,0.0018838583,0.00017947234,0.0000033323336,0.0005385426,0.2222655,0.00007328416,0.00017009205,0.006901887,0.7679427,0.000015357356],"about_ca_topic_score_codex":0.1621681,"about_ca_topic_score_gemma":0.28651366,"teacher_disagreement_score":0.8378319,"about_ca_system_score_codex":0.0076412475,"about_ca_system_score_gemma":0.0034123769,"threshold_uncertainty_score":0.3224483},"labels":[],"label_agreement":null},{"id":"W24584526","doi":"","title":"The Last Standing Bear: a documentary film on the life and work of Charles Jonkel","year":2010,"lang":"en","type":"article","venue":"The Mathematics Enthusiast","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Documentary film; Work (physics); Art history; Art; Visual arts; History; Engineering","score_opus":0.0287162030392092,"score_gpt":0.2244267343705563,"score_spread":0.19571053133134708,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W24584526","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22077382,0.022744628,0.0012803342,0.12749894,0.016272949,0.00019464224,0.0010656379,0.00015573755,0.61001325],"genre_scores_gemma":[0.6798922,0.024357604,0.001447081,0.012435557,0.0057366006,0.00014038953,0.00051745394,0.00033642992,0.27513674],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99950564,0.00015446976,0.000011523578,0.000047076523,0.00016976171,0.00011143496],"domain_scores_gemma":[0.99892455,0.00045297612,0.000088766385,0.00003521793,0.00021389814,0.0002846208],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00073108764,0.00045296605,0.00023699403,0.000660682,0.006967038,0.0047916914,0.00047875955,0.0011880718,0.008348085],"category_scores_gemma":[0.003133364,0.00022876218,0.00016510669,0.00087224366,0.003361984,0.0024905626,0.0023185164,0.0037039046,0.0010782537],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001241198,0.000098055745,0.0011563188,0.00029760157,0.000014648483,0.0017503772,0.20413998,0.00014815637,0.0030203557,0.036901053,0.72635525,0.025994152],"study_design_scores_gemma":[0.000009007005,0.000026049116,0.0034718048,0.00035658237,0.000008972574,0.00035061926,0.058771823,0.00007275355,0.00033747745,0.0005542458,0.93601847,0.000022138696],"about_ca_topic_score_codex":0.04306658,"about_ca_topic_score_gemma":0.09408292,"teacher_disagreement_score":0.04306658,"about_ca_system_score_codex":0.0037094725,"about_ca_system_score_gemma":0.0016258375,"threshold_uncertainty_score":0.08563185},"labels":[],"label_agreement":null},{"id":"W246125950","doi":"","title":"Mediated Associations: Cinematic Dimensions of Social Theory","year":2003,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Film theory; Narrative; Sociology; Social theory; Politics; Critical theory; Aesthetics; Power (physics); Reading (process); Media studies; Art history; Art; Literature; Epistemology; Philosophy; Social science; Law; Political science; Linguistics","score_opus":0.04835209247585435,"score_gpt":0.2485476589281922,"score_spread":0.20019556645233785,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W246125950","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03098446,0.07376503,0.10095282,0.060959864,0.001881038,0.0002562019,0.00035287885,0.00038794728,0.7304597],"genre_scores_gemma":[0.9135933,0.02602684,0.020356152,0.0032747136,0.0022129142,0.0006408124,0.00019126672,0.00017929674,0.03352478],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9938379,0.0045947554,0.00011770372,0.00056326657,0.00060748233,0.00027893102],"domain_scores_gemma":[0.9934095,0.004712461,0.00053924025,0.00056675705,0.000363574,0.0004085212],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004929808,0.0008399404,0.0006434544,0.003315672,0.004376037,0.017758401,0.001652281,0.003458613,0.01205955],"category_scores_gemma":[0.008108524,0.00052283844,0.0005105179,0.0038325528,0.03256546,0.018727098,0.005376346,0.003485976,0.0009552463],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005359009,0.000012648479,0.00021681425,0.000069929025,0.0000066669645,0.000049074217,0.016469352,0.00015536787,0.00005738194,0.9716716,0.0038987268,0.007387076],"study_design_scores_gemma":[0.000012608896,0.000015488677,0.00063608366,0.00020124562,0.000009628279,0.00013004142,0.010131664,0.00058050925,0.000056173387,0.87894076,0.10927184,0.000013892849],"about_ca_topic_score_codex":0.0047946097,"about_ca_topic_score_gemma":0.0031197502,"teacher_disagreement_score":0.017758401,"about_ca_system_score_codex":0.0056394185,"about_ca_system_score_gemma":0.0027703252,"threshold_uncertainty_score":0.04091704},"labels":[],"label_agreement":null},{"id":"W2468764718","doi":"10.1093/oxfordhb/9780199981601.013.2","title":"Loïe Fuller’s Serpentines and Poetics of Self-Abnegation in the Era of Electrotechnics","year":2016,"lang":"en","type":"reference-entry","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Poetics; Individualism; Meaning (existential); Aesthetics; Dance; Sociology; Art; Literature; Art history; Poetry; Philosophy; Law; Epistemology; Political science","score_opus":0.021847529530916458,"score_gpt":0.22419751564627588,"score_spread":0.20234998611535943,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2468764718","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04253366,0.010657118,0.0036535559,0.039816123,0.00077788584,0.0000154305,0.00005677823,0.00004898689,0.90244055],"genre_scores_gemma":[0.8392015,0.00643806,0.0010985472,0.0035246836,0.00073617423,0.00003495497,0.000030609634,0.00008754671,0.14884786],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99892384,0.0005643227,0.000020712128,0.000120186996,0.0002286886,0.0001422272],"domain_scores_gemma":[0.99893826,0.0007828188,0.0000627596,0.00006192027,0.00007283144,0.00008139685],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009865491,0.0004903986,0.00018350738,0.0010138216,0.0051334123,0.0068147634,0.00032960958,0.0014718118,0.0067662993],"category_scores_gemma":[0.0027753396,0.00013235107,0.00013755793,0.00077997125,0.015384623,0.0048978883,0.0021299091,0.0023161727,0.00063080894],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027059816,0.0000111580775,0.00018266536,0.000044806184,0.0000018884807,0.0001324858,0.025304068,0.00011807019,0.00012463683,0.943117,0.021409817,0.0095263645],"study_design_scores_gemma":[0.00001109888,0.000025421345,0.0009845122,0.00026091552,0.0000031737354,0.00035383942,0.016895225,0.00020847876,0.00030279433,0.13248768,0.84844816,0.000018643866],"about_ca_topic_score_codex":0.0063819857,"about_ca_topic_score_gemma":0.009333466,"teacher_disagreement_score":0.0068147634,"about_ca_system_score_codex":0.0029251126,"about_ca_system_score_gemma":0.001009964,"threshold_uncertainty_score":0.02263552},"labels":[],"label_agreement":null},{"id":"W2469026034","doi":"","title":"Panorama de carrière. SHONE, Tom. Martin Scorsese – Rétrospective, Paris, Grund, 2014, 287 p.SHONE, Tom. Martin Scorsese – Rétrospective, Paris, Grund, 2014, 287 p.","year":2015,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Panorama; Art history; Art; Visual arts","score_opus":0.021846460266198364,"score_gpt":0.24130631405825523,"score_spread":0.21945985379205687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2469026034","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00079503405,0.76944125,0.00185837,0.044749703,0.021175222,0.000020902506,0.0031102495,0.00054656324,0.15830272],"genre_scores_gemma":[0.014870234,0.369514,0.0019122041,0.0069436915,0.021620873,0.00005844668,0.0023517024,0.0010133078,0.58171546],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953413,0.00008775613,0.00002612864,0.00011946825,0.00019372092,0.000038882397],"domain_scores_gemma":[0.99884725,0.00039617353,0.00010855999,0.000058351754,0.0004556252,0.00013405138],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00077505637,0.0012904408,0.0007711742,0.0033998343,0.0011851636,0.0040228716,0.0006242998,0.0015138,0.1424899],"category_scores_gemma":[0.0026635842,0.00063516066,0.0003488265,0.0037621863,0.0008558725,0.0038354502,0.0013381081,0.0026918268,0.07696341],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026460515,0.0000074276936,0.000082373066,0.0002179843,0.0000051181996,0.000037983413,0.000122457,0.00005223666,0.00010153089,0.005126048,0.9516694,0.042551056],"study_design_scores_gemma":[0.000002526349,0.0000027796625,0.00034202647,0.00022148705,0.000002116407,0.000104640836,0.00008655527,0.000021294949,0.00005073601,0.0006989421,0.9984634,0.00000357909],"about_ca_topic_score_codex":0.011397259,"about_ca_topic_score_gemma":0.02291586,"teacher_disagreement_score":0.1424899,"about_ca_system_score_codex":0.002153375,"about_ca_system_score_gemma":0.0014158167,"threshold_uncertainty_score":0.47667617},"labels":[],"label_agreement":null},{"id":"W2470870224","doi":"10.2307/3659507","title":"","year":2003,"lang":"en","type":"article","venue":"Journal of American History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Masculinity; George (robot); Gentry; Amusement; Architecture; Sociology; Art history; History; Aesthetics; Art; Visual arts; Gender studies; Psychology; Archaeology","score_opus":0.028055154139899178,"score_gpt":0.2041381635684805,"score_spread":0.17608300942858132,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2470870224","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013186134,0.026983008,0.0022989798,0.017856361,0.02973922,0.000047919606,0.0004035728,0.00048156668,0.9208708],"genre_scores_gemma":[0.0039452375,0.007064466,0.0008341534,0.006377401,0.0033459882,0.00002395129,0.00032552713,0.0002536966,0.9778295],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994986,0.000077859135,0.000023617999,0.00009646611,0.0002448546,0.000058560563],"domain_scores_gemma":[0.9995807,0.00011583996,0.00002080742,0.000043285116,0.00014120886,0.00009816464],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00039580077,0.00063675595,0.00040744455,0.000832156,0.002209343,0.0050272425,0.0006972964,0.0012075095,0.16349211],"category_scores_gemma":[0.001508012,0.00027684437,0.00034369246,0.0011285131,0.0010867444,0.0033868353,0.0016734487,0.0019068988,0.104933575],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010154958,0.000021918335,0.00012865472,0.00006457313,0.0000015136189,0.000041661577,0.00043439734,0.0000375648,0.00021129708,0.01709323,0.9228582,0.05909683],"study_design_scores_gemma":[4.782678e-7,0.0000037057641,0.00008087501,0.000033000462,3.9014685e-7,0.00002987477,0.00012445162,0.000010301596,0.000025835798,0.0007345304,0.99895525,0.0000013696025],"about_ca_topic_score_codex":0.002781523,"about_ca_topic_score_gemma":0.010431414,"teacher_disagreement_score":0.8365079,"about_ca_system_score_codex":0.0010705247,"about_ca_system_score_gemma":0.0013755052,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W2479624926","doi":"10.5749/9780816674817-009","title":"7 Lesbian And Gay Documentary","year":2010,"lang":"en","type":"book-chapter","venue":"University of Minnesota Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Lesbian; Gender studies; Mainstream; Politics; Liberation movement; Greenwich; Sociology; Identity (music); Consciousness; Media studies; Homosexuality; Political consciousness; Undoing; Political science; Law; Art; Aesthetics; Psychoanalysis; Psychology","score_opus":0.034523684655674985,"score_gpt":0.18235037001083224,"score_spread":0.14782668535515725,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2479624926","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009808535,0.02225942,0.0004642492,0.004532378,0.0009572802,0.000033214183,0.000071337774,0.000029019697,0.96184456],"genre_scores_gemma":[0.06735765,0.032104183,0.000725867,0.002157198,0.000730702,0.00005029123,0.00014313418,0.00006960698,0.8966614],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997192,0.00010419164,0.0000092819655,0.000030724386,0.00009317224,0.00004341117],"domain_scores_gemma":[0.9997222,0.000097483084,0.00002542147,0.00001589487,0.000082742365,0.000056378864],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003330774,0.0005756749,0.00014756861,0.001101958,0.0024312204,0.0037869758,0.000269418,0.0009153979,0.02541129],"category_scores_gemma":[0.00066308124,0.00014363533,0.00012602661,0.00073123194,0.0011090877,0.0014772563,0.0011316318,0.0013996076,0.004841702],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056951878,0.00018526298,0.0017537504,0.0006107484,0.0000062863146,0.0006257327,0.04770747,0.00014332659,0.0016671793,0.43691313,0.30197042,0.20835972],"study_design_scores_gemma":[0.0000019391248,0.0000127343055,0.0007789798,0.00037986395,0.0000017742013,0.00020343202,0.004766004,0.00003195883,0.00025641356,0.0018495973,0.9917135,0.000003877397],"about_ca_topic_score_codex":0.0071866834,"about_ca_topic_score_gemma":0.01567638,"teacher_disagreement_score":0.02541129,"about_ca_system_score_codex":0.0013438233,"about_ca_system_score_gemma":0.0012328487,"threshold_uncertainty_score":0.08500922},"labels":[],"label_agreement":null},{"id":"W2480630848","doi":"10.5840/cpsem200713","title":"Real Film","year":2007,"lang":"it","type":"book-chapter","venue":"Semiotics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Materials science; Environmental science","score_opus":0.0546373117237958,"score_gpt":0.24697370106206282,"score_spread":0.19233638933826702,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2480630848","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002831455,0.0016340574,0.0007696864,0.0018778571,0.00084988616,0.000021093862,0.0002332591,0.00006542272,0.9917173],"genre_scores_gemma":[0.064301714,0.002431811,0.00073963124,0.0006913946,0.0005410757,0.00003115137,0.00039008827,0.00012295601,0.93075],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99978024,0.00006107355,0.000008041701,0.000046204565,0.00006479656,0.000039713243],"domain_scores_gemma":[0.9997148,0.00008245589,0.000016233616,0.00005034067,0.00007301524,0.00006308651],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029550912,0.00040685304,0.0001874575,0.0009841444,0.0019987738,0.0060569104,0.00046194613,0.00092176686,0.1785112],"category_scores_gemma":[0.0013836655,0.00020914376,0.00017012868,0.0008285437,0.0013942774,0.0027572578,0.0012365021,0.0013426752,0.023900457],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007977801,0.000065681386,0.00024874354,0.0002744796,0.0000069826874,0.00022545186,0.0046497923,0.0001372201,0.0014128325,0.5104011,0.3768186,0.10567942],"study_design_scores_gemma":[0.000004637176,0.000014232951,0.0004049229,0.00009151218,0.0000021984326,0.00015351166,0.0012745166,0.00007555384,0.0003253473,0.009593386,0.98805517,0.0000050291014],"about_ca_topic_score_codex":0.0032832155,"about_ca_topic_score_gemma":0.0049065626,"teacher_disagreement_score":0.1785112,"about_ca_system_score_codex":0.0014230812,"about_ca_system_score_gemma":0.0005173126,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W2480917311","doi":"","title":"A Sticky Subject: New Media Popular Entertainments","year":2010,"lang":"en","type":"article","venue":"Figshare","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Liveness; Subject (documents); Space (punctuation); Relation (database); The Internet; Performing arts; Media studies; Sociology; Art; Visual arts; Aesthetics; Computer science; World Wide Web","score_opus":0.051197019931936746,"score_gpt":0.23120388274621695,"score_spread":0.1800068628142802,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2480917311","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3295469,0.011194778,0.004248177,0.036722615,0.0014877666,0.00007717877,0.00025488334,0.000074739684,0.61639297],"genre_scores_gemma":[0.9602504,0.0029151945,0.000719764,0.0011312634,0.0014709533,0.000041887855,0.00009306372,0.00007232577,0.033305142],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99779403,0.0011669047,0.00006147705,0.0001911686,0.0005728993,0.00021358211],"domain_scores_gemma":[0.9947754,0.0028202746,0.000796355,0.00046159123,0.00040484287,0.0007415614],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021345853,0.00022861542,0.00033561976,0.0021316996,0.0043066936,0.009540704,0.0006324623,0.0012309543,0.01871469],"category_scores_gemma":[0.008383319,0.00014939728,0.00025732076,0.0034281407,0.009974506,0.0074526393,0.0048901928,0.0022167198,0.0006291062],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016421081,0.00008608312,0.0066275178,0.00025334724,0.000025087358,0.00087062636,0.087194815,0.00016044358,0.00039590037,0.8135774,0.026817026,0.06382749],"study_design_scores_gemma":[0.000045565565,0.00016425355,0.04453427,0.0009773605,0.00003205504,0.0012389336,0.15398541,0.0008196282,0.0006914746,0.122219026,0.67524,0.00005202694],"about_ca_topic_score_codex":0.0029411677,"about_ca_topic_score_gemma":0.004179054,"teacher_disagreement_score":0.01871469,"about_ca_system_score_codex":0.0027043857,"about_ca_system_score_gemma":0.00072367484,"threshold_uncertainty_score":0.06260687},"labels":[],"label_agreement":null},{"id":"W2486710206","doi":"10.1057/9780230250703_7","title":"America Relocated: Karel Čapek’s Robots between Prague, Berlin, and New York","year":2009,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Karel; Art; Art history; Statue; Judaism; Movie theater; Literature; Visual arts; Philosophy; Theology","score_opus":0.05326075311133096,"score_gpt":0.22608159287286855,"score_spread":0.1728208397615376,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2486710206","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03721694,0.043726787,0.0019465928,0.03718813,0.0021809507,0.000043284916,0.00017131375,0.00013265954,0.8773933],"genre_scores_gemma":[0.4006272,0.016674789,0.0010401341,0.0033526106,0.000338756,0.00009120225,0.00012368472,0.00021941491,0.5775323],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995782,0.00013375946,0.000009694892,0.00008664671,0.00007151145,0.00012022696],"domain_scores_gemma":[0.999824,0.0000779084,0.000018422212,0.000016112655,0.000015069838,0.000048504186],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00052082696,0.0004211646,0.0002962524,0.0008763144,0.006309268,0.0051375804,0.00065888267,0.0014503684,0.017966883],"category_scores_gemma":[0.0011296882,0.0003124996,0.00015228736,0.00092388235,0.0081571555,0.007008649,0.0047048363,0.0029018123,0.002608271],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007160693,0.000051213545,0.00063228013,0.00009622469,0.0000071501395,0.0007450756,0.10366008,0.00026876276,0.0003553606,0.63055295,0.1943531,0.0692062],"study_design_scores_gemma":[0.0000041243334,0.0000061318515,0.00060291594,0.00007797811,0.000001056922,0.00009562702,0.009447793,0.000040031773,0.00005886277,0.006911873,0.98274547,0.000008262103],"about_ca_topic_score_codex":0.056267884,"about_ca_topic_score_gemma":0.104459144,"teacher_disagreement_score":0.056267884,"about_ca_system_score_codex":0.007539812,"about_ca_system_score_gemma":0.002183534,"threshold_uncertainty_score":0.11188072},"labels":[],"label_agreement":null},{"id":"W2497118287","doi":"10.1017/cbo9781139176484","title":"True History of the Ghost","year":2012,"lang":"en","type":"book","venue":"Cambridge University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Illusion; Movie theater; MAGIC (telescope); Art history; Entertainment; Art; Power (physics); History; Visual arts; Psychology","score_opus":0.0353518808580713,"score_gpt":0.16571296683302233,"score_spread":0.13036108597495105,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2497118287","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011561134,0.100202955,0.0025218723,0.034275446,0.0024569281,0.000024945743,0.00023164222,0.00007729162,0.8486478],"genre_scores_gemma":[0.29010567,0.06580775,0.0019397754,0.012656189,0.0017419588,0.000070226844,0.00020225572,0.00020017887,0.627276],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99903405,0.00046004602,0.000027544607,0.00015810516,0.00021497195,0.0001053541],"domain_scores_gemma":[0.99894196,0.00061142957,0.00006928494,0.00009650364,0.00016544764,0.000115381496],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009627027,0.00033846003,0.00030680856,0.0013184457,0.0037579262,0.006845061,0.00050507684,0.0017474996,0.010374206],"category_scores_gemma":[0.0029578987,0.00034948456,0.00015653872,0.001452284,0.012084094,0.0077113896,0.002305938,0.0041233026,0.0021934405],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028851886,0.000013237377,0.00019264413,0.00008081123,0.0000021769376,0.00012768958,0.01023607,0.00005582761,0.00007434406,0.89446914,0.06789455,0.026824662],"study_design_scores_gemma":[0.000003255343,0.0000066163784,0.00026139713,0.00018761607,0.0000013402408,0.00013810399,0.0011365114,0.0000408279,0.000098954726,0.037818708,0.9603013,0.0000053656945],"about_ca_topic_score_codex":0.0077794427,"about_ca_topic_score_gemma":0.010076664,"teacher_disagreement_score":0.010374206,"about_ca_system_score_codex":0.006181713,"about_ca_system_score_gemma":0.0033974678,"threshold_uncertainty_score":0.04485172},"labels":[],"label_agreement":null},{"id":"W2499382609","doi":"10.1017/cbo9780511615269","title":"John Ford's<i>Stagecoach</i>","year":2002,"lang":"en","type":"book","venue":"Cambridge University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Hollywood; Movie theater; Art history; Milestone; Variety (cybernetics); Performance art; Art; Democracy; History; Media studies; Sociology; Political science; Politics; Law; Archaeology","score_opus":0.035766077941020075,"score_gpt":0.17675399284928944,"score_spread":0.14098791490826937,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2499382609","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009767621,0.052325606,0.0018586784,0.0228533,0.006247806,0.00004625277,0.00031501174,0.00012846546,0.9064573],"genre_scores_gemma":[0.062402725,0.025675705,0.0011263604,0.0027342876,0.00097443274,0.000022877352,0.0001398804,0.00012850601,0.90679526],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99985826,0.00002830892,0.0000037472926,0.000026028833,0.00005909292,0.000024566685],"domain_scores_gemma":[0.9997224,0.00013079685,0.000018870482,0.000013570941,0.00006433072,0.000049953967],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00025722143,0.00035587925,0.00012314093,0.00059035217,0.0018606758,0.0033717589,0.0003089015,0.0007275091,0.018719725],"category_scores_gemma":[0.0010210697,0.0001619684,0.00010310448,0.0007890068,0.001205956,0.0021180029,0.0005345647,0.0011654833,0.0022868142],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019276726,0.000012586959,0.00043556077,0.00014434097,0.0000032287473,0.00015750388,0.0040000263,0.000045336892,0.00064805127,0.049036436,0.8859806,0.05951703],"study_design_scores_gemma":[6.5855846e-7,0.000003353263,0.00068727706,0.000078540674,0.0000010150424,0.00007386605,0.000795645,0.000021328882,0.00018949698,0.0006843277,0.9974617,0.000002765325],"about_ca_topic_score_codex":0.030830493,"about_ca_topic_score_gemma":0.08775646,"teacher_disagreement_score":0.030830493,"about_ca_system_score_codex":0.002036647,"about_ca_system_score_gemma":0.0010450423,"threshold_uncertainty_score":0.06262374},"labels":[],"label_agreement":null},{"id":"W2499424022","doi":"10.1057/9780230596313_3","title":"Strict Arrangements of Emptiness","year":2000,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Credibility; Emptiness; Law; History; Sociology; Art history; Art; Political science; Philosophy; Theology","score_opus":0.035173976803131,"score_gpt":0.2189730271030273,"score_spread":0.1837990502998963,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2499424022","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026962483,0.0009459812,0.015719002,0.0077679125,0.00047263078,0.00010775118,0.00016645831,0.000201361,0.9476564],"genre_scores_gemma":[0.8249724,0.0006957458,0.005725855,0.003676815,0.00028451864,0.0002397899,0.00021932015,0.0004153868,0.16377011],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9939666,0.0017417333,0.00040811033,0.0013797447,0.0013131617,0.001190677],"domain_scores_gemma":[0.9956328,0.0007290128,0.00036355952,0.0014610301,0.0011361452,0.0006774506],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0041370965,0.000706974,0.000649814,0.0012934702,0.010943132,0.0107855955,0.0015852058,0.0031311065,0.03173755],"category_scores_gemma":[0.01072928,0.0008473151,0.00061367714,0.0011202168,0.040490337,0.011353047,0.013604177,0.006049159,0.0057599028],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025423788,0.000009114229,0.00037563193,0.000024260611,0.0000052934206,0.00007879457,0.005592564,0.000056112196,0.00022594612,0.984445,0.0043816846,0.0047802515],"study_design_scores_gemma":[0.000038059996,0.00006276888,0.0011705055,0.00017937075,0.000017204758,0.0003172013,0.010107749,0.00026222583,0.0004866609,0.6198167,0.36749077,0.000050826453],"about_ca_topic_score_codex":0.00892466,"about_ca_topic_score_gemma":0.012427852,"teacher_disagreement_score":0.03173755,"about_ca_system_score_codex":0.0057171183,"about_ca_system_score_gemma":0.0049049845,"threshold_uncertainty_score":0.10617262},"labels":[],"label_agreement":null},{"id":"W2500401836","doi":"10.1080/17460654.2016.1183362","title":"The aesthetics of astonishment and contemplation in the early British scenic film","year":2016,"lang":"en","type":"article","venue":"Early Popular Visual Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Contemplation; Aesthetics; Art; Visual arts; Spectacle; History; Philosophy; Law; Political science; Epistemology","score_opus":0.022016687601382173,"score_gpt":0.24227423450394514,"score_spread":0.22025754690256297,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2500401836","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.80740726,0.0025821791,0.003738114,0.003260234,0.00013169809,0.000019193772,0.00003353118,0.00004493426,0.18278287],"genre_scores_gemma":[0.9941881,0.0002043177,0.00023316995,0.00006738087,0.00001610027,0.00000358495,0.0000050546973,0.000017161807,0.005265143],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992131,0.00040554587,0.000014362665,0.000074395684,0.00015459221,0.0001379699],"domain_scores_gemma":[0.99943763,0.000321185,0.00006252513,0.000053978783,0.000041825657,0.00008285248],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007326367,0.00025608993,0.00017951462,0.000853791,0.0038325181,0.0051803268,0.00044772882,0.00078524306,0.0025218597],"category_scores_gemma":[0.0017276888,0.00022867495,0.00015728967,0.00073815486,0.02289655,0.0022381714,0.0031067363,0.0017642976,0.00015717767],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022908107,0.000023834193,0.0051184604,0.0001932783,0.00001303577,0.0019535874,0.67352486,0.0004073665,0.0076769954,0.28844714,0.0020739643,0.020338366],"study_design_scores_gemma":[0.000063166866,0.0002815197,0.12622467,0.00044988238,0.000044089717,0.004339411,0.46645415,0.0014060871,0.0055950126,0.072864085,0.32212648,0.00015147944],"about_ca_topic_score_codex":0.026253065,"about_ca_topic_score_gemma":0.048566826,"teacher_disagreement_score":0.026253065,"about_ca_system_score_codex":0.0046659466,"about_ca_system_score_gemma":0.0007519503,"threshold_uncertainty_score":0.052200556},"labels":[],"label_agreement":null},{"id":"W2501425284","doi":"10.1057/9781403983084_9","title":"“Such is the Contrivance of the Cinematograph”: Dur(anim)ation, Modernity, and Edo Culture in Tabaimo’s Animated Installations","year":2006,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan US eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Modernity; Art; Art history; Visual arts; Political science; Law","score_opus":0.019517673403690726,"score_gpt":0.21015941974809924,"score_spread":0.1906417463444085,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2501425284","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.027419722,0.025419673,0.00319359,0.052794337,0.005740617,0.000025502235,0.00011962492,0.00012096833,0.88516605],"genre_scores_gemma":[0.57915324,0.014057855,0.0019613295,0.009163957,0.0043251403,0.00008562888,0.00010587802,0.00021405904,0.3909329],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99977654,0.00011730379,0.0000039535885,0.000032754888,0.000028716771,0.000040722345],"domain_scores_gemma":[0.99972636,0.00010729813,0.000027937827,0.000026391212,0.000038038877,0.00007407996],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004678056,0.00043098436,0.00013818806,0.0005959095,0.0029409498,0.004658383,0.00040963286,0.0010777628,0.012307717],"category_scores_gemma":[0.0009809064,0.00017496792,0.00012621928,0.0005105165,0.0056492216,0.0041866847,0.0016488628,0.002352821,0.0013359064],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058693568,0.000026403317,0.0008367443,0.000234597,0.0000078557705,0.00026381153,0.07270033,0.00007847845,0.00096603035,0.67991656,0.20599334,0.03891718],"study_design_scores_gemma":[0.000004153495,0.000009896574,0.001005689,0.00017427409,0.0000040275795,0.00018961451,0.008867109,0.000069050126,0.00016361811,0.007004777,0.9825017,0.0000061074315],"about_ca_topic_score_codex":0.004198048,"about_ca_topic_score_gemma":0.012041554,"teacher_disagreement_score":0.012307717,"about_ca_system_score_codex":0.0015811085,"about_ca_system_score_gemma":0.0005660351,"threshold_uncertainty_score":0.0411734},"labels":[],"label_agreement":null},{"id":"W2502346761","doi":"10.7228/manchester/9780719083341.003.0003","title":"Distance, representation and criticism","year":2016,"lang":"en","type":"book-chapter","venue":"Manchester University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Criticism; Representation (politics); Mathematics; Computer science; Art; Political science; Literature; Law","score_opus":0.04742995891833582,"score_gpt":0.20118047096478836,"score_spread":0.15375051204645254,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2502346761","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022672849,0.017369512,0.013999857,0.05329267,0.001217683,0.00003325072,0.000050396477,0.00008771826,0.89127594],"genre_scores_gemma":[0.9416909,0.0037504,0.0015367102,0.0026061127,0.0010795636,0.00005939135,0.000045401677,0.00010962939,0.0491219],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9931532,0.0044040945,0.00017100059,0.0006327924,0.0012434182,0.00039560167],"domain_scores_gemma":[0.99443555,0.0038002671,0.00032900335,0.0007712274,0.00045610554,0.0002079037],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004833521,0.00048084164,0.0005225856,0.002073047,0.0055410443,0.011404229,0.001691122,0.003757796,0.00690567],"category_scores_gemma":[0.010776339,0.00016710882,0.00031817664,0.0018384622,0.051884886,0.008408011,0.005187372,0.0045777387,0.00070075854],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000025959719,0.000002147169,0.000028570741,0.000012276597,8.015774e-7,0.00002096311,0.004934092,0.000057075667,0.000017875567,0.99116325,0.0020306036,0.0017298535],"study_design_scores_gemma":[0.000008018317,0.000011374242,0.00017530368,0.00020571212,0.0000031300501,0.00008351216,0.0057633836,0.0003841724,0.00013450155,0.81906277,0.17416073,0.000007450608],"about_ca_topic_score_codex":0.0035497013,"about_ca_topic_score_gemma":0.0021722605,"teacher_disagreement_score":0.011404229,"about_ca_system_score_codex":0.011204473,"about_ca_system_score_gemma":0.002436779,"threshold_uncertainty_score":0.08129448},"labels":[],"label_agreement":null},{"id":"W2503666177","doi":"10.1093/oxfordhb/9780199981601.013.36","title":"Bill Robinson and Shirley Temple Tap Past Jim Crow","year":2016,"lang":"en","type":"reference-entry","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Dance; Narrative; Ideology; Existentialism; Spanish Civil War; Art; Art history; History; Sociology; Politics; Literature; Political science; Law","score_opus":0.052739925038052686,"score_gpt":0.23782295448513965,"score_spread":0.18508302944708696,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2503666177","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.027699284,0.02764045,0.00082925,0.111910954,0.0052073025,0.000029913259,0.0006798955,0.00024039682,0.82576245],"genre_scores_gemma":[0.18034223,0.01638667,0.0007214371,0.008024317,0.0011977595,0.000017604765,0.00026520304,0.00026745998,0.7927773],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997265,0.00009339576,0.0000063425346,0.00005475259,0.0000786058,0.00004042774],"domain_scores_gemma":[0.9995328,0.00018789772,0.000029944627,0.0000203709,0.000115275914,0.00011376603],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029166523,0.00027976572,0.00016108927,0.0008390833,0.0021441693,0.0033617283,0.00027101685,0.0007549418,0.037476793],"category_scores_gemma":[0.002274034,0.00019430612,0.00008833601,0.0006237606,0.0008705304,0.0022868859,0.00091526535,0.0015075153,0.007155705],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035828543,0.000020605272,0.0007575552,0.00011131777,0.0000030981582,0.00022526021,0.005850852,0.00004016044,0.0003697279,0.04903163,0.91321594,0.03033796],"study_design_scores_gemma":[0.0000022075453,0.000007133605,0.0014561585,0.00010375242,0.0000016115453,0.00009754309,0.002920086,0.000036133304,0.00015073403,0.0012807768,0.9939387,0.000005114812],"about_ca_topic_score_codex":0.017423846,"about_ca_topic_score_gemma":0.05069238,"teacher_disagreement_score":0.037476793,"about_ca_system_score_codex":0.0013246213,"about_ca_system_score_gemma":0.00054975395,"threshold_uncertainty_score":0.12537241},"labels":[],"label_agreement":null},{"id":"W25098757","doi":"10.3138/cjfs.14.1.69","title":"Brakhage’s Tarkovsky and Tarkovsky’s Brakhage: Collectivity, Subjectivity, and the Dream of Cinema","year":2005,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":16,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Movie theater; Art; Subjectivity; Art history; Dream; Philosophy","score_opus":0.023881229047938605,"score_gpt":0.23076392320377395,"score_spread":0.20688269415583535,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W25098757","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18097617,0.027972927,0.01647676,0.048412506,0.0011012526,0.000060686034,0.0001685167,0.000060875922,0.72477037],"genre_scores_gemma":[0.9744778,0.00290374,0.0009124196,0.0007827561,0.00023688875,0.000029827615,0.000027933473,0.00004170451,0.020586975],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984231,0.0009819138,0.00004729007,0.0001627525,0.00019505266,0.00018986568],"domain_scores_gemma":[0.9977913,0.0013454767,0.0002598599,0.00023536777,0.00017438119,0.00019357522],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019516244,0.00029826854,0.00032058056,0.0011635442,0.0042207213,0.006322828,0.0005507806,0.0014461054,0.006333944],"category_scores_gemma":[0.004958362,0.00027558688,0.0002726481,0.0011412596,0.017308058,0.0057430645,0.002940283,0.0030058543,0.0004414061],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027276448,0.0000062696477,0.00033026407,0.000027898057,0.000002960496,0.000029712146,0.026520941,0.00003865767,0.00009317596,0.96736914,0.0023141862,0.0032395092],"study_design_scores_gemma":[0.000048649432,0.00004565826,0.006082905,0.00038864798,0.000022645196,0.00027756553,0.040596135,0.00037953185,0.00054755306,0.63873637,0.31283757,0.00003669395],"about_ca_topic_score_codex":0.006941139,"about_ca_topic_score_gemma":0.009786339,"teacher_disagreement_score":0.006941139,"about_ca_system_score_codex":0.0026231357,"about_ca_system_score_gemma":0.0017732523,"threshold_uncertainty_score":0.021189153},"labels":[],"label_agreement":null},{"id":"W2511070683","doi":"10.4000/communication.6943","title":"Laura MATTOON D’AMORE (dir.) (2014), Smart Chicks on Screen. Representing Women’s Intellect in Film and Television","year":2016,"lang":"en","type":"article","venue":"Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Yesterday; George (robot); Art history; Intellect; Philosophy; Physics; Theology","score_opus":0.028585620426501642,"score_gpt":0.23741193721685105,"score_spread":0.2088263167903494,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2511070683","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010438829,0.5030415,0.0011357503,0.2972959,0.087610655,0.00004662455,0.0008425821,0.0003420665,0.10864103],"genre_scores_gemma":[0.01596049,0.15869449,0.001095033,0.055612132,0.034112815,0.00009953245,0.000382969,0.0004474186,0.7335951],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992422,0.00021258713,0.00004311677,0.00017924761,0.000237843,0.000085055166],"domain_scores_gemma":[0.9989491,0.0003768739,0.00012421618,0.00003796438,0.00028533142,0.00022653586],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00082936,0.0009451448,0.0003943359,0.0014121393,0.002343953,0.0039937254,0.00052806374,0.0029116718,0.057694837],"category_scores_gemma":[0.0028403844,0.00046878253,0.00025402388,0.0010134045,0.00087724923,0.004522342,0.0018132247,0.0032609813,0.038502637],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015275196,0.0000046766504,0.00015870071,0.000095419724,0.0000023195387,0.00003415585,0.00045280062,0.000008336617,0.00009289111,0.0023198398,0.96127605,0.035539586],"study_design_scores_gemma":[0.000001475325,0.0000040631553,0.0006665145,0.0001485666,0.000001434046,0.000072553354,0.00038018177,0.000010349028,0.000062851526,0.0004309166,0.99821705,0.00000398538],"about_ca_topic_score_codex":0.010355561,"about_ca_topic_score_gemma":0.029213356,"teacher_disagreement_score":0.057694837,"about_ca_system_score_codex":0.001799053,"about_ca_system_score_gemma":0.0010212103,"threshold_uncertainty_score":0.19300848},"labels":[],"label_agreement":null},{"id":"W2514123622","doi":"","title":"Research Guides: Film: Canadian Film","year":2011,"lang":"en","type":"libguides","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Materials science","score_opus":0.16184054911926343,"score_gpt":0.30024403374096825,"score_spread":0.13840348462170482,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2514123622","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016512799,0.0128786145,0.0010347399,0.0057153413,0.0011352706,0.00022904082,0.11062897,0.0011992392,0.86552745],"genre_scores_gemma":[0.010516623,0.00859901,0.0013518127,0.00027754472,0.0002683366,0.00011731907,0.024471898,0.00062181964,0.9537756],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991364,0.000063541615,0.000045446104,0.00015250503,0.0004853441,0.00011668281],"domain_scores_gemma":[0.9925574,0.0007919769,0.00023076744,0.00028218536,0.005491201,0.0006464304],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010808026,0.001447131,0.0008341924,0.009818297,0.003899995,0.0076236697,0.0014957514,0.0014900927,0.46569073],"category_scores_gemma":[0.0074546505,0.00060229586,0.00029396894,0.019285237,0.0009883826,0.0031502019,0.0007817161,0.0013802055,0.09933835],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011484199,0.000010879097,0.00026283017,0.00019736144,0.0000014506086,0.000016358896,0.00018367743,0.00008868805,0.00003815546,0.006473229,0.9464541,0.046261698],"study_design_scores_gemma":[0.0000036829545,0.000003917136,0.0038550552,0.00024446138,0.000004400909,0.00002231043,0.0004576817,0.000105494466,0.00011060154,0.00094337057,0.99424005,0.000008997173],"about_ca_topic_score_codex":0.8983428,"about_ca_topic_score_gemma":0.95344645,"teacher_disagreement_score":0.46569073,"about_ca_system_score_codex":0.027789867,"about_ca_system_score_gemma":0.03363291,"threshold_uncertainty_score":0.7621273},"labels":[],"label_agreement":null},{"id":"W2514523207","doi":"10.1080/14791420.2016.1216576","title":"The “madness” of market logic: mental illness and late capitalism in <i>The Double</i> and <i>Nightcrawler</i>","year":2016,"lang":"en","type":"article","venue":"Communication and Critical/Cultural Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Lethbridge","funders":"","keywords":"Mental illness; Neoliberalism (international relations); Capitalism; Context (archaeology); Hollywood; Sociology; Narrative; Consumerism; Aesthetics; Psychoanalysis; Gender studies; Mental health; Psychiatry; Psychology; Political economy; Political science; History; Art; Literature; Art history; Politics; Law","score_opus":0.05744146811109047,"score_gpt":0.29729412671597377,"score_spread":0.2398526586048833,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2514523207","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.64073837,0.0073674433,0.0033650221,0.11737289,0.0009052025,0.000016903363,0.00006912503,0.000028300545,0.23013683],"genre_scores_gemma":[0.99380857,0.0010044818,0.00013661517,0.0013148286,0.00019525168,0.0000041829603,0.0000062345302,0.000011657437,0.0035180952],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9994261,0.00036665893,0.000009244902,0.000036213034,0.00006468379,0.000097036514],"domain_scores_gemma":[0.9981505,0.0012356583,0.00029419977,0.00007105031,0.00007820404,0.0001703825],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011108113,0.00025660757,0.00012605186,0.0009548672,0.0041468325,0.0072840108,0.00048614695,0.0014319181,0.0026552558],"category_scores_gemma":[0.0025096054,0.00014584296,0.00011645136,0.00047730122,0.021023292,0.0056359787,0.0024212478,0.0027405522,0.0001173224],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000070464026,0.000038054564,0.0028684607,0.0000899063,0.000009592649,0.0010785285,0.39152232,0.00011213194,0.0007564876,0.58117455,0.012412632,0.0098668765],"study_design_scores_gemma":[0.000027685384,0.00006149732,0.011627297,0.00041497892,0.000020439109,0.0013751632,0.58463097,0.0007994001,0.0012627526,0.1145294,0.28519854,0.000051878076],"about_ca_topic_score_codex":0.008770035,"about_ca_topic_score_gemma":0.010969325,"teacher_disagreement_score":0.008770035,"about_ca_system_score_codex":0.0027810296,"about_ca_system_score_gemma":0.0008006819,"threshold_uncertainty_score":0.0201779},"labels":[],"label_agreement":null},{"id":"W2516590470","doi":"10.5539/ach.v8n2p126","title":"From Self-Effacement to Confrontation: The Emergence of Queer Theatre in Istanbul","year":2016,"lang":"en","type":"article","venue":"Asian Culture and History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":21,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Politics; Sociology; Aesthetics; Gender studies; Visual arts; Media studies; Art; Political science; Law","score_opus":0.01669975002115347,"score_gpt":0.20317159266980905,"score_spread":0.18647184264865557,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2516590470","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8835896,0.0040202513,0.00080752483,0.0059785657,0.00032167422,0.00003887584,0.00008599185,0.0000248798,0.105132565],"genre_scores_gemma":[0.99468225,0.0004996944,0.000072717754,0.00015809362,0.00003339316,0.000004677155,0.0000134030415,0.000013163874,0.004522591],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9981188,0.0009921866,0.000034258603,0.00014470833,0.00015223035,0.0005578126],"domain_scores_gemma":[0.99868506,0.00051339495,0.0002557923,0.00007173281,0.00014818291,0.00032579247],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026120588,0.00055770064,0.00038227733,0.0020017799,0.013823925,0.007721127,0.0009978742,0.0013366586,0.007836824],"category_scores_gemma":[0.0021833333,0.00038335903,0.00022025117,0.0019706215,0.015718656,0.0035698898,0.0044430867,0.0029706089,0.0006597171],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021839306,0.000054800777,0.007664564,0.00020427436,0.000016788501,0.0034434106,0.84616876,0.00021100369,0.0010011077,0.11652303,0.005213693,0.019280229],"study_design_scores_gemma":[0.000015664007,0.00007058696,0.028865894,0.00036042783,0.000017806868,0.0014628887,0.8287771,0.0003725586,0.0007516641,0.004886719,0.1343581,0.00006069611],"about_ca_topic_score_codex":0.02474955,"about_ca_topic_score_gemma":0.05080768,"teacher_disagreement_score":0.02474955,"about_ca_system_score_codex":0.008575142,"about_ca_system_score_gemma":0.0026174618,"threshold_uncertainty_score":0.062217295},"labels":[],"label_agreement":null},{"id":"W2520639415","doi":"10.1057/978-1-137-55309-6_4","title":"Renewal of Song Dynasty Landscape Painting Aesthetics Combined with a Contemplative Modernism in the Early Work of Chen Kaige","year":2016,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan US eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Aesthetics; Communism; Art; Ideology; Realism; Modernism (music); Movie theater; Literature; Art history; History; Politics; Political science; Law","score_opus":0.02950974550166842,"score_gpt":0.20822921371230257,"score_spread":0.17871946821063417,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2520639415","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6505613,0.0033844642,0.0037605227,0.010291601,0.0006247433,0.00007471542,0.000057679248,0.000087146735,0.33115792],"genre_scores_gemma":[0.9789346,0.0003766053,0.00067685696,0.00023554359,0.000051747636,0.000012630154,0.000008705656,0.000017338212,0.019686047],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997379,0.00009733041,0.000008620871,0.0000519624,0.000045622935,0.00005857682],"domain_scores_gemma":[0.99981755,0.000056023193,0.00001627463,0.000032529595,0.000032906013,0.00004469055],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007044781,0.00029964576,0.00014084292,0.00047123435,0.0034325616,0.0022365288,0.00032252842,0.00042841566,0.0024787358],"category_scores_gemma":[0.000516482,0.000173798,0.00017340123,0.00046085272,0.0044791833,0.0014163238,0.0013834303,0.0011095242,0.00011754356],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012665406,0.000054100838,0.009598625,0.000418883,0.00004293366,0.0020340919,0.54516953,0.00046992576,0.009540022,0.3625498,0.019016474,0.050979],"study_design_scores_gemma":[0.00003328887,0.00012602737,0.037282437,0.00019115362,0.000071319846,0.0021961327,0.107424825,0.0009895758,0.0038289872,0.021919,0.82587594,0.00006132542],"about_ca_topic_score_codex":0.008074004,"about_ca_topic_score_gemma":0.041504186,"teacher_disagreement_score":0.008074004,"about_ca_system_score_codex":0.0024038763,"about_ca_system_score_gemma":0.0010515847,"threshold_uncertainty_score":0.017441392},"labels":[],"label_agreement":null},{"id":"W2523428389","doi":"10.3983/twc.2016.0723","title":"Local newspaper movie contests and the creation of the first movie fans","year":2016,"lang":"en","type":"article","venue":"Transformative Works and Cultures","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Filmmaking; Popularity; Newspaper; Advertising; Media studies; Visual arts; Movie theater; Sociology; Art; Political science; Business","score_opus":0.010327159067132606,"score_gpt":0.2043850942423085,"score_spread":0.1940579351751759,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2523428389","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.68823373,0.0026014247,0.0012042735,0.008619596,0.0005366625,0.00006470118,0.000092192226,0.000057662,0.2985898],"genre_scores_gemma":[0.9814183,0.00033345545,0.00023741409,0.0002346347,0.0001610377,0.000011439158,0.00003208494,0.000033278273,0.017538378],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99785054,0.0011567293,0.000031632462,0.0002488618,0.00023224845,0.00048001163],"domain_scores_gemma":[0.99622285,0.0011459397,0.00046697425,0.00020460275,0.0004621214,0.001497529],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032867286,0.0004521749,0.00032623822,0.002055919,0.010377162,0.010403467,0.00073163095,0.001085979,0.011110842],"category_scores_gemma":[0.0054354947,0.00034030768,0.00023237533,0.001013645,0.0074505094,0.0036595787,0.004201023,0.002134842,0.0007653517],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00048896956,0.0004921905,0.04043825,0.00025348313,0.000031637515,0.004341282,0.4736956,0.00016796398,0.0021657734,0.3405776,0.041915044,0.09543224],"study_design_scores_gemma":[0.00006093939,0.00022027647,0.045820367,0.00036707442,0.000025568008,0.001814114,0.261388,0.0005486664,0.0014906436,0.018403227,0.66979927,0.00006190123],"about_ca_topic_score_codex":0.0070597464,"about_ca_topic_score_gemma":0.011477904,"teacher_disagreement_score":0.011110842,"about_ca_system_score_codex":0.003582127,"about_ca_system_score_gemma":0.0010067457,"threshold_uncertainty_score":0.037169456},"labels":[],"label_agreement":null},{"id":"W2523926687","doi":"","title":"The Gaze of the Other: On Ang Lee's Crouching Tiger, Hidden Dragon and Alfred Hitchcock's The Birds","year":2005,"lang":"en","type":"article","venue":"Canadian review of comparative literature","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Gaze; Tiger; Art; Psychology; Aesthetics; Visual arts; Communication; Psychoanalysis; Computer science","score_opus":0.024153479102420234,"score_gpt":0.25067405725822317,"score_spread":0.22652057815580293,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2523926687","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22622912,0.41637373,0.00041983326,0.18930222,0.0060240454,0.000040834282,0.000346625,0.000024968545,0.16123863],"genre_scores_gemma":[0.69681704,0.20454258,0.00035074144,0.02620399,0.0046293302,0.000044405006,0.0002665734,0.00007391111,0.0670714],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992914,0.00038412763,0.000009653579,0.00008269828,0.00010052969,0.0001314946],"domain_scores_gemma":[0.9983606,0.0009428055,0.00014562091,0.000042450592,0.0002980966,0.00021032442],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016039059,0.000496,0.0004140697,0.0019514099,0.0067082625,0.0044766753,0.0009388778,0.0022953628,0.007974425],"category_scores_gemma":[0.0040203086,0.0002538912,0.00021703105,0.0024732181,0.0063075884,0.0040884134,0.0018225044,0.0031415499,0.00097058475],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003378448,0.00011013065,0.009868996,0.0010771895,0.000071149916,0.0025185957,0.36660683,0.000055970013,0.0005626283,0.04681872,0.45919016,0.11278181],"study_design_scores_gemma":[0.000029879517,0.000064334075,0.040413067,0.0027533167,0.00007424309,0.001282701,0.44590086,0.00005090021,0.00025141862,0.0052650254,0.5038721,0.000042144067],"about_ca_topic_score_codex":0.20823105,"about_ca_topic_score_gemma":0.4493918,"teacher_disagreement_score":0.20823105,"about_ca_system_score_codex":0.005626281,"about_ca_system_score_gemma":0.0020593894,"threshold_uncertainty_score":0.414038},"labels":[],"label_agreement":null},{"id":"W2525140962","doi":"","title":"Review of Mervyn Cooke's The Hollywood Film Music Reader and Julie Hubbert's Celluloid Symphonies","year":2016,"lang":"en","type":"article","venue":"Journal of music history pedagogy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Hollywood; Symphony; Art; Art history; Literature","score_opus":0.06523080120970427,"score_gpt":0.24389545814452013,"score_spread":0.17866465693481587,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2525140962","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00011574978,0.98100865,0.000056202458,0.012874493,0.0028261533,0.0000035074384,0.000026282645,0.000003835119,0.003085039],"genre_scores_gemma":[0.002154124,0.9742285,0.00013839817,0.011679084,0.006386976,0.000015192404,0.00006602742,0.00001662005,0.0053150468],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99869776,0.0004297084,0.00016034047,0.00014967582,0.0004664098,0.00009600608],"domain_scores_gemma":[0.9901264,0.0048736837,0.0006880636,0.00018585805,0.003164208,0.0009618296],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028434368,0.00060913805,0.0011856627,0.0067681484,0.0009142643,0.0036019168,0.0010311552,0.0026470567,0.008231974],"category_scores_gemma":[0.01216785,0.00037053053,0.00035534814,0.0069233635,0.0019326868,0.003635311,0.0023225427,0.0029128818,0.0027708786],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036702284,0.00001981829,0.00021510775,0.0054529286,0.00003252731,0.00009344902,0.00080819876,0.000051968575,0.00019668796,0.0052387672,0.78933775,0.19851613],"study_design_scores_gemma":[0.0000039757706,0.00000978667,0.00061081845,0.004644753,0.000015363208,0.00010427492,0.0002577848,0.0000047935773,0.000033165645,0.00050742656,0.9938007,0.0000071342606],"about_ca_topic_score_codex":0.009082621,"about_ca_topic_score_gemma":0.024700461,"teacher_disagreement_score":0.009082621,"about_ca_system_score_codex":0.0027912452,"about_ca_system_score_gemma":0.005820465,"threshold_uncertainty_score":0.027538657},"labels":[],"label_agreement":null},{"id":"W252607977","doi":"10.3138/cjfs.20.2.136","title":"Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945-2000","year":2011,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Movie theater; Exhibition; Art history; Shadow (psychology); Canyon; Studio; History; Media studies; Art; Sociology; Visual arts; Cartography; Geography","score_opus":0.05625853227710514,"score_gpt":0.22802046564376519,"score_spread":0.17176193336666004,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W252607977","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05115063,0.6823239,0.0003751829,0.028269311,0.00388248,0.000056067838,0.0020069017,0.0000788756,0.2318567],"genre_scores_gemma":[0.37269232,0.4309271,0.00085847353,0.002757545,0.0024682537,0.00007687388,0.001401173,0.00008211937,0.18873625],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99969053,0.00003545689,0.00001312099,0.00005234415,0.00015132969,0.000057285586],"domain_scores_gemma":[0.9994542,0.00009574977,0.00008472934,0.00001854971,0.000209554,0.00013722522],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00061183696,0.0006393693,0.00017039297,0.0029674387,0.0025468245,0.003733073,0.00058898394,0.0009240206,0.011994397],"category_scores_gemma":[0.0012396129,0.00031623605,0.00013774734,0.0036259862,0.0023375978,0.0032295068,0.0011896061,0.0016685661,0.0011331851],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013946899,0.00005510698,0.007455274,0.0012077055,0.000024847664,0.0005211658,0.06013454,0.00018632604,0.0005807746,0.037589878,0.5628656,0.32923928],"study_design_scores_gemma":[0.000007581507,0.000012225404,0.021000873,0.0008402854,0.000010117572,0.00012218358,0.008411706,0.000014137978,0.00010674873,0.0003972715,0.9690689,0.0000079614765],"about_ca_topic_score_codex":0.35554898,"about_ca_topic_score_gemma":0.5142395,"teacher_disagreement_score":0.35554898,"about_ca_system_score_codex":0.009991151,"about_ca_system_score_gemma":0.005751097,"threshold_uncertainty_score":0.7069589},"labels":[],"label_agreement":null},{"id":"W2526719950","doi":"","title":"Promise and Performance. Diversity in Canadian Television with an Emphasis on Fiction","year":2009,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Emphasis (telecommunications); Diversity (politics); History; Media studies; Telecommunications; Computer science; Political science; Sociology; Law","score_opus":0.027527743490001783,"score_gpt":0.20463396364467762,"score_spread":0.17710622015467584,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2526719950","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6212229,0.011308599,0.0004716073,0.031265724,0.00011720457,0.00002589323,0.0031273947,0.00003642297,0.33242413],"genre_scores_gemma":[0.9934354,0.00057821523,0.000044734905,0.00014080404,0.000046376746,0.0000023683547,0.00013800217,0.000006474058,0.0056076017],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.99757797,0.00035218705,0.000058080863,0.00020458545,0.0011738304,0.00063333753],"domain_scores_gemma":[0.9850891,0.0040481174,0.003115329,0.0004312444,0.0044389307,0.0028772145],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022713004,0.00025772615,0.00031602118,0.0045405584,0.0071296464,0.010188775,0.0009957104,0.0014034236,0.015717342],"category_scores_gemma":[0.018434543,0.00018378615,0.00029758769,0.011740855,0.0062172753,0.0028471048,0.0020924988,0.0022460683,0.00063406926],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005609307,0.00023461967,0.33715308,0.0003759118,0.00015390784,0.0005554874,0.04830992,0.0037815692,0.00064997957,0.44524333,0.04493078,0.11805042],"study_design_scores_gemma":[0.000025681571,0.00007511474,0.840967,0.00026882387,0.000101590405,0.00020807462,0.049311932,0.0017054414,0.00030453922,0.023299033,0.08363757,0.00009526249],"about_ca_topic_score_codex":0.9309932,"about_ca_topic_score_gemma":0.95889926,"teacher_disagreement_score":0.0690068,"about_ca_system_score_codex":0.04956682,"about_ca_system_score_gemma":0.019391332,"threshold_uncertainty_score":0.35963416},"labels":[],"label_agreement":null},{"id":"W2526797204","doi":"","title":"One Day, Canada (Québec) 2002, 48 minutes One Day, Canada (Québec) 2002, 48 minutes","year":2002,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Present day; Day to day; Time of day; Day care; Names of the days of the week; Demography; History; Animal science; Sociology; Economics; Biology; Operations management; Physics","score_opus":0.02358712463959056,"score_gpt":0.19305714720786887,"score_spread":0.1694700225682783,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2526797204","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012607025,0.008091628,0.001946357,0.0114618,0.009043907,0.0006061109,0.17587183,0.0029665497,0.7774048],"genre_scores_gemma":[0.017485064,0.0013877706,0.0008487933,0.0006292159,0.0002779199,0.00008472118,0.015970606,0.00041157045,0.96290433],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995291,0.00002910804,0.000018130666,0.000097950106,0.00019282306,0.00013290744],"domain_scores_gemma":[0.99808705,0.00005574369,0.000059521808,0.000060781844,0.0012039903,0.0005330082],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00046290792,0.0011665823,0.0005727488,0.0012501291,0.0047938633,0.0045452425,0.0009682753,0.0018052815,0.4774022],"category_scores_gemma":[0.0019573374,0.00050560327,0.00029097893,0.0025296973,0.0005719888,0.001169543,0.00072400045,0.0012773417,0.1408166],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000071046976,0.000015854357,0.000583511,0.0000639822,0.000003107267,0.00003902491,0.00009024365,0.00014219624,0.0002421406,0.00046099798,0.9814392,0.016848901],"study_design_scores_gemma":[0.000025335648,0.000012630988,0.01607925,0.000096360694,0.0000055931073,0.000028428398,0.000434253,0.00023500896,0.00019535096,0.00014544676,0.98272693,0.00001540178],"about_ca_topic_score_codex":0.94690555,"about_ca_topic_score_gemma":0.98532516,"teacher_disagreement_score":0.4774022,"about_ca_system_score_codex":0.018437127,"about_ca_system_score_gemma":0.01666683,"threshold_uncertainty_score":0.7454223},"labels":[],"label_agreement":null},{"id":"W2528104252","doi":"","title":"Claude R. Blouin, Le cinéma japonais et la condition humaine, Québec, Presses de l’Université Laval, 2015, 150 pagesClaude R. Blouin, Le cinéma japonais et la condition humaine, Québec, Presses de l’Université Laval, 2015, 150 pages","year":2016,"lang":"fr","type":"article","venue":"Les cahiers de lecture de l'Action nationale","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Collège Lionel Groulx","funders":"","keywords":"Art; Humanities","score_opus":0.010162702137757664,"score_gpt":0.23072720443902442,"score_spread":0.22056450230126676,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2528104252","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002444455,0.81988823,0.0011729278,0.08388011,0.0068690036,0.00003877345,0.0017200708,0.00014101439,0.08384538],"genre_scores_gemma":[0.06277367,0.5819036,0.0019398105,0.012825731,0.0067402474,0.00007656406,0.0014518246,0.0002841327,0.3320045],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910164,0.00016592286,0.00003613395,0.00009196476,0.00047331484,0.0001310494],"domain_scores_gemma":[0.997341,0.00081444107,0.00016971034,0.000065224944,0.0013067203,0.00030297047],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012536526,0.0011839218,0.0006723189,0.003617283,0.0036284022,0.005056883,0.001138314,0.0030748013,0.07104262],"category_scores_gemma":[0.0035617845,0.0004720166,0.00045786513,0.004964202,0.00292268,0.0036639906,0.0009514318,0.0024638623,0.008883333],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039217768,0.00002811098,0.0013728574,0.0005522715,0.000017178441,0.00010481206,0.0018609823,0.00013943265,0.00028881637,0.019723913,0.91651714,0.059355266],"study_design_scores_gemma":[0.000009455346,0.000009144714,0.014326106,0.0009412634,0.00001364678,0.00012700385,0.0015160444,0.000105199164,0.00016745222,0.002417505,0.98033327,0.000033815653],"about_ca_topic_score_codex":0.8726312,"about_ca_topic_score_gemma":0.92706776,"teacher_disagreement_score":0.8726312,"about_ca_system_score_codex":0.02489092,"about_ca_system_score_gemma":0.014864584,"threshold_uncertainty_score":0.25623775},"labels":[],"label_agreement":null},{"id":"W2528264688","doi":"10.3138/9781442683686-003","title":"1. In Search of the Canadian Labour Film","year":2006,"lang":"en","type":"book-chapter","venue":"University of Toronto Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science; Materials science","score_opus":0.026857157721723694,"score_gpt":0.18401024386808185,"score_spread":0.15715308614635815,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2528264688","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0048685186,0.023875346,0.00030902025,0.04604506,0.0036446608,0.000080632504,0.0021553894,0.00013238436,0.91888905],"genre_scores_gemma":[0.027994467,0.007840893,0.0002196499,0.0037128187,0.00045991287,0.000022224105,0.00035725295,0.000093202376,0.9592995],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995301,0.00003819446,0.000008961859,0.000053046424,0.00017497735,0.00019477567],"domain_scores_gemma":[0.99956053,0.000053712523,0.00001880631,0.000015063467,0.00024445934,0.00010730622],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00033184126,0.0007648297,0.00033612485,0.0024344816,0.01101461,0.006592076,0.0008202063,0.0027163813,0.12684263],"category_scores_gemma":[0.0014341555,0.00027689507,0.0002606418,0.0043922863,0.0015851853,0.0020900597,0.0010912493,0.0018359954,0.014501828],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002301625,0.000010203916,0.0005190352,0.00013220328,0.0000018868002,0.00013538293,0.0045725303,0.00003934217,0.0001862478,0.074556455,0.8820844,0.0377392],"study_design_scores_gemma":[0.0000013074806,0.0000018338212,0.0009030255,0.000060038346,0.0000015206507,0.000015641326,0.0012765185,0.000014354889,0.000046131136,0.00050892547,0.9971666,0.0000040377454],"about_ca_topic_score_codex":0.96027094,"about_ca_topic_score_gemma":0.98930526,"teacher_disagreement_score":0.12684263,"about_ca_system_score_codex":0.027944548,"about_ca_system_score_gemma":0.024035739,"threshold_uncertainty_score":0.4243309},"labels":[],"label_agreement":null},{"id":"W2528893435","doi":"10.3138/9781442680906-035","title":"The Origins of Public Broadcasting in Canada (1965)","year":2002,"lang":"en","type":"book-chapter","venue":"University of Toronto Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Broadcasting (networking); Political science; Geography; Computer science; Computer security","score_opus":0.049511506427173474,"score_gpt":0.1763680705375311,"score_spread":0.12685656411035762,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2528893435","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.058835942,0.116583444,0.00091285794,0.030049568,0.0020612488,0.00019030865,0.0050060796,0.00013162973,0.7862289],"genre_scores_gemma":[0.4407909,0.06347742,0.0012314531,0.0021292267,0.00048865075,0.00006997546,0.0008260457,0.00011191351,0.49087438],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990044,0.000070061986,0.0000334726,0.00012008292,0.00033108087,0.00044086835],"domain_scores_gemma":[0.99836546,0.0002833733,0.00010849458,0.000049063874,0.00089696544,0.00029652356],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047793495,0.0008795132,0.00042993308,0.006536515,0.014719413,0.0072353454,0.0008228786,0.0019822055,0.018638542],"category_scores_gemma":[0.0035931861,0.00079831755,0.0003081682,0.016591692,0.0052891728,0.0023796787,0.0014254629,0.0025398978,0.0016280317],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001816714,0.000097445794,0.007653209,0.00055535143,0.000025145504,0.0010482772,0.04659556,0.0010966156,0.00039821878,0.52112645,0.23911552,0.1821066],"study_design_scores_gemma":[0.000010223393,0.000010150394,0.018940616,0.00039139044,0.000019561161,0.00011773838,0.0054375133,0.00014524878,0.00031042073,0.006140023,0.9684399,0.000037137917],"about_ca_topic_score_codex":0.9956059,"about_ca_topic_score_gemma":0.9983687,"teacher_disagreement_score":0.16172598,"about_ca_system_score_codex":0.16172598,"about_ca_system_score_gemma":0.13423032,"threshold_uncertainty_score":0.972279},"labels":[],"label_agreement":null},{"id":"W2529470183","doi":"10.1386/sfs.7.1.101_1","title":"The T-Shirt: The (post-9/11) discomfort of strangers","year":2016,"lang":"en","type":"article","venue":"Short Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Americanization; Iconography; Ideology; Popular culture; Media studies; Sociology; Political science; Aesthetics; Law; History; Art; Art history; Politics","score_opus":0.048143667743206456,"score_gpt":0.2592272121348218,"score_spread":0.21108354439161536,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2529470183","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8354099,0.0023470449,0.0009341532,0.042632375,0.0020320602,0.000033315882,0.00015122541,0.000046450306,0.11641341],"genre_scores_gemma":[0.9895355,0.00065858476,0.00009353662,0.0025816548,0.0003110246,0.000015493839,0.000031157724,0.00003523122,0.0067377784],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9961916,0.0027987468,0.00007427407,0.00021117105,0.00031027733,0.00041389233],"domain_scores_gemma":[0.99406415,0.0028704414,0.0011057553,0.00041749503,0.00049381115,0.0010483669],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0038504496,0.00036156178,0.00042077733,0.00090613874,0.008942289,0.007942317,0.0007165034,0.0033769319,0.010701589],"category_scores_gemma":[0.014219102,0.00037618467,0.00025631586,0.0007196859,0.010264087,0.0041929954,0.0040555415,0.0057893293,0.0011663012],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022184387,0.00008919422,0.012345905,0.0001188275,0.000035281755,0.0028746275,0.9120968,0.00003843457,0.0013414613,0.025985148,0.028612439,0.016240077],"study_design_scores_gemma":[0.00001731974,0.000099940444,0.014010667,0.00020677967,0.000018008684,0.0014665391,0.88142663,0.00010853151,0.00031123386,0.0032054316,0.099097714,0.000031205964],"about_ca_topic_score_codex":0.006390386,"about_ca_topic_score_gemma":0.00794721,"teacher_disagreement_score":0.010701589,"about_ca_system_score_codex":0.0016687368,"about_ca_system_score_gemma":0.0006110741,"threshold_uncertainty_score":0.035800397},"labels":[],"label_agreement":null},{"id":"W2532074152","doi":"10.7202/1037002ar","title":"Documentary REAL-ism: Catfish and This Is Not a Film","year":2016,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Realism; Representation (politics); Point (geometry); Politics; Subject matter; Aesthetics; Subject (documents); Sociology; Epistemology; The Symbolic; Documentary film; Philosophy; Psychoanalysis; Psychology; Computer science; Media studies; Law; Political science; Geometry; Mathematics","score_opus":0.031356085854731645,"score_gpt":0.23183888879392517,"score_spread":0.20048280293919352,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2532074152","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20343988,0.011401055,0.007864767,0.12469258,0.002867979,0.00004724171,0.00024894622,0.00007563659,0.64936185],"genre_scores_gemma":[0.9600699,0.0032244248,0.00097077084,0.002631778,0.00057335495,0.00002043506,0.00007243186,0.000059438935,0.032377437],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99887496,0.00067762827,0.00002746455,0.00012971695,0.00017870731,0.00011142413],"domain_scores_gemma":[0.9975375,0.001434726,0.00029861106,0.00021798858,0.00025580585,0.00025539316],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001545662,0.00027021032,0.00019952547,0.00047057137,0.0031824852,0.00765608,0.00046505767,0.0012213017,0.006298554],"category_scores_gemma":[0.0064248783,0.00014234021,0.00014811134,0.00058030215,0.00896855,0.0050449255,0.002023159,0.0033750404,0.00041236996],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008807215,0.000032612254,0.0014834295,0.00020695428,0.000013969553,0.00036538503,0.06981759,0.0001299791,0.0006909913,0.8818445,0.026300887,0.019025508],"study_design_scores_gemma":[0.00002789479,0.00009191565,0.00801872,0.0005757497,0.000029274946,0.0006670634,0.068221584,0.00052639685,0.00081124995,0.057432145,0.8635593,0.000038686292],"about_ca_topic_score_codex":0.0070778867,"about_ca_topic_score_gemma":0.010376786,"teacher_disagreement_score":0.00765608,"about_ca_system_score_codex":0.0027127324,"about_ca_system_score_gemma":0.000846017,"threshold_uncertainty_score":0.021070719},"labels":[],"label_agreement":null},{"id":"W253331272","doi":"","title":"Living and Looking at Life: Bruce Webber Interviewed","year":2005,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Affection; Narrative; Courage; Loneliness; Pleasure; Innocence; Feeling; Psychoanalysis; Psychology; Witness; Aesthetics; Art; Social psychology; Literature; Philosophy","score_opus":0.0276520459596864,"score_gpt":0.22129171243464485,"score_spread":0.19363966647495845,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W253331272","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2279166,0.04075928,0.0011342289,0.5105898,0.007671108,0.00028042623,0.00060371234,0.0002474504,0.21079749],"genre_scores_gemma":[0.42004976,0.025432963,0.0013073009,0.13996279,0.0012071776,0.00038841518,0.0003861213,0.0005362819,0.41072908],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99801886,0.00077644835,0.00004651285,0.00024161418,0.0003756754,0.0005408408],"domain_scores_gemma":[0.99706084,0.0005380129,0.00019148778,0.00005513522,0.000295976,0.0018585685],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014506537,0.00065134553,0.0007448615,0.00088041497,0.021164019,0.0050540674,0.0018027425,0.00478995,0.02737591],"category_scores_gemma":[0.0054144133,0.0008681738,0.00017348243,0.001330372,0.0060014906,0.0060683982,0.0038522992,0.009237965,0.004209401],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057896195,0.00014959282,0.0027884694,0.00023105885,0.0000060670664,0.007285683,0.5086962,0.00005379413,0.0011835544,0.0074755987,0.45230505,0.019767074],"study_design_scores_gemma":[0.000004426605,0.000036215464,0.0021609173,0.00029250007,0.00000321883,0.0016853117,0.40704486,0.000032242697,0.00016135453,0.00050383515,0.58804655,0.00002859919],"about_ca_topic_score_codex":0.06622284,"about_ca_topic_score_gemma":0.15493923,"teacher_disagreement_score":0.06622284,"about_ca_system_score_codex":0.007463942,"about_ca_system_score_gemma":0.006075699,"threshold_uncertainty_score":0.13167477},"labels":[],"label_agreement":null},{"id":"W2533793235","doi":"10.7202/1036384ar","title":"Mazzarella William, 2013, Censorium : Cinema and the Open Edge of Mass Publicity. Durham, Duke University Press, 304 p., bibliogr., index","year":2016,"lang":"fr","type":"article","venue":"Anthropologie et Sociétés","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Publicity; Index (typography); Movie theater; Media studies; Art history; Art; History; Sociology; Political science; Law; Computer science","score_opus":0.125038119612807,"score_gpt":0.4009230278979797,"score_spread":0.27588490828517265,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2533793235","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00062433886,0.9008449,0.0011804611,0.025708582,0.005878067,0.000020627236,0.0011335383,0.00015614963,0.0644533],"genre_scores_gemma":[0.030222941,0.83963394,0.0022865387,0.0031790498,0.014479155,0.00008848448,0.0014022499,0.00033437126,0.10837324],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99887663,0.0002650552,0.00010944356,0.00013839513,0.0005252484,0.00008520149],"domain_scores_gemma":[0.99733716,0.0011825471,0.00057747564,0.00011495755,0.0005372977,0.00025058514],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009813079,0.001378895,0.0008494597,0.0070849904,0.002791001,0.0063775484,0.0012906865,0.002451922,0.037345123],"category_scores_gemma":[0.0056056143,0.0009956667,0.00042688873,0.010921503,0.00246124,0.009903663,0.0018968957,0.0030556445,0.010858968],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040481744,0.000010884078,0.00034208875,0.000965864,0.00001175749,0.00009197268,0.0020286113,0.00007113526,0.00021464544,0.03799308,0.86805713,0.0901723],"study_design_scores_gemma":[0.000003952984,0.0000055953624,0.0017689422,0.0008856346,0.00000960245,0.00012269996,0.0005388536,0.000021174088,0.00008193441,0.0038022965,0.9927492,0.000010151594],"about_ca_topic_score_codex":0.028163146,"about_ca_topic_score_gemma":0.05034984,"teacher_disagreement_score":0.037345123,"about_ca_system_score_codex":0.0049456647,"about_ca_system_score_gemma":0.003088345,"threshold_uncertainty_score":0.12493187},"labels":[],"label_agreement":null},{"id":"W2537382740","doi":"10.4000/books.septentrion.9476","title":"Pour un cinéma léger et synchrone !","year":2012,"lang":"fr","type":"book","venue":"Presses universitaires du Septentrion eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":20,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.018989134912313202,"score_gpt":0.19480696178451454,"score_spread":0.17581782687220132,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2537382740","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024578558,0.019455316,0.035872787,0.056869738,0.01459827,0.00035564453,0.0007170699,0.0022424094,0.8453103],"genre_scores_gemma":[0.09938887,0.007632064,0.019315546,0.0060667046,0.0017726872,0.00014609071,0.00035743738,0.0009964767,0.86432415],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986646,0.0003677688,0.000035853413,0.0002878229,0.00042006906,0.00022378526],"domain_scores_gemma":[0.99841404,0.00023672389,0.00008231484,0.00020382526,0.0006175097,0.000445524],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015186664,0.00091237685,0.00035966325,0.0011344623,0.0069246558,0.009919016,0.0010563855,0.00240918,0.082908906],"category_scores_gemma":[0.004213559,0.00058320625,0.00044833266,0.00089485984,0.0037028366,0.008127999,0.004314856,0.0049427883,0.017953837],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018380335,0.00008772209,0.0018713565,0.00082964747,0.00004440014,0.0008584125,0.07216087,0.00028068764,0.017556269,0.22973375,0.4527863,0.22360678],"study_design_scores_gemma":[0.0000043521327,0.000017051934,0.00063993473,0.00013893917,0.000005534401,0.00020241324,0.00468582,0.000057229616,0.00051149837,0.0018174694,0.9919051,0.000014775654],"about_ca_topic_score_codex":0.038147494,"about_ca_topic_score_gemma":0.078485474,"teacher_disagreement_score":0.082908906,"about_ca_system_score_codex":0.004008964,"about_ca_system_score_gemma":0.0041339425,"threshold_uncertainty_score":0.27735788},"labels":[],"label_agreement":null},{"id":"W2537643853","doi":"","title":"The Finnish ecodocumentary and practitioner agency","year":2016,"lang":"en","type":"book-chapter","venue":"Wiley-Blackwell eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Filmmaking; Agency (philosophy); Media studies; Danish; National cinema; Film industry; Indigenous; Art history; Art; History; Visual arts; Political science; Sociology; Social science","score_opus":0.02261993598940157,"score_gpt":0.20767077837430717,"score_spread":0.1850508423849056,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2537643853","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0076318425,0.21309468,0.001692793,0.03360828,0.007343343,0.000028094808,0.00054015283,0.00010335824,0.73595744],"genre_scores_gemma":[0.18188953,0.10460894,0.0025280663,0.0053692777,0.0028415872,0.00010184978,0.0005283759,0.0001976548,0.70193475],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99711263,0.00078850216,0.0001639159,0.0006147705,0.00079709943,0.0005230331],"domain_scores_gemma":[0.9966234,0.0014155527,0.00020426049,0.0003275727,0.00088640023,0.0005428162],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034581677,0.00070423953,0.0005954314,0.0034869865,0.0065291463,0.016505111,0.0010378328,0.0042203846,0.022868931],"category_scores_gemma":[0.0055788723,0.0003855428,0.00033670088,0.005925325,0.0041950946,0.0059590405,0.003449405,0.0025142424,0.0048652445],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004548921,0.000055459892,0.0011254561,0.00059165515,0.000011655508,0.0005165545,0.019208586,0.00036127146,0.000372887,0.54638314,0.32461905,0.10670886],"study_design_scores_gemma":[0.0000011486078,0.0000029434298,0.000506077,0.00047085198,0.0000026423686,0.000060419137,0.0030975174,0.00004333679,0.000049007598,0.0029665367,0.9927946,0.000004954423],"about_ca_topic_score_codex":0.039281897,"about_ca_topic_score_gemma":0.03758881,"teacher_disagreement_score":0.039281897,"about_ca_system_score_codex":0.013790915,"about_ca_system_score_gemma":0.020007458,"threshold_uncertainty_score":0.10006052},"labels":[],"label_agreement":null},{"id":"W2538758581","doi":"","title":"Documentary Now! Contemporary Strategies in Photography, Film and the Visual Arts. Rotterdam, NAi Publishers, 2005 Documentary Now! Contemporary Strategies in Photography, Film and the Visual Arts. Rotterdam, NAi Publishers, 2005","year":2006,"lang":"en","type":"article","venue":"Ciel variable : Art, photo, médias, culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Photography; Visual arts; The arts; Fine art; Art; Art history","score_opus":0.016386103103731134,"score_gpt":0.23700396775794316,"score_spread":0.22061786465421201,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2538758581","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00039259295,0.099299364,0.0019693596,0.018420415,0.01577837,0.00009931947,0.0076221437,0.0014132167,0.85500526],"genre_scores_gemma":[0.0031846713,0.037023664,0.001834549,0.0012185636,0.0029331055,0.0000691498,0.0031104698,0.0007194835,0.94990635],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988102,0.0001261259,0.000104040424,0.00015507804,0.0007003604,0.0001042326],"domain_scores_gemma":[0.9950334,0.0011235868,0.00038061794,0.00039691327,0.0023763026,0.00068916444],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0014781675,0.0013075698,0.0013772859,0.0043830127,0.0013700873,0.00956228,0.0015689445,0.0017863808,0.57748324],"category_scores_gemma":[0.0054403944,0.0007705883,0.00050597667,0.006644395,0.0011467787,0.007774708,0.0015173352,0.00246373,0.2878873],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009162541,0.000005932855,0.000027318058,0.00013933862,0.0000013840269,0.000011168856,0.000035694695,0.000023001829,0.00006726631,0.0031449283,0.95496106,0.04157367],"study_design_scores_gemma":[0.0000024953597,0.0000053065346,0.0003602998,0.00023227569,0.0000025329741,0.000040904073,0.000066492015,0.000018195893,0.00006259639,0.0007523209,0.99845207,0.0000044695767],"about_ca_topic_score_codex":0.01403033,"about_ca_topic_score_gemma":0.0355171,"teacher_disagreement_score":0.57748324,"about_ca_system_score_codex":0.0030671763,"about_ca_system_score_gemma":0.0026526267,"threshold_uncertainty_score":0.6026689},"labels":[],"label_agreement":null},{"id":"W2539452792","doi":"10.1162/lmj_a_00996","title":"Experimental Sound Mixing for <i>The Well</i>, a Short Film Made for Tablets","year":2017,"lang":"en","type":"article","venue":"Leonardo Music Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Mixing (physics); Sound (geography); Binaural recording; Perspective (graphical); Acoustics; Computer science; Artificial intelligence; Physics","score_opus":0.07722990055968688,"score_gpt":0.2786690639697473,"score_spread":0.2014391634100604,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2539452792","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.78415495,0.002444686,0.11065037,0.0011937063,0.0012051028,0.0039005731,0.0012904808,0.0010496659,0.09411043],"genre_scores_gemma":[0.89422226,0.0014996325,0.08069045,0.0005158535,0.00023869949,0.0020581372,0.0006142263,0.0002709203,0.019889738],"study_design_codex":"bench_or_experimental","study_design_gemma":"bench_or_experimental","domain_scores_codex":[0.99910957,0.00024175925,0.00007814387,0.0002259689,0.00026185418,0.00008262434],"domain_scores_gemma":[0.9978824,0.0012393064,0.00017350263,0.00032229762,0.00021306452,0.0001693012],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009793325,0.0006367881,0.00026750602,0.00037152637,0.0008872404,0.0012122275,0.0008029596,0.0008192667,0.013758028],"category_scores_gemma":[0.004235204,0.00030656354,0.00037373326,0.00033814652,0.0010661915,0.0011743518,0.0014058762,0.0013216226,0.0010201475],"study_design_candidate":"bench_or_experimental","study_design_consensus":"bench_or_experimental","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.004778867,0.0042520096,0.0034341605,0.0030788637,0.0001680625,0.00079846627,0.008443552,0.0010769888,0.6897825,0.02960027,0.0055430913,0.24904312],"study_design_scores_gemma":[0.0014470639,0.027715739,0.034839895,0.00060212385,0.000496022,0.0022339977,0.0054168263,0.0043069436,0.731708,0.011885271,0.17897093,0.0003770572],"about_ca_topic_score_codex":0.00053515506,"about_ca_topic_score_gemma":0.00061230623,"teacher_disagreement_score":0.013758028,"about_ca_system_score_codex":0.00031588922,"about_ca_system_score_gemma":0.00031158986,"threshold_uncertainty_score":0.046025217},"labels":[],"label_agreement":null},{"id":"W2540304459","doi":"","title":"Claude R. Blouin, Le cinéma japonais et la condition humaine, Québec, Presses de l’Université Laval, 2015, 150 pages","year":2016,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Collège Lionel Groulx","funders":"","keywords":"Art","score_opus":0.007827892738323083,"score_gpt":0.17481895147347035,"score_spread":0.16699105873514727,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2540304459","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0024807057,0.8326864,0.0012723197,0.116696745,0.0071451757,0.000027784376,0.001096187,0.00008071834,0.038513903],"genre_scores_gemma":[0.076247506,0.6833861,0.0022439333,0.016638136,0.008472114,0.00006941543,0.00088891416,0.00018929252,0.21186458],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994967,0.00011061371,0.000024047238,0.00006424785,0.00023107143,0.00007337684],"domain_scores_gemma":[0.9980983,0.0007022012,0.00009172174,0.00003620012,0.0009099273,0.00016161535],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011628589,0.00091459585,0.0006455877,0.0028519633,0.0030400858,0.004011667,0.0010959598,0.0028511784,0.027903253],"category_scores_gemma":[0.0036775793,0.00038833384,0.00035524383,0.0035225179,0.0027136868,0.0028217137,0.00067679066,0.0023643542,0.0035015615],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037375754,0.000021398198,0.0013485787,0.0004484438,0.000021107617,0.00015436191,0.0019035875,0.00014807921,0.00022550827,0.021454148,0.91730005,0.056937385],"study_design_scores_gemma":[0.000013790435,0.000009372074,0.018025186,0.0011104407,0.000018691353,0.00024450567,0.0024205947,0.00020737929,0.00023082382,0.0039382023,0.9737376,0.000043523774],"about_ca_topic_score_codex":0.8558133,"about_ca_topic_score_gemma":0.895578,"teacher_disagreement_score":0.8558133,"about_ca_system_score_codex":0.01369814,"about_ca_system_score_gemma":0.011159442,"threshold_uncertainty_score":0.2900716},"labels":[],"label_agreement":null},{"id":"W2543512437","doi":"10.1080/01439685.2016.1248067","title":"Borderland Films. American Cinema, Mexico, and Canada during the Progressive Era","year":2016,"lang":"en","type":"article","venue":"Historical Journal Of Film Radio and Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Ottawa","funders":"","keywords":"Movie theater; History; Art; Art history","score_opus":0.007592307499397758,"score_gpt":0.187692946734197,"score_spread":0.18010063923479924,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2543512437","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76229304,0.009230767,0.000073551426,0.013364655,0.00035512054,0.000045900015,0.0018636856,0.000018355497,0.21275492],"genre_scores_gemma":[0.9664175,0.0036708154,0.00005600496,0.00052602333,0.000095922034,0.000010629004,0.00036356496,0.000018544684,0.02884104],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995382,0.0000512827,0.0000070739115,0.000057696037,0.000080893195,0.00026497437],"domain_scores_gemma":[0.9987527,0.00016212868,0.0001661334,0.000029591509,0.00038467481,0.0005047592],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005388773,0.00027288627,0.00021023258,0.001573545,0.012510859,0.006733311,0.00056321,0.0011127976,0.016061602],"category_scores_gemma":[0.00232782,0.00019012323,0.00012205489,0.003087507,0.0023088974,0.0018076134,0.0018682586,0.0020695785,0.00037503222],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011334011,0.00044557152,0.19589782,0.0004325086,0.00006572255,0.0027469853,0.48061973,0.00015161702,0.0015887608,0.08992701,0.12879917,0.09819165],"study_design_scores_gemma":[0.000022943332,0.000038490998,0.37905967,0.00036542042,0.00004453802,0.00020389464,0.29092354,0.00007341643,0.00037774545,0.00059187156,0.32827327,0.000025349837],"about_ca_topic_score_codex":0.8956032,"about_ca_topic_score_gemma":0.9682654,"teacher_disagreement_score":0.10439682,"about_ca_system_score_codex":0.020964205,"about_ca_system_score_gemma":0.01150425,"threshold_uncertainty_score":0.21002322},"labels":[],"label_agreement":null},{"id":"W2543857910","doi":"10.7202/1036999ar","title":"« The Frenzy of the (In)Visible » : la médiation du désir dans La vie d’Adèle et Shame","year":2016,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université du Québec en Abitibi-Témiscamingue","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.019018770768330567,"score_gpt":0.2252015988703651,"score_spread":0.20618282810203453,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2543857910","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16587491,0.011613094,0.011322441,0.07402166,0.0018357822,0.00003976586,0.000051993466,0.000077451645,0.735163],"genre_scores_gemma":[0.9448647,0.0024053887,0.0007589318,0.0038958534,0.00033698266,0.000024854095,0.000012107813,0.00007043823,0.047630772],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973648,0.0017182723,0.000032454256,0.00023813671,0.00035973935,0.0002866025],"domain_scores_gemma":[0.99747807,0.0016048666,0.00027357272,0.0001703637,0.00024155881,0.00023158417],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028034826,0.0005064122,0.00028375132,0.001003067,0.010019405,0.009586086,0.00094071304,0.0029257468,0.00578299],"category_scores_gemma":[0.0052017006,0.0002993151,0.0003016082,0.00064674765,0.037748586,0.010391355,0.0057502356,0.007127048,0.00064059993],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003368862,0.000016341633,0.0005499831,0.000089478905,0.0000048594607,0.00030994843,0.32366395,0.000036882466,0.00056071713,0.6587502,0.006683066,0.009300857],"study_design_scores_gemma":[0.000026266796,0.00007826874,0.0028933722,0.00086975767,0.000028234876,0.0011860031,0.33668238,0.00030409652,0.0012559076,0.13199256,0.52463037,0.000052796044],"about_ca_topic_score_codex":0.010080775,"about_ca_topic_score_gemma":0.013823555,"teacher_disagreement_score":0.010080775,"about_ca_system_score_codex":0.0037972236,"about_ca_system_score_gemma":0.002515015,"threshold_uncertainty_score":0.027550876},"labels":[],"label_agreement":null},{"id":"W2546140074","doi":"","title":"Where the Truth Lies : Faux-semblants La vérité nue Canada — Grande-Bretagne, États-Unis 2005, 108 minutes La vérité nue Canada — Grande-Bretagne, États-Unis 2005, 108 minutes","year":2005,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science; Humanities; Geography; Art","score_opus":0.012744524488907963,"score_gpt":0.20464932357797275,"score_spread":0.19190479908906477,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2546140074","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008936677,0.17655589,0.0006711919,0.31430477,0.11050306,0.00023970206,0.009910951,0.00085497624,0.3780227],"genre_scores_gemma":[0.034998327,0.021779386,0.0005176248,0.0064981035,0.00793288,0.00007896829,0.0022580824,0.00027192937,0.9256646],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985176,0.0001958107,0.000038184968,0.00017832065,0.0006505627,0.00041963486],"domain_scores_gemma":[0.9969085,0.0003750367,0.000093353214,0.00005187477,0.00121962,0.0013515428],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014980771,0.0012483025,0.0008087122,0.0012281681,0.010360145,0.008387696,0.0009015653,0.0048103323,0.17063478],"category_scores_gemma":[0.00536651,0.0006084864,0.0003941506,0.0016541658,0.001634913,0.002274273,0.0017785752,0.0039095166,0.029749328],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002654059,0.0000070661163,0.00018686101,0.000047162895,0.0000019873257,0.000048498503,0.00032322053,0.000036533223,0.000051300944,0.0014424814,0.99163765,0.0061907787],"study_design_scores_gemma":[0.000005346553,0.00000456713,0.0018224807,0.00013476702,0.0000021426006,0.000024342964,0.0010984887,0.000025044274,0.000040304647,0.00022881244,0.99660647,0.0000073283472],"about_ca_topic_score_codex":0.76888233,"about_ca_topic_score_gemma":0.9350829,"teacher_disagreement_score":0.76888233,"about_ca_system_score_codex":0.027406922,"about_ca_system_score_gemma":0.022122663,"threshold_uncertainty_score":0.5708302},"labels":[],"label_agreement":null},{"id":"W2546497633","doi":"10.1057/978-1-137-51321-2_2","title":"The ‘Will-To-Not-Know’","year":2016,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Bourgeoisie; German; Art; Spectacle; Poetry; Art history; Literature; History; Law; Politics; Archaeology; Political science","score_opus":0.02645206755987312,"score_gpt":0.21722504625457803,"score_spread":0.19077297869470491,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2546497633","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013493755,0.020008394,0.012302947,0.2812485,0.0041449093,0.000045549175,0.00009670304,0.00009502602,0.66856426],"genre_scores_gemma":[0.7329275,0.0076518413,0.004461381,0.108353056,0.0028851386,0.00014215038,0.000077576624,0.00033473526,0.14316663],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9937191,0.0036579669,0.00009890993,0.00083460985,0.0009970975,0.0006922977],"domain_scores_gemma":[0.9970323,0.0014118757,0.0002539967,0.0003743934,0.0003365911,0.0005908355],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0043570935,0.000807484,0.00045168353,0.00080184854,0.009850051,0.012440686,0.00150999,0.0075988686,0.0083269775],"category_scores_gemma":[0.0056177774,0.00046943067,0.000429854,0.0007444208,0.060265012,0.012909889,0.0051054223,0.012843274,0.0016742232],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009014907,0.000009615354,0.00012572214,0.000034326204,0.0000031593192,0.000068378984,0.02651486,0.000018534929,0.000058830567,0.9280486,0.041795462,0.0033136155],"study_design_scores_gemma":[0.000010053715,0.000021834268,0.00039847716,0.00020222602,0.0000033075942,0.00024545332,0.016796567,0.00010459519,0.00009191693,0.16467066,0.8174382,0.00001670323],"about_ca_topic_score_codex":0.012084869,"about_ca_topic_score_gemma":0.017625472,"teacher_disagreement_score":0.012440686,"about_ca_system_score_codex":0.006202256,"about_ca_system_score_gemma":0.003828057,"threshold_uncertainty_score":0.045000672},"labels":[],"label_agreement":null},{"id":"W2547935265","doi":"10.1386/miraj.5.1-2.88_1","title":"Expanded cinema: Notes on twentieth-century encounters with art, science and technology","year":2016,"lang":"en","type":"article","venue":"Moving Image Review & Art Journal (MIRAJ)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Movie theater; Parallels; Performative utterance; The arts; Argument (complex analysis); Epistemology; Sociology; History; Art history; Art; Visual arts; Philosophy","score_opus":0.016210262764538578,"score_gpt":0.23923961961774945,"score_spread":0.22302935685321088,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2547935265","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3869069,0.0213114,0.002771621,0.02838234,0.003299339,0.00011842957,0.00013220822,0.00010957845,0.5569683],"genre_scores_gemma":[0.9553732,0.0038625875,0.0003754584,0.0016276129,0.0009332627,0.000056357065,0.000042616313,0.000089714245,0.037639234],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99575967,0.002436242,0.00007269294,0.00040144534,0.0005169488,0.000813002],"domain_scores_gemma":[0.9949378,0.0037014782,0.00026282022,0.00020798628,0.0002903739,0.0005995394],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0048411028,0.00088858727,0.0007215257,0.004204643,0.031664666,0.017008485,0.0017925485,0.005385855,0.00981128],"category_scores_gemma":[0.008720576,0.0006381195,0.00041308862,0.0023999286,0.033247508,0.010314058,0.010965063,0.0100604575,0.0006466891],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036767255,0.000021840602,0.000190917,0.000053044154,0.000003928039,0.0011017608,0.8702134,0.000029356464,0.00031047812,0.11892975,0.0056215953,0.0034872394],"study_design_scores_gemma":[0.000018552508,0.000041663443,0.0015632346,0.00054969947,0.000009340075,0.0011279171,0.41566038,0.00015063296,0.00037305808,0.009507798,0.57095534,0.000042363885],"about_ca_topic_score_codex":0.0199592,"about_ca_topic_score_gemma":0.03213642,"teacher_disagreement_score":0.031664666,"about_ca_system_score_codex":0.011438855,"about_ca_system_score_gemma":0.0020446428,"threshold_uncertainty_score":0.08299512},"labels":[],"label_agreement":null},{"id":"W2548114231","doi":"10.1386/fm.7.2.37_1","title":"Guy Maddin's My Winnipeg: The Criterion Collection Blu-ray Edition","year":2016,"lang":"en","type":"article","venue":"Film Matters","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Library science; Computer science","score_opus":0.01893507764849377,"score_gpt":0.2061991376235958,"score_spread":0.187264059975102,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2548114231","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006069873,0.0834638,0.014419592,0.21099892,0.0413198,0.00041428322,0.010204891,0.0017479233,0.6313609],"genre_scores_gemma":[0.0386677,0.02095938,0.009759992,0.007681471,0.005587766,0.00017366045,0.0028081152,0.0026450122,0.91171694],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99731714,0.0005829247,0.00014794593,0.00019967645,0.001527109,0.00022516568],"domain_scores_gemma":[0.992808,0.0012546898,0.00018202318,0.00064149563,0.004561725,0.00055205217],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033380855,0.000796122,0.00077489245,0.005404649,0.004152186,0.00886658,0.0011118292,0.0014519271,0.06402407],"category_scores_gemma":[0.017986294,0.0005263398,0.0003503033,0.004968528,0.0021495915,0.0033144967,0.0027315915,0.0025159817,0.019915797],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017223709,0.00000419518,0.00024052142,0.000075885284,0.0000034810023,0.000025688569,0.00036670783,0.0000835145,0.00011382988,0.026224889,0.9221251,0.050718907],"study_design_scores_gemma":[0.0000021798835,0.0000024098729,0.0006187732,0.000115315444,0.0000029174737,0.000023597182,0.0002540563,0.000054972723,0.000099004894,0.003994438,0.99482405,0.000008284045],"about_ca_topic_score_codex":0.25720653,"about_ca_topic_score_gemma":0.3419172,"teacher_disagreement_score":0.74279344,"about_ca_system_score_codex":0.006707808,"about_ca_system_score_gemma":0.008440426,"threshold_uncertainty_score":0.5114188},"labels":[],"label_agreement":null},{"id":"W254936240","doi":"10.3138/cjfs.16.2.99","title":"Silent Film and the Early Fiction of Stephen Leacock","year":2007,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Art history","score_opus":0.033735991239319724,"score_gpt":0.23056889595331403,"score_spread":0.1968329047139943,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W254936240","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.117197335,0.1590672,0.002396752,0.28434026,0.010444963,0.000060583145,0.00041593474,0.00004515026,0.4260318],"genre_scores_gemma":[0.7761387,0.05324793,0.0008113947,0.01787388,0.0055449824,0.000044699376,0.00012834065,0.00008910412,0.14612089],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999281,0.00044844107,0.000015891097,0.000075103,0.000096866264,0.00008276827],"domain_scores_gemma":[0.9976909,0.0018018837,0.00012987346,0.00005104183,0.00019697314,0.00012938824],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009128624,0.00040093888,0.00020868065,0.0009968494,0.0037686706,0.0031939098,0.00044672762,0.0019047083,0.0050081857],"category_scores_gemma":[0.0050889016,0.00017991698,0.00013111791,0.0007202334,0.0047808774,0.0030728036,0.0012071086,0.0038197304,0.0006513536],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020166521,0.000054253338,0.0014837096,0.0003012438,0.000018926698,0.0019954091,0.105343655,0.00022487385,0.0008926717,0.56780946,0.2934125,0.02826164],"study_design_scores_gemma":[0.000013393759,0.000040172596,0.004427081,0.0005647832,0.000011201261,0.00069506327,0.020590587,0.00018103315,0.00060850335,0.01602007,0.95681703,0.00003106774],"about_ca_topic_score_codex":0.02626433,"about_ca_topic_score_gemma":0.043206174,"teacher_disagreement_score":0.9737357,"about_ca_system_score_codex":0.002745488,"about_ca_system_score_gemma":0.0008716945,"threshold_uncertainty_score":0.052222908},"labels":[],"label_agreement":null},{"id":"W2550683891","doi":"10.1111/var.12108","title":"“What Does It Look Like?”: On the Use of Intermediary Images in Egyptian Film Production","year":2016,"lang":"en","type":"article","venue":"Visual Anthropology Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Production (economics); Product (mathematics); Process (computing); Integrally closed; Visual arts; Art; Business; Computer science; Sociology; Advertising; Engineering; Economics; Mathematics; Mechanical engineering; Microeconomics","score_opus":0.0753845487370726,"score_gpt":0.3218144969207825,"score_spread":0.24642994818370992,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2550683891","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7678865,0.03766565,0.0040176297,0.018257383,0.0001923325,0.00007447978,0.0001292033,0.0000331253,0.17174374],"genre_scores_gemma":[0.9832919,0.011536003,0.0008145247,0.00058092806,0.00007350664,0.000013807998,0.00002836583,0.00001965402,0.0036412205],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99819946,0.0012640879,0.000055678825,0.000109075205,0.0001951885,0.00017647994],"domain_scores_gemma":[0.9952384,0.0034081175,0.00071439287,0.00014838032,0.00033662532,0.00015408172],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0038760721,0.00038741535,0.00022432202,0.0022093956,0.0025948011,0.006979238,0.00061707775,0.0010545991,0.0043984232],"category_scores_gemma":[0.007428046,0.0002194408,0.00018257851,0.0022364405,0.008212959,0.0047650556,0.0024994807,0.0016031006,0.00028844166],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025534775,0.000076888566,0.01749559,0.0010669867,0.000049742175,0.0034424788,0.72211194,0.00023754597,0.0017528852,0.112652965,0.006949785,0.13390797],"study_design_scores_gemma":[0.000031765285,0.000092664726,0.051002495,0.003330188,0.00011907081,0.0022512528,0.6958189,0.0006841834,0.0019086328,0.016688451,0.22801763,0.000054878892],"about_ca_topic_score_codex":0.011674129,"about_ca_topic_score_gemma":0.013235016,"teacher_disagreement_score":0.011674129,"about_ca_system_score_codex":0.003539149,"about_ca_system_score_gemma":0.0014920371,"threshold_uncertainty_score":0.025678396},"labels":[],"label_agreement":null},{"id":"W255307666","doi":"","title":"Fast Company, Canada, 1979, 90 minutes Fast Company, Canada, 1979, 90 minutes","year":2005,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Business; Operations management; Management; Engineering; Economics","score_opus":0.017389423309917024,"score_gpt":0.20657929263227567,"score_spread":0.18918986932235865,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W255307666","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0021318903,0.022324534,0.00066204095,0.0068408647,0.011740055,0.00025868215,0.15438291,0.00094140094,0.80071765],"genre_scores_gemma":[0.005395697,0.009248295,0.00044465603,0.0005475458,0.0005235562,0.00007943503,0.028093327,0.000410308,0.9552572],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99890363,0.000045224297,0.000052944513,0.00011676671,0.0006781569,0.00020323093],"domain_scores_gemma":[0.9959097,0.00013764761,0.000115158364,0.00008447065,0.0031961615,0.00055692496],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005665419,0.0020552843,0.0008127859,0.0053984364,0.005072085,0.0059129214,0.0013155249,0.0018107023,0.4984879],"category_scores_gemma":[0.004300386,0.0008453594,0.00036945436,0.013068405,0.0008851337,0.002686568,0.0010814458,0.0019411775,0.28065223],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016378663,0.0000062141617,0.00014309633,0.000059064747,9.307496e-7,0.000016112961,0.000028670598,0.00005310094,0.00005473949,0.0005220995,0.98732114,0.0117784655],"study_design_scores_gemma":[0.0000062981103,0.0000042449974,0.004225626,0.0001589876,0.0000024469532,0.000023748065,0.00024832197,0.00005420275,0.000055886594,0.00022280592,0.99498945,0.000007825278],"about_ca_topic_score_codex":0.90782744,"about_ca_topic_score_gemma":0.96328694,"teacher_disagreement_score":0.90782744,"about_ca_system_score_codex":0.02116128,"about_ca_system_score_gemma":0.029381206,"threshold_uncertainty_score":0.71534616},"labels":[],"label_agreement":null},{"id":"W2559323028","doi":"10.22230/cjc.2016v41n4a3135","title":"Canadian Cinema 12: Bonnie Sherr Klein’s Not a Love Story","year":2016,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Art history; Media studies; Sociology; Literature","score_opus":0.035337397377877076,"score_gpt":0.20936846588426444,"score_spread":0.17403106850638736,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2559323028","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0058591235,0.030660983,0.00037467215,0.59360707,0.039506245,0.00003393744,0.0006836067,0.000117683354,0.32915667],"genre_scores_gemma":[0.17191051,0.023349052,0.000752344,0.06652216,0.011252861,0.00003564406,0.00039556334,0.00035088861,0.72543097],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99846196,0.00026268486,0.000024371244,0.00017261087,0.0005966257,0.00048173338],"domain_scores_gemma":[0.99709475,0.00036700987,0.00007205883,0.000086418826,0.001333851,0.0010459227],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013783481,0.0008223957,0.00041854064,0.0014635572,0.018775705,0.009509304,0.0009665797,0.005294168,0.03363594],"category_scores_gemma":[0.0073178965,0.00037807145,0.00041521722,0.001396022,0.005043993,0.0029438608,0.0017610095,0.007440509,0.0035321014],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010196694,0.0000059918816,0.0001441186,0.000014358609,0.0000033723466,0.0001268084,0.0017471686,0.000022088765,0.00003871124,0.017575577,0.97569126,0.004620492],"study_design_scores_gemma":[0.0000027777223,0.000002336388,0.0006413085,0.00005372453,0.000003845028,0.000089155685,0.0027747215,0.000017953258,0.000038998485,0.0011027821,0.99525946,0.00001289562],"about_ca_topic_score_codex":0.91652614,"about_ca_topic_score_gemma":0.97056043,"teacher_disagreement_score":0.08347386,"about_ca_system_score_codex":0.042437747,"about_ca_system_score_gemma":0.027265416,"threshold_uncertainty_score":0.30790883},"labels":[],"label_agreement":null},{"id":"W2559433214","doi":"10.5749/movingimage.16.1.0057","title":"Who's Trending in 1910s American Cinema? Exploring ECHO and MHDL at Scale with Arclight","year":2016,"lang":"en","type":"article","venue":"The Moving Image The Journal of the Association of Moving Image Archivists","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Echo (communications protocol); Movie theater; Scale (ratio); Art; Art history; Computer science; Cartography; Geography; Computer security","score_opus":0.014430173234886996,"score_gpt":0.20904355646497402,"score_spread":0.19461338323008703,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2559433214","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8653509,0.0068028923,0.023358656,0.02023798,0.00016343384,0.00011505184,0.0019352204,0.00051621377,0.081519656],"genre_scores_gemma":[0.9842301,0.0014749665,0.008662488,0.0008785632,0.000097321885,0.00006437193,0.00084567914,0.00015084424,0.0035957613],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.9985109,0.0007445473,0.00007167353,0.00023077882,0.00034651207,0.000095550255],"domain_scores_gemma":[0.98633444,0.010741612,0.0007580593,0.0006981682,0.0010297196,0.00043799364],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034009186,0.00016695258,0.00021753923,0.0030495727,0.0013952631,0.0049211024,0.00065282494,0.0005915045,0.005597309],"category_scores_gemma":[0.017603178,0.00017204153,0.00020642327,0.004137248,0.0031539463,0.014208467,0.0033017616,0.0015007593,0.000759113],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00050293107,0.00020318548,0.12096738,0.0009878459,0.00009633281,0.0008813559,0.33006558,0.0015590558,0.00641487,0.16065478,0.036218792,0.34144795],"study_design_scores_gemma":[0.00004190218,0.00019186009,0.13802604,0.0006962002,0.000119295706,0.00088658836,0.47892198,0.014750191,0.0063701603,0.122285604,0.23754404,0.00016615822],"about_ca_topic_score_codex":0.010222361,"about_ca_topic_score_gemma":0.016337654,"teacher_disagreement_score":0.010222361,"about_ca_system_score_codex":0.0015152654,"about_ca_system_score_gemma":0.00074670825,"threshold_uncertainty_score":0.02032572},"labels":[],"label_agreement":null},{"id":"W2560328454","doi":"10.3138/ctr.168.008","title":"The Perversity of Drunk Feminist Films","year":2016,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; Movie theater; Criticism; Interpretation (philosophy); Gesture; Aesthetics; Film theory; Identity (music); Space (punctuation); Sociology; Art; Audience reception; Media studies; Politics; Visual arts; Literature; Philosophy; Political science; Law","score_opus":0.027746082475315834,"score_gpt":0.21391120095703517,"score_spread":0.18616511848171935,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2560328454","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17318825,0.27057096,0.0012415303,0.041941352,0.0013147321,0.000041769264,0.00028561542,0.00006500391,0.51135075],"genre_scores_gemma":[0.88463736,0.0813718,0.00034679993,0.0023557534,0.00080697716,0.000025853304,0.00011224553,0.00007765579,0.030265586],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9951487,0.002760533,0.00010811737,0.00030278027,0.0011697753,0.00051009824],"domain_scores_gemma":[0.994753,0.0029518502,0.0005973596,0.00037479136,0.001024611,0.0002984684],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0040624114,0.00034749255,0.00026843548,0.0031031496,0.0037120075,0.0077324607,0.00070744817,0.0009762173,0.0041515455],"category_scores_gemma":[0.008930845,0.0002831117,0.00016078359,0.0027880047,0.008930971,0.002669043,0.0026312873,0.0014229334,0.0004319429],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001991891,0.000044407177,0.0037858149,0.0020483336,0.00009488658,0.0014308022,0.31967202,0.00023173637,0.0027794964,0.44612762,0.08116816,0.14241746],"study_design_scores_gemma":[0.000011065438,0.000040547708,0.011412089,0.001308664,0.000028915807,0.0008274995,0.06365826,0.000056486904,0.0010801142,0.00932439,0.9122262,0.000025669635],"about_ca_topic_score_codex":0.08244873,"about_ca_topic_score_gemma":0.13131897,"teacher_disagreement_score":0.9175513,"about_ca_system_score_codex":0.009226022,"about_ca_system_score_gemma":0.0029281015,"threshold_uncertainty_score":0.16393763},"labels":[],"label_agreement":null},{"id":"W2560616010","doi":"10.3138/cjh.49.2.355","title":"<i>Dada, Surrealism, and the Cinematic Effect</i>, by R. Bruce Elder","year":2014,"lang":"en","type":"article","venue":"Journal of History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Media studies; Art history; Political science; Sociology; Law and economics","score_opus":0.01012830019690451,"score_gpt":0.18113144582272964,"score_spread":0.17100314562582514,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2560616010","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012140343,0.8561361,0.00058672024,0.04402848,0.008981491,0.00001533852,0.000101383026,0.000060091803,0.088876426],"genre_scores_gemma":[0.052740525,0.6188715,0.0014805227,0.020359866,0.016625918,0.00009210038,0.00017877655,0.00017640735,0.2894744],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99958366,0.00017438167,0.000019410842,0.00006377231,0.000116556286,0.000042273878],"domain_scores_gemma":[0.9991886,0.00042792098,0.000088834066,0.00003478948,0.00013468161,0.00012514475],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00073686236,0.0009092886,0.0003492238,0.0011105854,0.002019777,0.0045316764,0.00080518046,0.0018399452,0.018164665],"category_scores_gemma":[0.0020728537,0.00046884798,0.00027070104,0.0014339711,0.003356036,0.0062929727,0.0018445739,0.0024294446,0.005267514],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023711904,0.00001886913,0.00020543335,0.00041143483,0.000007132204,0.00006065085,0.0037153666,0.000030514762,0.00033016724,0.026566384,0.9259078,0.04272252],"study_design_scores_gemma":[0.0000034772006,0.000008756733,0.00086047396,0.00043418672,0.000003845271,0.00013488095,0.0017391603,0.000024857674,0.00007124496,0.002288778,0.9944248,0.0000054261573],"about_ca_topic_score_codex":0.015451428,"about_ca_topic_score_gemma":0.035575364,"teacher_disagreement_score":0.018164665,"about_ca_system_score_codex":0.0022404427,"about_ca_system_score_gemma":0.0013847683,"threshold_uncertainty_score":0.060766876},"labels":[],"label_agreement":null},{"id":"W2560702901","doi":"","title":"Pulp Surrealism: Insolent Popular Culture in Early Twentieth-Century Paris, by Robin Walz","year":2016,"lang":"en","type":"article","venue":"Journal of History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Art history; Media studies; Sociology","score_opus":0.018805109620462546,"score_gpt":0.2025254864155933,"score_spread":0.18372037679513073,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2560702901","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.045516666,0.25376633,0.0003574204,0.5750737,0.007820886,0.000010270834,0.00032531115,0.00008484395,0.11704454],"genre_scores_gemma":[0.5828546,0.16354147,0.00061422365,0.025761934,0.018715128,0.00003893193,0.00015832995,0.00025996214,0.20805542],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990357,0.00042605985,0.000029568746,0.00012976222,0.00021501373,0.00016397616],"domain_scores_gemma":[0.99771595,0.0012522265,0.00032349952,0.000062617684,0.00030854353,0.00033717573],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015876724,0.0009963015,0.00040453605,0.0029781433,0.008617825,0.013827378,0.00094506424,0.0033774597,0.007501555],"category_scores_gemma":[0.004053828,0.00046992156,0.00020709175,0.004739841,0.010079542,0.0063899616,0.0026500418,0.005086008,0.0010571192],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000069718175,0.00006299979,0.0030258908,0.00024828964,0.000040303094,0.00065095484,0.2411984,0.0003394212,0.00025746413,0.22244596,0.48278657,0.048873942],"study_design_scores_gemma":[0.0000069185057,0.00001759751,0.007223454,0.0005663347,0.000011253333,0.00020419084,0.090291195,0.000089318695,0.0001461817,0.008284751,0.89312243,0.000036271093],"about_ca_topic_score_codex":0.11267489,"about_ca_topic_score_gemma":0.15350068,"teacher_disagreement_score":0.11267489,"about_ca_system_score_codex":0.009626081,"about_ca_system_score_gemma":0.0042325137,"threshold_uncertainty_score":0.22403812},"labels":[],"label_agreement":null},{"id":"W2561310949","doi":"10.3138/cjh.40.3.595","title":"<i>Professional Savages: Captive Lives and Western Spectacle</i>, by Roslyn Poignant","year":2005,"lang":"en","type":"article","venue":"Journal of History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Spectacle; Haven; Media studies; Art; Political science; Sociology; Law; Mathematics","score_opus":0.021139559714975463,"score_gpt":0.2099818315905687,"score_spread":0.18884227187559324,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2561310949","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010906377,0.089292705,0.00061309186,0.672368,0.032489084,0.00002878962,0.00010364792,0.00012162638,0.1940768],"genre_scores_gemma":[0.23147994,0.04952449,0.0010169726,0.18443282,0.039973002,0.00013649606,0.00012756862,0.00065588346,0.4926528],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931633,0.00032682394,0.000016599277,0.00009519549,0.00014014546,0.000104953],"domain_scores_gemma":[0.9983828,0.0007901345,0.0001320152,0.00007743414,0.00026762552,0.0003500212],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015022398,0.00094465597,0.00038564668,0.0010981859,0.013844443,0.008457251,0.0008209547,0.004428443,0.008196212],"category_scores_gemma":[0.004908111,0.00036781444,0.000186167,0.00091565563,0.00749233,0.008303793,0.0031856166,0.007746288,0.0022807547],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025226222,0.00001584957,0.00025453683,0.000094441624,0.0000041399926,0.00013505154,0.04809652,0.00001245848,0.0001761673,0.039801687,0.89852107,0.012862901],"study_design_scores_gemma":[0.0000025161908,0.000009144254,0.0004885743,0.0002150097,0.0000031282505,0.00017563833,0.031161558,0.000031280608,0.00010650433,0.0035039322,0.96429217,0.000010489339],"about_ca_topic_score_codex":0.011108586,"about_ca_topic_score_gemma":0.033492368,"teacher_disagreement_score":0.013844443,"about_ca_system_score_codex":0.0016701061,"about_ca_system_score_gemma":0.0015579038,"threshold_uncertainty_score":0.02741903},"labels":[],"label_agreement":null},{"id":"W2562243492","doi":"","title":"Making Crime TV: Producing Fictional Representations of Crime for Canadian Television","year":2012,"lang":"en","type":"dissertation","venue":"TSpace","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Advertising; Political science; Criminology; Sociology; Business","score_opus":0.08413087837209345,"score_gpt":0.3506719928770387,"score_spread":0.2665411145049453,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2562243492","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.727299,0.00097268267,0.01341091,0.012742571,0.00059745664,0.00046999851,0.0023830603,0.0006277351,0.24149667],"genre_scores_gemma":[0.9409996,0.0010634551,0.018478725,0.0005069072,0.00009234433,0.00013650456,0.0011447769,0.00031716932,0.037260525],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99750024,0.00092228473,0.000056701247,0.00028022844,0.00077809836,0.0004623518],"domain_scores_gemma":[0.9946905,0.0022806348,0.00034966797,0.00082730263,0.0011690048,0.0006827919],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029516306,0.0013363467,0.00028108005,0.004323413,0.019322207,0.008596918,0.0022341497,0.0012432502,0.010656332],"category_scores_gemma":[0.011354181,0.00053411425,0.0006261434,0.004334318,0.010335096,0.0025884595,0.0041633314,0.0024846948,0.000778564],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011955906,0.00011924533,0.011488061,0.00026127326,0.000022897373,0.0016079986,0.79987645,0.001115281,0.0034888235,0.04620099,0.036863483,0.098836],"study_design_scores_gemma":[0.00003025948,0.00008881728,0.015613055,0.0003619645,0.000086674976,0.0007275508,0.4435526,0.002467268,0.0048583066,0.003847694,0.5281945,0.00017130464],"about_ca_topic_score_codex":0.86972445,"about_ca_topic_score_gemma":0.94953126,"teacher_disagreement_score":0.13027555,"about_ca_system_score_codex":0.039599415,"about_ca_system_score_gemma":0.031891633,"threshold_uncertainty_score":0.28731525},"labels":[],"label_agreement":null},{"id":"W2565267511","doi":"","title":"Hitchcock's Vertigo","year":2016,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Symphony; Movie theater; Meaning (existential); Art history; Art; Visual arts; Sociology; Psychology","score_opus":0.03132532273030654,"score_gpt":0.21147945160175047,"score_spread":0.18015412887144394,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2565267511","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005956165,0.00376251,0.00035617192,0.0068252217,0.005942662,0.0000347476,0.0004551326,0.0002395002,0.97642785],"genre_scores_gemma":[0.0786954,0.0034373787,0.00036960145,0.002693796,0.0012858493,0.00003043972,0.0005381535,0.00020723956,0.91274214],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998591,0.000018743001,0.0000028225656,0.00003339342,0.000041874988,0.000043999982],"domain_scores_gemma":[0.9998907,0.000018426148,0.000006205226,0.000009228106,0.0000329353,0.000042557516],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013273794,0.00052247377,0.00016257822,0.0005539326,0.0043320428,0.0025766178,0.00042530097,0.0010820425,0.11714153],"category_scores_gemma":[0.0006835053,0.00019070184,0.00018340068,0.0007029008,0.0009867178,0.0015499331,0.0016291761,0.0014555895,0.014691736],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005257455,0.000009697946,0.00017285647,0.000072934155,0.0000023454081,0.0007998841,0.0021635534,0.00003139463,0.00032055087,0.019988043,0.9487929,0.027593289],"study_design_scores_gemma":[0.0000033033184,0.000012431652,0.0009460178,0.000069675865,0.0000014916155,0.00052733195,0.00097552553,0.000020344392,0.0001016252,0.0004930798,0.9968451,0.0000040809023],"about_ca_topic_score_codex":0.05987937,"about_ca_topic_score_gemma":0.11146937,"teacher_disagreement_score":0.11714153,"about_ca_system_score_codex":0.0014400135,"about_ca_system_score_gemma":0.0008758452,"threshold_uncertainty_score":0.39187747},"labels":[],"label_agreement":null},{"id":"W2565293833","doi":"10.1353/vpr.2016.0044","title":"“You see, but you do not observe”: Hidden Infrastructure and Labour in the Strand Magazine and Its Twenty-First-Century Digital Iterations","year":2016,"lang":"en","type":"article","venue":"Victorian periodicals review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Liability; Quality (philosophy); Business model; Business; Advertising; Marketing; Accounting","score_opus":0.019145875567472676,"score_gpt":0.22981601397781323,"score_spread":0.21067013841034055,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2565293833","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19129513,0.4619957,0.0011957153,0.0820411,0.0016741335,0.000025055177,0.00007571869,0.000020443686,0.26167712],"genre_scores_gemma":[0.74832356,0.20101845,0.00036829486,0.0056942017,0.0023177757,0.000028175775,0.00004776598,0.00003578445,0.04216601],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9981943,0.0010132798,0.000046507543,0.00013635059,0.00037864185,0.00023094472],"domain_scores_gemma":[0.9923747,0.0057373242,0.0006461832,0.00027053157,0.00045672283,0.00051448646],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0030259744,0.00022578308,0.00020434863,0.0020985184,0.0028311184,0.0067739976,0.000529178,0.0013331103,0.0034330166],"category_scores_gemma":[0.0074381847,0.00028132452,0.00013268187,0.0028341867,0.018061085,0.004754787,0.0023778398,0.0015642167,0.0006226087],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010916571,0.000071552495,0.0062417644,0.00089434854,0.000023891089,0.00083149184,0.19262157,0.00024879456,0.0003259781,0.57338434,0.044736467,0.18051058],"study_design_scores_gemma":[0.000017087732,0.000044511504,0.019514468,0.002234336,0.000013654484,0.0004539814,0.05766761,0.00012273213,0.00019925686,0.046696577,0.8729996,0.000036107722],"about_ca_topic_score_codex":0.02740326,"about_ca_topic_score_gemma":0.039862394,"teacher_disagreement_score":0.9971689,"about_ca_system_score_codex":0.0053977403,"about_ca_system_score_gemma":0.004488012,"threshold_uncertainty_score":0.054487526},"labels":[],"label_agreement":null},{"id":"W2577718265","doi":"","title":"Queering Spectatorship in Léa Pool's and Judith Thompson's \"Lost and Delirious\"","year":2014,"lang":"en","type":"article","venue":"Iris (Roma Tre University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Philosophy; History","score_opus":0.014318367754511487,"score_gpt":0.16577013961312875,"score_spread":0.15145177185861727,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2577718265","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27679563,0.0066221654,0.001771135,0.09345052,0.0016841152,0.00005687831,0.00025304296,0.00023003007,0.6191366],"genre_scores_gemma":[0.80374026,0.0010470853,0.00021976691,0.00334368,0.00015382329,0.000017948221,0.000045521665,0.00013760927,0.19129431],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988029,0.000596939,0.000011114351,0.00010436024,0.00018288704,0.00030179904],"domain_scores_gemma":[0.9983878,0.0004264384,0.000127211,0.000078734396,0.00033127278,0.0006485814],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010192303,0.00046297148,0.00024134712,0.0007717788,0.015930697,0.007376065,0.00084491534,0.0017574742,0.017711982],"category_scores_gemma":[0.002843741,0.00020772636,0.00016733508,0.000684887,0.013243538,0.0027305926,0.0033152057,0.0029545396,0.0013158044],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008771332,0.000027144837,0.0028963925,0.000118583,0.000013878155,0.0013095939,0.5935383,0.00015609174,0.0009967489,0.11658837,0.26070407,0.023563094],"study_design_scores_gemma":[0.000009723109,0.000022189784,0.005766383,0.00022798155,0.000016005353,0.0002843352,0.26258832,0.00021805042,0.0006414955,0.0037846414,0.7264021,0.000038782466],"about_ca_topic_score_codex":0.46933728,"about_ca_topic_score_gemma":0.77227867,"teacher_disagreement_score":0.46933728,"about_ca_system_score_codex":0.01367527,"about_ca_system_score_gemma":0.0057358374,"threshold_uncertainty_score":0.93321085},"labels":[],"label_agreement":null},{"id":"W257828315","doi":"","title":"The Horror, Piglet, the Horror: Found Footage, Mash-Ups, AMVs, the Avant-Garde, and the Strange Case of Apocalypse Pooh","year":2007,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nothing; Battle; Art history; Ideology; Movie theater; Art; Queer; Politics; Literature; Avant garde; History; Philosophy; Sociology; Law; Gender studies; Political science","score_opus":0.02551373809798712,"score_gpt":0.2378870041022409,"score_spread":0.21237326600425377,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W257828315","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.092868365,0.09480594,0.002181116,0.14254232,0.008465138,0.000040038507,0.00014394776,0.00010441877,0.6588487],"genre_scores_gemma":[0.738865,0.020681703,0.00071118143,0.011646562,0.002335161,0.00003441222,0.00007563332,0.000191888,0.22545841],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993624,0.00031247782,0.000011180499,0.00007687261,0.00014280214,0.00009420929],"domain_scores_gemma":[0.9993697,0.00030928405,0.000043806653,0.000048948354,0.00009194172,0.00013629183],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00080563937,0.00024004592,0.00015942185,0.000506487,0.0053175017,0.007663245,0.0004999528,0.0013027213,0.009368755],"category_scores_gemma":[0.002383542,0.00015069912,0.00008464678,0.0005585132,0.008989858,0.006109306,0.0018610266,0.0027561646,0.0010462935],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009322376,0.000039587427,0.0014075323,0.00040591956,0.000008312185,0.0015806011,0.13793874,0.000038854072,0.0006515691,0.36642984,0.40789425,0.083511636],"study_design_scores_gemma":[0.000005243094,0.000016795479,0.0012719608,0.0004046954,0.0000037206416,0.0005324643,0.069727525,0.000040971834,0.00027167815,0.008745127,0.9189733,0.0000065460035],"about_ca_topic_score_codex":0.015010799,"about_ca_topic_score_gemma":0.031971164,"teacher_disagreement_score":0.015010799,"about_ca_system_score_codex":0.0027665407,"about_ca_system_score_gemma":0.001184645,"threshold_uncertainty_score":0.031341612},"labels":[],"label_agreement":null},{"id":"W257905389","doi":"","title":"How to Be an Intellectual in the Age of TV: The Lessons of Gore Vidal","year":2006,"lang":"en","type":"article","venue":"Journalism & Mass Communication Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Romance; Scholarship; Politics; Criticism; Media studies; Sociology; Power (physics); History; Art history; Literature; Law; Art; Political science","score_opus":0.060204550791410315,"score_gpt":0.2687306777496178,"score_spread":0.20852612695820746,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W257905389","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008950117,0.15984768,0.0018611073,0.47199613,0.008153724,0.00002636903,0.00007172235,0.00014372302,0.3489494],"genre_scores_gemma":[0.45735347,0.07810809,0.002293169,0.052942857,0.003143227,0.000072294315,0.00009749626,0.00039749633,0.40559188],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99855334,0.0007206531,0.00002813928,0.00013052659,0.00031004957,0.00025732437],"domain_scores_gemma":[0.99901414,0.0004691031,0.000052049276,0.000060020204,0.0001466001,0.0002580195],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017606356,0.0004089738,0.00032407755,0.0007314316,0.009214636,0.012543533,0.0010041724,0.00329162,0.008799198],"category_scores_gemma":[0.0037671637,0.0003189113,0.0002270596,0.0007108143,0.012033836,0.011384764,0.003020342,0.0059350627,0.002949595],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027850745,0.000031836287,0.00034943075,0.00012879871,0.0000030794977,0.00025065432,0.059334744,0.000034782533,0.00008040325,0.24226555,0.629517,0.06797585],"study_design_scores_gemma":[0.0000026465398,0.0000057872044,0.00022277856,0.00016726335,0.0000012658253,0.0001193013,0.020243185,0.000011319575,0.00003756098,0.013261094,0.96592337,0.0000043724954],"about_ca_topic_score_codex":0.020241622,"about_ca_topic_score_gemma":0.036823597,"teacher_disagreement_score":0.020241622,"about_ca_system_score_codex":0.0054105683,"about_ca_system_score_gemma":0.004005072,"threshold_uncertainty_score":0.04024762},"labels":[],"label_agreement":null},{"id":"W2579146455","doi":"","title":"D.A. Pennebaker and the politics and aesthetics of mature-period direct cinema","year":2016,"lang":"en","type":"dissertation","venue":"Figshare","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Period (music); Ideology; Politics; Aesthetics; Film theory; Art; Literature; Political science; Law","score_opus":0.020916680175379714,"score_gpt":0.22519475474928036,"score_spread":0.20427807457390065,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2579146455","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30103892,0.025354672,0.008681285,0.030138874,0.00096316147,0.00006321161,0.00007369453,0.00008579285,0.6336004],"genre_scores_gemma":[0.9421064,0.002843332,0.0014606392,0.0009084459,0.00020062378,0.000027472552,0.0000148393365,0.000045082335,0.052393198],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99895006,0.0006534074,0.000017581264,0.00014977317,0.00014327989,0.00008595584],"domain_scores_gemma":[0.99834263,0.0011703278,0.0001291036,0.00009284424,0.00013603234,0.00012898384],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011295199,0.00019393855,0.00011269106,0.00046572753,0.004641965,0.0052321465,0.0003692737,0.00089303585,0.0043546367],"category_scores_gemma":[0.0033842705,0.0001287892,0.00008092711,0.00048135463,0.00997001,0.0032439046,0.0017335453,0.0019492649,0.00036971367],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005410842,0.000035296904,0.0021897545,0.00020257452,0.000004976235,0.0005938073,0.26152578,0.00011805771,0.0015747801,0.6412056,0.033279028,0.059216198],"study_design_scores_gemma":[0.000011845868,0.000060149912,0.0050076745,0.00032645807,0.000005789591,0.0011378186,0.08906026,0.00025318938,0.0009807958,0.033281326,0.86985415,0.000020513397],"about_ca_topic_score_codex":0.0064734644,"about_ca_topic_score_gemma":0.011450226,"teacher_disagreement_score":0.0064734644,"about_ca_system_score_codex":0.0026884496,"about_ca_system_score_gemma":0.0009959404,"threshold_uncertainty_score":0.019506156},"labels":[],"label_agreement":null},{"id":"W2579580923","doi":"10.1590/2238-38752016v632","title":"INDIGENOUS MEDIA FROM U-MATIC TO YOUTUBE: MEDIA SOVEREIGNTY IN THE DIGITAL AGE","year":2016,"lang":"en","type":"article","venue":"Sociologia & Antropologia","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":47,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indigenous; Sovereignty; Filmmaking; Media studies; Politics; Creativity; Political science; The Imaginary; Intervention (counseling); Sociology; Geography; Movie theater; History; Law; Psychology","score_opus":0.04021843892767428,"score_gpt":0.23641578996510954,"score_spread":0.19619735103743524,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2579580923","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72752595,0.0034696946,0.0017902699,0.009640082,0.00011226244,0.00004726972,0.0006843607,0.000023014543,0.2567072],"genre_scores_gemma":[0.99267733,0.0010894667,0.00025201263,0.00025152063,0.000047274425,0.000016180424,0.00010995041,0.0000078846415,0.0055484483],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99925417,0.00029818047,0.000027238997,0.000084733554,0.0001730146,0.00016270649],"domain_scores_gemma":[0.9971982,0.0012721199,0.0004407252,0.00016289348,0.0005564245,0.00036966294],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014157756,0.00009048111,0.00015707714,0.0012287175,0.0015594667,0.0047384417,0.00031502458,0.0005070229,0.009732344],"category_scores_gemma":[0.0072327503,0.00009002807,0.00011060359,0.0015693061,0.0020138714,0.0044569783,0.0025370147,0.000856888,0.00038094746],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033625597,0.00029796068,0.18014355,0.0005852089,0.00010713472,0.0014859545,0.09614301,0.0017163624,0.0017358325,0.4809505,0.020842738,0.21565543],"study_design_scores_gemma":[0.00003307458,0.00018685791,0.4260686,0.0014886287,0.00012009801,0.0006652796,0.22095282,0.009345667,0.0021517987,0.07758191,0.2612964,0.00010884949],"about_ca_topic_score_codex":0.08670728,"about_ca_topic_score_gemma":0.083691336,"teacher_disagreement_score":0.08670728,"about_ca_system_score_codex":0.0021617212,"about_ca_system_score_gemma":0.0018490816,"threshold_uncertainty_score":0.17240518},"labels":[],"label_agreement":null},{"id":"W2580624921","doi":"10.1080/01439685.2016.1273336","title":"Moralizing Cinema: Film, Catholicism, and Power","year":2017,"lang":"en","type":"article","venue":"Historical Journal Of Film Radio and Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Movie theater; Power (physics); Art; Aesthetics; Art history; Physics; Thermodynamics","score_opus":0.032026985476625525,"score_gpt":0.23885033767589092,"score_spread":0.2068233521992654,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2580624921","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5116051,0.016129643,0.0015550973,0.07170392,0.0007514253,0.000034348515,0.00006695087,0.000014129551,0.39813942],"genre_scores_gemma":[0.9922117,0.0015984401,0.00011521572,0.00085400755,0.0003134673,0.0000041091444,0.000009772232,0.0000071250956,0.004886138],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99911755,0.00055761274,0.00001442611,0.000068191664,0.00011188634,0.00013037697],"domain_scores_gemma":[0.9931815,0.0040611085,0.00095260335,0.00021197893,0.0005231013,0.0010696244],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020058288,0.00016497073,0.00016642046,0.00071060064,0.0020917035,0.0053334497,0.00045737348,0.0014584874,0.0120785395],"category_scores_gemma":[0.009181184,0.00013052077,0.000097317126,0.0007372887,0.009595304,0.00238827,0.0011557769,0.002596228,0.00023569404],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002731636,0.0005134697,0.026698893,0.0002717352,0.000054701402,0.00049163937,0.068685934,0.00027040526,0.00070602697,0.791036,0.03103394,0.079964094],"study_design_scores_gemma":[0.00015671969,0.00024444438,0.14133778,0.0013110547,0.0000994858,0.00088174886,0.1770888,0.001591111,0.00091046887,0.29207653,0.3842271,0.00007478079],"about_ca_topic_score_codex":0.004818852,"about_ca_topic_score_gemma":0.008672288,"teacher_disagreement_score":0.0120785395,"about_ca_system_score_codex":0.0023325835,"about_ca_system_score_gemma":0.0011841451,"threshold_uncertainty_score":0.040406764},"labels":[],"label_agreement":null},{"id":"W2582518278","doi":"","title":"Only a Free Individual Can Create a Free Society, 2014","year":2014,"lang":"en","type":"article","venue":"Goldsmiths (University of London)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Choreography; The arts; Studio; Art; Art history; Media studies; Sociology; Dance","score_opus":0.015239624512507172,"score_gpt":0.16929527563017055,"score_spread":0.15405565111766337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2582518278","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0049630976,0.019694902,0.00077279634,0.06572679,0.018741582,0.000090400536,0.00070311385,0.00030612224,0.8890012],"genre_scores_gemma":[0.016577713,0.006767058,0.0003138046,0.0029969332,0.0017859676,0.000050353843,0.00022544224,0.00014800805,0.9711348],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99920875,0.00014982912,0.000030729967,0.00010983174,0.00031429218,0.00018652708],"domain_scores_gemma":[0.99940753,0.00010751483,0.000021398513,0.000048392285,0.00011893092,0.00029618127],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010742765,0.00043711998,0.00019852276,0.00054092315,0.0043615145,0.00641595,0.000657081,0.0017491508,0.18216369],"category_scores_gemma":[0.0021501193,0.00042785794,0.00023578419,0.00057050923,0.0025150962,0.004469235,0.0034317852,0.0028445255,0.040267434],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025706795,0.000035780493,0.00035302006,0.00006241603,0.0000029308662,0.000033134747,0.00080912554,0.00004231952,0.00015075949,0.028143585,0.916498,0.05384329],"study_design_scores_gemma":[0.0000016274012,0.000005698266,0.0013880219,0.00008578198,8.26172e-7,0.000014002161,0.0005033861,0.000021197811,0.000060994378,0.00086876214,0.99704546,0.000004220292],"about_ca_topic_score_codex":0.014537971,"about_ca_topic_score_gemma":0.047118194,"teacher_disagreement_score":0.18216369,"about_ca_system_score_codex":0.0035483134,"about_ca_system_score_gemma":0.0048721773,"threshold_uncertainty_score":0.60939825},"labels":[],"label_agreement":null},{"id":"W2582628728","doi":"10.1515/asia-2015-1016","title":"A Game of Time: Time Travel, Video Game and Cinema in the Era of Algorithm","year":2016,"lang":"en","type":"article","venue":"Asiatische Studien – Études Asiatiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Video game; Movie theater; Computer science; Adventure; Video game culture; Time travel; Ideology; Game Developer; Video game design; Multimedia; Video game development; Game mechanics; Algorithm; Turns, rounds and time-keeping systems in games; Computer graphics (images); Game design; Artificial intelligence; Visual arts; Art; Law; Political science","score_opus":0.01374730566238119,"score_gpt":0.2259877240544277,"score_spread":0.21224041839204652,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2582628728","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4856844,0.0139948,0.02018534,0.027271567,0.00053708494,0.00005311989,0.00016656856,0.000062502484,0.4520446],"genre_scores_gemma":[0.98975754,0.0014639815,0.0010509614,0.0003626595,0.00010802615,0.000015491123,0.000016096195,0.00001725658,0.007207924],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99909437,0.0006591563,0.000016944661,0.00007725255,0.0000788914,0.00007347304],"domain_scores_gemma":[0.9973067,0.0019422874,0.0002825924,0.000108870445,0.00013397924,0.00022559987],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010177115,0.00025152805,0.00016828682,0.0007792899,0.0015980112,0.0065978337,0.00047928144,0.000839184,0.0065099476],"category_scores_gemma":[0.004428464,0.00012619606,0.00012452803,0.0010312201,0.008079204,0.005911506,0.0017795872,0.001332187,0.00020832758],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006549479,0.000039872128,0.0023164568,0.00010032325,0.0000114832255,0.00028613795,0.058268804,0.0006899151,0.0002856589,0.9167045,0.0048340913,0.016397279],"study_design_scores_gemma":[0.000052121537,0.00015854317,0.015500012,0.00072967703,0.000040015024,0.0007119806,0.17404135,0.008203924,0.0008372892,0.39183322,0.40782785,0.00006401644],"about_ca_topic_score_codex":0.0043798136,"about_ca_topic_score_gemma":0.0038102998,"teacher_disagreement_score":0.0065978337,"about_ca_system_score_codex":0.0025880975,"about_ca_system_score_gemma":0.00064172974,"threshold_uncertainty_score":0.021777987},"labels":[],"label_agreement":null},{"id":"W2586153835","doi":"10.5817/cejcs2012-8-9","title":"The man who wasn't there? : Larry Kent and his early Vancouver films","year":2012,"lang":"en","type":"article","venue":"The Central European journal of Canadian studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Feature (linguistics); Work (physics); Art history; Art; History; Philosophy; Engineering; Linguistics","score_opus":0.03564674435405228,"score_gpt":0.20069272995255852,"score_spread":0.16504598559850625,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2586153835","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28567603,0.08067082,0.000980556,0.25808778,0.004112557,0.00009109899,0.00037799077,0.000090788235,0.3699123],"genre_scores_gemma":[0.84156966,0.028423436,0.00041578888,0.00921517,0.00044258553,0.000029999557,0.0000802865,0.00008409389,0.11973888],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980566,0.0006810601,0.00003128632,0.0001335338,0.0006571291,0.000440356],"domain_scores_gemma":[0.997303,0.00094699493,0.00012645476,0.000046810983,0.0009115512,0.00066515995],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014899579,0.00039562513,0.00031224618,0.0017429756,0.0256135,0.010945295,0.0010492671,0.0020470426,0.003752355],"category_scores_gemma":[0.0062769745,0.00037589663,0.00011281448,0.0029646098,0.009305348,0.0023980425,0.0021890816,0.003346116,0.00046315335],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009326454,0.000038923856,0.0055416715,0.0002325468,0.00001644599,0.0020688635,0.643165,0.00013065373,0.00057436974,0.07536523,0.2253761,0.047397017],"study_design_scores_gemma":[0.000005808053,0.000013576092,0.0077609625,0.00047523974,0.000014821402,0.00039844838,0.30077356,0.00008082928,0.00023536319,0.0023816722,0.6878085,0.000051231877],"about_ca_topic_score_codex":0.9383202,"about_ca_topic_score_gemma":0.9775507,"teacher_disagreement_score":0.06167978,"about_ca_system_score_codex":0.04703405,"about_ca_system_score_gemma":0.019065581,"threshold_uncertainty_score":0.34125757},"labels":[],"label_agreement":null},{"id":"W2586447253","doi":"10.1353/mos.2016.a640853","title":"Harmony Korine’s “Break from Reality”: Spring Breakers as Candy-Coloured Neon Noir","year":2016,"lang":"en","type":"article","venue":"Mosaic","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Harmony (color); Film director; Spring (device); Art; Aesthetics; Neon; Circuit breaker; Art history; Philosophy; Visual arts; Physics; Engineering; Mechanical engineering; Movie theater","score_opus":0.030772312503277555,"score_gpt":0.22373285626590822,"score_spread":0.19296054376263067,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2586447253","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15525037,0.0029184937,0.004487107,0.03347469,0.0007589915,0.00003046317,0.000057499274,0.00006470313,0.80295765],"genre_scores_gemma":[0.93924254,0.0009339492,0.00096447254,0.0016699218,0.00017541283,0.000013875615,0.000013748072,0.000060494567,0.056925494],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990947,0.0005462469,0.0000103279735,0.00009285829,0.00012218139,0.00013362987],"domain_scores_gemma":[0.99899846,0.00049439643,0.00012149028,0.00010454805,0.00009500444,0.00018612588],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011514615,0.00023164932,0.00016169343,0.0003820775,0.003811243,0.0060860366,0.0005519002,0.0011817338,0.005912644],"category_scores_gemma":[0.003526348,0.00016566936,0.0001717701,0.0002705604,0.0069196043,0.004939858,0.0023113042,0.002626434,0.0004900472],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000102729864,0.000039941584,0.0009231076,0.0000530611,0.000006701806,0.00032898632,0.11824254,0.00012234205,0.00046846425,0.83417475,0.02913372,0.016403617],"study_design_scores_gemma":[0.000033896835,0.000098817865,0.005383811,0.00023190344,0.000013699505,0.00054704165,0.09989761,0.0006975875,0.00084383547,0.119639985,0.77257127,0.000040527553],"about_ca_topic_score_codex":0.0041723894,"about_ca_topic_score_gemma":0.0071970713,"teacher_disagreement_score":0.0060860366,"about_ca_system_score_codex":0.0015746084,"about_ca_system_score_gemma":0.00061246735,"threshold_uncertainty_score":0.019779742},"labels":[],"label_agreement":null},{"id":"W2586564681","doi":"10.5612/slavicreview.73.4.906","title":"They Would All Be Queens. Dir. Gustavo Pérez. In Spanish with English subtitles. New York: Icarus Films, 2013.55 min. Color. $248.00, sale of DVD.","year":2014,"lang":"en","type":"article","venue":"Slavic Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"ICARUS; Content (measure theory); History; Art; Art history; Computer science; Physics; Astronomy; Mathematics","score_opus":0.04155815534297517,"score_gpt":0.24340374026342612,"score_spread":0.20184558492045096,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2586564681","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016969888,0.37740314,0.0014537474,0.060240354,0.03721974,0.00013684273,0.005686784,0.0013604631,0.5148019],"genre_scores_gemma":[0.008001149,0.09356057,0.00092223735,0.006014408,0.004775442,0.000071670715,0.0015618944,0.0007175357,0.884375],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996536,0.0000769766,0.000016109063,0.000069366106,0.000119098004,0.00006492672],"domain_scores_gemma":[0.99903715,0.00012223682,0.000081886574,0.00004125577,0.00047107373,0.00024639379],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00088268117,0.0013823305,0.0007828112,0.0016170924,0.0011396979,0.0028187663,0.00077280885,0.0010846474,0.4020128],"category_scores_gemma":[0.002147983,0.00045327083,0.0004722578,0.0012898939,0.00040078565,0.0022217457,0.001418566,0.0016740232,0.28969172],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021195334,0.000006417719,0.00008090416,0.00019729235,0.0000030205465,0.00003172673,0.0000795829,0.000009660303,0.00009767489,0.0005499681,0.9582244,0.04069817],"study_design_scores_gemma":[0.000003905388,0.000006300395,0.0005691257,0.00020943227,0.0000035983162,0.00006693844,0.0002341085,0.000010876529,0.000042988715,0.00014067376,0.99870884,0.000003253444],"about_ca_topic_score_codex":0.016944794,"about_ca_topic_score_gemma":0.03965983,"teacher_disagreement_score":0.4020128,"about_ca_system_score_codex":0.0011180174,"about_ca_system_score_gemma":0.0010996033,"threshold_uncertainty_score":0.8529562},"labels":[],"label_agreement":null},{"id":"W2586700417","doi":"10.1353/poe.2016.a643026","title":"The Southern Origins of Bohemian New York: Edward Howland, Ada Clare and Edgar Allan Poe","year":2016,"lang":"en","type":"article","venue":"Poe Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Salon; Art history; Quarter (Canadian coin); Portrait; History; Queen (butterfly); Art; Archaeology","score_opus":0.05829297867071666,"score_gpt":0.24465734716661935,"score_spread":0.1863643684959027,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2586700417","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09710305,0.06642488,0.00090077566,0.06885629,0.0019121767,0.000036885296,0.00019414519,0.00005507909,0.7645168],"genre_scores_gemma":[0.80546427,0.019611541,0.0005660458,0.0040851803,0.0006499314,0.00008139202,0.00010146019,0.000076857854,0.16936329],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995577,0.00016833696,0.000013447187,0.00006782968,0.00009717514,0.00009538809],"domain_scores_gemma":[0.99957937,0.00016738604,0.000053240823,0.000019977211,0.00009715817,0.00008286408],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00085093855,0.00034955452,0.0002586823,0.0012860298,0.0113237435,0.006029926,0.00044491104,0.00095796125,0.011568691],"category_scores_gemma":[0.0014738195,0.00026810862,0.00008834318,0.0014031329,0.007844413,0.0042215213,0.004027913,0.002787929,0.0008370768],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005649944,0.000030179453,0.0028954733,0.00016560388,0.000011427289,0.00041879903,0.30354807,0.00010831058,0.00040108393,0.5597387,0.09368964,0.03893628],"study_design_scores_gemma":[0.000004561,0.000007396784,0.004675627,0.00032682752,0.000004730949,0.00007742952,0.043698963,0.000052003357,0.000120470475,0.008658217,0.9423556,0.000018205155],"about_ca_topic_score_codex":0.1858126,"about_ca_topic_score_gemma":0.28619435,"teacher_disagreement_score":0.1858126,"about_ca_system_score_codex":0.0070869667,"about_ca_system_score_gemma":0.0043120235,"threshold_uncertainty_score":0.36946207},"labels":[],"label_agreement":null},{"id":"W2587189093","doi":"","title":"Who's knocking in my little house? Ursula Dabrowsky's Inner Demon (2014)","year":2016,"lang":"en","type":"article","venue":"Deakin Research Online (Deakin University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Filmmaking; Movie theater; Demon; Context (archaeology); Film industry; Archetype; Miracle; Art; Girl; Art history; Gender studies; Media studies; Sociology; Aesthetics; History; Literature; Psychology; Law; Political science","score_opus":0.07973272616113218,"score_gpt":0.29249445347441233,"score_spread":0.21276172731328014,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2587189093","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03309683,0.054190084,0.00082829205,0.50587237,0.01745968,0.0000620276,0.00013593162,0.0002431969,0.38811165],"genre_scores_gemma":[0.2530478,0.025075752,0.000930374,0.06270411,0.0014936966,0.000053835414,0.00006466302,0.00028054955,0.65634936],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998676,0.00037735127,0.000021981052,0.00020433206,0.00035834181,0.00036196262],"domain_scores_gemma":[0.9984755,0.00016160212,0.00006809017,0.000044783712,0.00039953832,0.00085040665],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017187716,0.00039670014,0.0002828508,0.0007738232,0.020238493,0.0060503627,0.0011087355,0.0019044889,0.012336541],"category_scores_gemma":[0.0031477562,0.00031022902,0.0001716717,0.0005189377,0.008597902,0.0039915973,0.0039575025,0.0072267395,0.0027440665],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012878572,0.000021104799,0.0007891306,0.00006620422,0.0000044884086,0.00041482775,0.079280816,0.000022483302,0.00025294174,0.044692915,0.8421039,0.032338247],"study_design_scores_gemma":[8.701609e-7,0.000004153222,0.0010519424,0.000111716065,0.0000019726194,0.00022899793,0.037227523,0.000016430857,0.00009726641,0.0008714004,0.96037847,0.000009344617],"about_ca_topic_score_codex":0.5244777,"about_ca_topic_score_gemma":0.7292859,"teacher_disagreement_score":0.5244777,"about_ca_system_score_codex":0.018214967,"about_ca_system_score_gemma":0.011496233,"threshold_uncertainty_score":0.9566454},"labels":[],"label_agreement":null},{"id":"W2588124259","doi":"10.1525/luminos.28","title":"Hokum! The Early Sound Slapstick Short and Depression-Era Mass Culture","year":2017,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; University of Toronto","keywords":"Comedy; Hollywood; Mythology; Comics; Literature; Art; Movie theater; Historiography; Shadow (psychology); History; Art history; Psychology; Psychoanalysis","score_opus":0.031077955131521763,"score_gpt":0.23017006685884328,"score_spread":0.19909211172732152,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2588124259","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2932276,0.021751264,0.0010235381,0.08166555,0.0034269018,0.00006133105,0.000147738,0.000118093376,0.59857786],"genre_scores_gemma":[0.7342861,0.0066761514,0.00039658422,0.00854661,0.00062422163,0.00003928547,0.0000695208,0.00010710453,0.24925444],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99974936,0.00006603875,0.000005005386,0.000030732463,0.0000768194,0.000071936745],"domain_scores_gemma":[0.9997696,0.000074043746,0.000031542113,0.000013294926,0.000042378786,0.000068969784],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00031799774,0.00018990926,0.00012557821,0.00035152922,0.004826931,0.004730544,0.00034411278,0.0007910384,0.009023272],"category_scores_gemma":[0.0009056419,0.00013293161,0.00007693071,0.00037834258,0.0045233318,0.0034064031,0.0016865178,0.0020977436,0.00074644893],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000081962855,0.000066358836,0.0028491307,0.00017912395,0.000009040233,0.00067434344,0.22795859,0.00004109271,0.0011429419,0.31858224,0.361913,0.086502224],"study_design_scores_gemma":[0.0000061662213,0.00004585636,0.0058644754,0.00021178465,0.0000043436035,0.00022278477,0.08912918,0.00004260007,0.0003302921,0.005098882,0.89903396,0.000009571036],"about_ca_topic_score_codex":0.01747757,"about_ca_topic_score_gemma":0.043985214,"teacher_disagreement_score":0.01747757,"about_ca_system_score_codex":0.002988208,"about_ca_system_score_gemma":0.001040208,"threshold_uncertainty_score":0.034751654},"labels":[],"label_agreement":null},{"id":"W2588505545","doi":"10.20507/alternative.2016.12.2.9","title":"Film Review: Eufrosina's revolution [Motion picture]","year":2016,"lang":"en","type":"article","venue":"AlterNative An International Journal of Indigenous Peoples","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Fredericton; University of New Brunswick","funders":"","keywords":"Motion (physics); Motion picture; Computer science; Computer graphics (images); Artificial intelligence","score_opus":0.02742707368149608,"score_gpt":0.2694251560013082,"score_spread":0.2419980823198121,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2588505545","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00014240439,0.9428466,0.000031465417,0.03181635,0.02079272,0.000009728048,0.0002101053,0.000010076266,0.0041405046],"genre_scores_gemma":[0.0037235834,0.92970407,0.00009886638,0.031384528,0.02341904,0.000028056758,0.0004381338,0.000022007978,0.011181845],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993585,0.000122741,0.00008928049,0.00011586901,0.00022856065,0.00008503084],"domain_scores_gemma":[0.9958385,0.0011654338,0.0004926193,0.0001110743,0.001957096,0.00043522156],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016673267,0.00071028987,0.0010929285,0.0028709879,0.0009558184,0.0030021316,0.0012271157,0.0035721925,0.015720604],"category_scores_gemma":[0.0072706407,0.0003499807,0.000521741,0.003931346,0.001091189,0.002682391,0.0012089739,0.003228575,0.0047619995],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033621356,0.000007684194,0.00011144854,0.0035389152,0.000026786603,0.00004754566,0.00004769107,0.000018061517,0.00007579574,0.0012051477,0.93334186,0.061545417],"study_design_scores_gemma":[0.000009148565,0.000013750975,0.001241188,0.004941206,0.000035552122,0.00012484011,0.00009614538,0.0000089088635,0.000036430847,0.0003124569,0.99317414,0.0000062791537],"about_ca_topic_score_codex":0.013936433,"about_ca_topic_score_gemma":0.026130773,"teacher_disagreement_score":0.015720604,"about_ca_system_score_codex":0.0022564137,"about_ca_system_score_gemma":0.0051848805,"threshold_uncertainty_score":0.05259067},"labels":[],"label_agreement":null},{"id":"W2590381821","doi":"10.3138/cjfs.25.1.88","title":"Documentary Film Festivals as Ideological Transactions: Film Screening Sites at Hot Docs","year":2016,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ideology; Exhibition; Film festival; Documentary film; Visual arts; Sociology; Media studies; Film studies; Movie theater; Art; Political science; Law; Politics","score_opus":0.06888944829224702,"score_gpt":0.2631552526749748,"score_spread":0.19426580438272778,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2590381821","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7288,0.0008688018,0.0013246585,0.0036202187,0.00038051908,0.00027485687,0.0005301778,0.000102775484,0.26409805],"genre_scores_gemma":[0.98080665,0.00032955402,0.0007489175,0.00017598504,0.00010395365,0.0000698611,0.00018471698,0.000051069084,0.017529286],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9963231,0.0015047622,0.00006702724,0.00024059918,0.0008391909,0.0010252851],"domain_scores_gemma":[0.9909899,0.003340128,0.0011601538,0.00055499724,0.001250392,0.0027043985],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031351605,0.00049920136,0.00032151438,0.0036974417,0.016911853,0.011241143,0.0015269491,0.0011168581,0.016782422],"category_scores_gemma":[0.007841861,0.00038923966,0.00025817277,0.004432084,0.007910779,0.003956995,0.0046644607,0.0020848906,0.0007991357],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00051635766,0.00037404074,0.052421294,0.00032262996,0.00003607209,0.00291509,0.74667674,0.00024793035,0.0023120618,0.075655915,0.03528107,0.08324082],"study_design_scores_gemma":[0.000025609203,0.00011667576,0.08936949,0.00025413703,0.000017918472,0.0002898593,0.73291355,0.00017189245,0.0006644365,0.0017042892,0.17441377,0.000058357768],"about_ca_topic_score_codex":0.15663844,"about_ca_topic_score_gemma":0.3583431,"teacher_disagreement_score":0.84336156,"about_ca_system_score_codex":0.012243743,"about_ca_system_score_gemma":0.007392388,"threshold_uncertainty_score":0.3114534},"labels":[],"label_agreement":null},{"id":"W2590421719","doi":"","title":"Review of Murray Pommerance and R. Barton Palmer, eds, Thinking in the Dark. Cinema, Theory, Practice (New Brunswick, NJ: Rutgers University Press, 2016","year":2016,"lang":"en","type":"article","venue":"Lirias (KU Leuven)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art history; Media studies; Sociology; History","score_opus":0.02273481682256442,"score_gpt":0.23137374520514634,"score_spread":0.2086389283825819,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2590421719","genre_codex":"review","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000028539818,0.98077446,0.000056589517,0.012372589,0.00551208,0.0000044365147,0.0000632872,0.000004289818,0.001183697],"genre_scores_gemma":[0.0004127369,0.9832613,0.00009526567,0.006646774,0.006920465,0.00001238738,0.000096927055,0.000007965664,0.0025462403],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990952,0.00020303644,0.00013394265,0.00017140812,0.00033889708,0.000057518435],"domain_scores_gemma":[0.99423814,0.0027369997,0.00042223066,0.00010398162,0.0020748682,0.00042381693],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00260426,0.0014200318,0.0026228114,0.007034881,0.00084846193,0.0041319816,0.001904062,0.002878214,0.013549697],"category_scores_gemma":[0.010651023,0.00086431124,0.0006159002,0.0074283164,0.0013523832,0.0068840417,0.00154802,0.004209763,0.010968807],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030266436,0.00001523501,0.00007670977,0.0040199133,0.000024612376,0.000036732854,0.00013731151,0.000056185854,0.000048745427,0.0017584148,0.88339347,0.11040243],"study_design_scores_gemma":[0.000008597266,0.000007321631,0.00036665736,0.003901081,0.000023325307,0.0001807693,0.000090845555,0.000013527295,0.000025821148,0.00060951425,0.99476296,0.000009630226],"about_ca_topic_score_codex":0.009687603,"about_ca_topic_score_gemma":0.017246446,"teacher_disagreement_score":0.013549697,"about_ca_system_score_codex":0.0027070465,"about_ca_system_score_gemma":0.0051046037,"threshold_uncertainty_score":0.0453282},"labels":[],"label_agreement":null},{"id":"W2591462274","doi":"10.1353/esc.2016.0018","title":"Becoming an “Automatic Gesticulator”: Hollywood’s Mechanized Threat in American Modernist Fiction","year":2016,"lang":"en","type":"article","venue":"English studies in Canada","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hollywood; Art; Literature; Aesthetics; Art history","score_opus":0.05024029715350808,"score_gpt":0.25659359829265704,"score_spread":0.20635330113914896,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2591462274","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27228305,0.008458811,0.004193911,0.08160915,0.0024784685,0.000033278047,0.000033480217,0.00018948995,0.63072044],"genre_scores_gemma":[0.8968967,0.0021907054,0.0009888776,0.006917285,0.00052309304,0.000028057488,0.000015396303,0.00018527536,0.09225453],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914265,0.00044580238,0.000010364158,0.00008428416,0.00014615226,0.00017071002],"domain_scores_gemma":[0.9994578,0.00024422706,0.000054181426,0.000046103407,0.000060995422,0.00013666177],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011128776,0.0005013955,0.0001679622,0.0006928632,0.016569765,0.006730177,0.0008443028,0.0016654157,0.004982194],"category_scores_gemma":[0.0017154693,0.0003238845,0.0001286938,0.00041063048,0.016976036,0.005228616,0.0034782619,0.0058357236,0.00088835874],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006493826,0.000056764962,0.0008859495,0.000048048652,0.000005014846,0.00090855686,0.6637352,0.000059878894,0.0005577583,0.2268352,0.08324993,0.02359282],"study_design_scores_gemma":[0.000006803028,0.000032364987,0.0014179696,0.00012016181,0.0000062486756,0.0005588035,0.20732035,0.00022273058,0.00048123888,0.014296237,0.7755131,0.00002391838],"about_ca_topic_score_codex":0.0113632195,"about_ca_topic_score_gemma":0.035899743,"teacher_disagreement_score":0.016569765,"about_ca_system_score_codex":0.0034307092,"about_ca_system_score_gemma":0.0010697728,"threshold_uncertainty_score":0.024891675},"labels":[],"label_agreement":null},{"id":"W259159533","doi":"10.3138/cjfs.16.2.82","title":"Sad Bunny: Vincent Gallo and the Melancholia of Gender","year":2007,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Humanities; Art; Art history; Sociology; Gender studies","score_opus":0.048387526560014125,"score_gpt":0.24964460719288037,"score_spread":0.20125708063286624,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W259159533","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27154395,0.0682807,0.0014904077,0.21132697,0.002094952,0.000039868948,0.00013016295,0.000043438307,0.44504955],"genre_scores_gemma":[0.92800874,0.009746849,0.0002697376,0.006500434,0.00041999563,0.000025570911,0.00001590551,0.00005154831,0.054961305],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990577,0.0005801417,0.00001001522,0.00009655496,0.000112134396,0.00014338734],"domain_scores_gemma":[0.9989003,0.0006405822,0.00015448371,0.00004294372,0.000082183426,0.00017960372],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010510975,0.0003240714,0.00022473713,0.00082927983,0.0071539804,0.004915105,0.00041963867,0.0014350347,0.00471082],"category_scores_gemma":[0.0030123563,0.00024196645,0.00010954483,0.0006856028,0.013853555,0.003790386,0.0028140093,0.0018038814,0.00033620052],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009493044,0.000017618237,0.0041600997,0.00016728588,0.000011501047,0.0006492418,0.44104552,0.000086991604,0.00086475955,0.46729058,0.06258398,0.02302737],"study_design_scores_gemma":[0.0000127736475,0.000030501655,0.01030341,0.0005234386,0.000011566902,0.0005467149,0.2272458,0.00011133009,0.0003559337,0.041501082,0.7193142,0.000043160962],"about_ca_topic_score_codex":0.058783397,"about_ca_topic_score_gemma":0.089043215,"teacher_disagreement_score":0.058783397,"about_ca_system_score_codex":0.0045213457,"about_ca_system_score_gemma":0.0014946337,"threshold_uncertainty_score":0.1168825},"labels":[],"label_agreement":null},{"id":"W2591626434","doi":"10.1111/ajes.12181","title":"Transforming<i>Transformers</i>into Militainment: Interrogating the DoD‐Hollywood Complex","year":2017,"lang":"en","type":"article","venue":"American Journal of Economics and Sociology","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":15,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Ontario Tech University","funders":"","keywords":"Hollywood; Studio; Publicity; Media studies; Sociology; Political science; Law; Engineering; Telecommunications; History; Art history","score_opus":0.03444076226143772,"score_gpt":0.25915607566297455,"score_spread":0.22471531340153683,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2591626434","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26800522,0.0010651613,0.0052416828,0.011225187,0.00028809137,0.00004606201,0.00003571535,0.000053681455,0.7140392],"genre_scores_gemma":[0.97759694,0.00042974445,0.0007845698,0.0010131046,0.00005292315,0.000015241837,0.000012160466,0.000052921285,0.02004227],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99855286,0.0008255941,0.00002340493,0.00013824464,0.0002090767,0.0002508289],"domain_scores_gemma":[0.998251,0.0010627044,0.00017654293,0.00014150493,0.00015105761,0.00021717203],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022639548,0.00030419073,0.00013392094,0.000998674,0.009490047,0.013366833,0.00073796744,0.001436384,0.007734213],"category_scores_gemma":[0.0025812958,0.00024246922,0.00017619946,0.0008096019,0.020309722,0.0069266823,0.0051196543,0.0037305327,0.0005290179],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027314669,0.000047576108,0.001412593,0.000047453308,0.0000037589832,0.00052933046,0.1990103,0.00016789502,0.0006811873,0.7736313,0.009322549,0.015118763],"study_design_scores_gemma":[0.000014066452,0.00004838436,0.0028401283,0.00024951986,0.000010901801,0.00031926009,0.29313093,0.00062745885,0.002008987,0.0527144,0.6480092,0.000026740596],"about_ca_topic_score_codex":0.013888456,"about_ca_topic_score_gemma":0.033890866,"teacher_disagreement_score":0.013888456,"about_ca_system_score_codex":0.008142496,"about_ca_system_score_gemma":0.0029397027,"threshold_uncertainty_score":0.059078276},"labels":[],"label_agreement":null},{"id":"W2593464805","doi":"","title":"Mad Max: Fury Road (review)","year":2017,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Miller; George (robot); Politics; Art history; History; Performance art; Media studies; Art; Law; Political science; Sociology","score_opus":0.040182567248496184,"score_gpt":0.27882298366290525,"score_spread":0.23864041641440908,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2593464805","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00037544937,0.61118305,0.0010856442,0.053807907,0.055117134,0.0009660023,0.006957279,0.0018814676,0.26862606],"genre_scores_gemma":[0.0036832443,0.45159227,0.0011012412,0.06579776,0.020675763,0.0011162021,0.0054601454,0.0005788451,0.4499946],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989441,0.00016690788,0.000094984505,0.0001555969,0.0005137598,0.0001246794],"domain_scores_gemma":[0.99729055,0.00042530382,0.00036521378,0.00012365295,0.0012397727,0.0005554556],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00087753776,0.0011161455,0.0012872816,0.0024547323,0.00084492814,0.0053075333,0.0021414938,0.0029890426,0.3429715],"category_scores_gemma":[0.006207975,0.0005344641,0.0011015586,0.0017432087,0.00057604787,0.0032260364,0.0017998402,0.0039966456,0.2413719],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028066977,0.0000078242065,0.000023983364,0.0029302496,0.000015960179,0.000037570488,0.000015847048,0.000012342635,0.000096962984,0.00028745242,0.9111612,0.085382506],"study_design_scores_gemma":[0.00002202866,0.000014480928,0.00024422217,0.0025840516,0.000018106894,0.000092970025,0.00002500792,0.000010963801,0.00004695711,0.00019850806,0.99673456,0.000008207953],"about_ca_topic_score_codex":0.004828466,"about_ca_topic_score_gemma":0.0071116947,"teacher_disagreement_score":0.3429715,"about_ca_system_score_codex":0.0020660078,"about_ca_system_score_gemma":0.0033434234,"threshold_uncertainty_score":0.9371714},"labels":[],"label_agreement":null},{"id":"W2593653670","doi":"10.32873/uno.dc.jrf.20.02.01","title":"Sundance 2016: Celebrating the Diversity of Independent Cinema","year":2016,"lang":"en","type":"article","venue":"Journal of Religion & Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cape Breton University","funders":"","keywords":"Movie theater; Film festival; Storytelling; Media studies; Frontier; Art history; History; Sociology; Art; Visual arts; Narrative; Archaeology; Literature","score_opus":0.02184828172957423,"score_gpt":0.21173088054718553,"score_spread":0.1898825988176113,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2593653670","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3667914,0.021280807,0.010246394,0.078370936,0.03040834,0.00041938858,0.006340268,0.0021169276,0.48402554],"genre_scores_gemma":[0.74493104,0.005739825,0.011206076,0.004138513,0.01443283,0.000226903,0.0038188102,0.0018781747,0.21362789],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986564,0.00038642605,0.0000468296,0.00026296938,0.00041317384,0.0002342311],"domain_scores_gemma":[0.9952609,0.00047905,0.00030735048,0.0005435807,0.00056055514,0.002848533],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034966064,0.0005435572,0.00039408018,0.0017403325,0.0045315432,0.0067710592,0.0009803805,0.0012849646,0.01792076],"category_scores_gemma":[0.005930735,0.00043709914,0.00054591964,0.0011405662,0.002058672,0.0035348565,0.0077971076,0.002914824,0.0024959918],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007148824,0.00022846638,0.010149971,0.0006805529,0.00014162197,0.0012596318,0.02556962,0.00034444054,0.0071165073,0.026891137,0.7906982,0.13620499],"study_design_scores_gemma":[0.00002746857,0.00013757056,0.018166479,0.0002042287,0.00001835177,0.000786024,0.0052495203,0.00021895708,0.0010649082,0.0017682638,0.97231996,0.000038181457],"about_ca_topic_score_codex":0.0036723972,"about_ca_topic_score_gemma":0.025731467,"teacher_disagreement_score":0.01792076,"about_ca_system_score_codex":0.0011525727,"about_ca_system_score_gemma":0.0007937318,"threshold_uncertainty_score":0.059950948},"labels":[],"label_agreement":null},{"id":"W2594829375","doi":"10.1287/inte.2016.0864","title":"A Review of Scheduling Problems and Research Opportunities in Motion Picture Exhibition","year":2017,"lang":"en","type":"review","venue":"INFORMS Journal on Applied Analytics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Exhibition; Movie theater; Film industry; Scheduling (production processes); Computer science; Context (archaeology); Scale (ratio); Engineering; Data science; Multimedia; Visual arts; Art; Operations management; History; Geography","score_opus":0.4224786817422227,"score_gpt":0.3940462467131995,"score_spread":0.028432435029023206,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2594829375","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00037668878,0.9949922,0.0017142035,0.00054786884,0.00022334456,0.0000062872177,0.0000378473,0.000010551201,0.0020910078],"genre_scores_gemma":[0.0034818936,0.9939622,0.0012690771,0.00017357204,0.0005237934,0.000009824237,0.000075525044,0.0000058943874,0.00049813546],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994618,0.00013018254,0.00007688128,0.000120704186,0.00016167479,0.00004876211],"domain_scores_gemma":[0.9970902,0.0022339649,0.00019086657,0.000050697556,0.0003650812,0.000069164555],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00128386,0.0012005211,0.0014197775,0.0024625105,0.00049550616,0.0016142052,0.0011727532,0.0016725439,0.004664534],"category_scores_gemma":[0.0037580659,0.00063963543,0.0010321229,0.007197314,0.0005897074,0.0025119963,0.00058399636,0.0014289859,0.0012718212],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008280088,0.00018652616,0.00095649826,0.028594872,0.00017919886,0.00018881416,0.00014631673,0.011775675,0.0006138115,0.034041982,0.051001564,0.872232],"study_design_scores_gemma":[0.000031831747,0.00023966268,0.0033561185,0.014777184,0.00030751762,0.00088922266,0.00041449507,0.0060390695,0.0005771732,0.03802431,0.93524647,0.0000969134],"about_ca_topic_score_codex":0.0036055949,"about_ca_topic_score_gemma":0.0034342404,"teacher_disagreement_score":0.004664534,"about_ca_system_score_codex":0.0011085174,"about_ca_system_score_gemma":0.0023693102,"threshold_uncertainty_score":0.015604436},"labels":[],"label_agreement":null},{"id":"W2594889347","doi":"","title":"Love at Second Sight: An Evening of Storytelling and Film","year":2016,"lang":"en","type":"article","venue":"Summit (Simon Fraser University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Evening; Storytelling; Sight; Art; Optics; Narrative; Astronomy; Literature; Physics","score_opus":0.019617368337234643,"score_gpt":0.18460081037204704,"score_spread":0.16498344203481238,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2594889347","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41816545,0.008519352,0.008872807,0.047383748,0.019542588,0.00066496845,0.0025668403,0.0012326933,0.49305153],"genre_scores_gemma":[0.7508023,0.0040854425,0.0064029144,0.0068438128,0.0043630074,0.0002994931,0.0014291125,0.0005429604,0.22523098],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99932337,0.00035014417,0.000013732159,0.000051469502,0.000113647424,0.00014768813],"domain_scores_gemma":[0.99747664,0.0006706007,0.00009498636,0.0001538256,0.00018364306,0.0014203598],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011323639,0.00055606157,0.00029843693,0.0005101689,0.0058193253,0.0039945105,0.00058302114,0.0015522284,0.011189025],"category_scores_gemma":[0.00328271,0.00028673184,0.00043413547,0.00041869452,0.0019410363,0.0019260856,0.0038974818,0.0040722415,0.0018541737],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006807499,0.00048764667,0.003560441,0.0003434588,0.00004466027,0.0033532495,0.2174827,0.00021614299,0.005157209,0.012001035,0.6958758,0.060796928],"study_design_scores_gemma":[0.000039090108,0.0002946864,0.008543339,0.00018499399,0.000011131397,0.0013482416,0.0674216,0.00021401122,0.001273145,0.0018224727,0.9188005,0.000046943034],"about_ca_topic_score_codex":0.003797362,"about_ca_topic_score_gemma":0.018724084,"teacher_disagreement_score":0.011189025,"about_ca_system_score_codex":0.0011187594,"about_ca_system_score_gemma":0.0006328636,"threshold_uncertainty_score":0.037431},"labels":[],"label_agreement":null},{"id":"W2595693325","doi":"","title":"A Pedagogical Review of The Film Experience: An Introduction","year":2016,"lang":"en","type":"review","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Kwantlen Polytechnic University","funders":"","keywords":"Sociology; Engineering ethics; Computer science; Engineering","score_opus":0.19794084658760558,"score_gpt":0.37242199520868774,"score_spread":0.17448114862108216,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2595693325","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000098923454,0.9958988,0.00016250367,0.0018287514,0.00074119086,0.000005543642,0.000044657496,0.0000042731813,0.0012153107],"genre_scores_gemma":[0.0011101315,0.9947632,0.0003061212,0.001308686,0.0015360184,0.000010916695,0.000055615463,0.000006537476,0.00090286543],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919385,0.00027187332,0.00014049186,0.00012829925,0.00020902843,0.0000564916],"domain_scores_gemma":[0.9948814,0.0033538071,0.00042950042,0.00010643896,0.0009675693,0.0002614502],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022661272,0.00087322865,0.0012378844,0.008040741,0.0007209493,0.0037049023,0.0008886826,0.0021013562,0.009027366],"category_scores_gemma":[0.0076545295,0.0005305545,0.000553204,0.007968215,0.0014242899,0.004019816,0.001971693,0.0029354235,0.0024552003],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007762954,0.000118631535,0.00053266436,0.040462498,0.00008427926,0.00013361526,0.00063464436,0.00030574226,0.00086126826,0.019013582,0.18131468,0.7564608],"study_design_scores_gemma":[0.0000072302673,0.00003719653,0.0015247967,0.023180068,0.00005335805,0.00032661448,0.00030154907,0.000037303456,0.0001301043,0.0031956187,0.9711893,0.000016850443],"about_ca_topic_score_codex":0.0035908138,"about_ca_topic_score_gemma":0.00965266,"teacher_disagreement_score":0.009027366,"about_ca_system_score_codex":0.0018703198,"about_ca_system_score_gemma":0.00327311,"threshold_uncertainty_score":0.030199528},"labels":[],"label_agreement":null},{"id":"W2596105436","doi":"","title":"Introduction: Peter Morris and Canadian Film History","year":2018,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Scrutiny; Historiography; Media studies; Art history; Sociology; History; Classics; Art; Law; Political science","score_opus":0.02237666760409352,"score_gpt":0.18179238934333022,"score_spread":0.1594157217392367,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2596105436","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018324646,0.34165788,0.00036096448,0.18583395,0.018354818,0.000053847627,0.0015009588,0.00013892645,0.45026624],"genre_scores_gemma":[0.07437088,0.2874011,0.0011239569,0.04924419,0.018529296,0.00009737203,0.0013671556,0.0003026312,0.5675633],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999089,0.0001221631,0.000022157583,0.00011512686,0.0004353291,0.00021625333],"domain_scores_gemma":[0.99843043,0.00030760208,0.00008023591,0.000055210166,0.0007884841,0.00033793857],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00070530176,0.0010488294,0.00045905597,0.0042558294,0.013168926,0.007916795,0.0012823817,0.0027152256,0.06003279],"category_scores_gemma":[0.003316843,0.0004893622,0.0002835493,0.0071141534,0.004650744,0.004425051,0.0021844276,0.0032558956,0.0071204472],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000074440227,0.000004139889,0.00019702417,0.00010109171,0.0000014962701,0.000051299477,0.0019406537,0.000019205318,0.000029622719,0.03428561,0.9514013,0.011961089],"study_design_scores_gemma":[8.5842845e-7,0.0000010473354,0.0005869227,0.00023120744,0.0000011156517,0.000036971673,0.0012069148,0.0000075739754,0.000009846931,0.0014288931,0.99648345,0.000005124153],"about_ca_topic_score_codex":0.8401246,"about_ca_topic_score_gemma":0.90568024,"teacher_disagreement_score":0.1598754,"about_ca_system_score_codex":0.043255396,"about_ca_system_score_gemma":0.022009164,"threshold_uncertainty_score":0.32163382},"labels":[],"label_agreement":null},{"id":"W2596978954","doi":"","title":"John Wayne and the Queer Frontier: Deconstructions of the Classic Cowboy Narrative during the Vietnam War","year":2006,"lang":"en","type":"article","venue":"Americana : The Journal of American Popular Culture, 1900 to Present; Hollywood","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Hollywood; Frontier; History; Art history; Lesbian; Vietnam War; Narrative; Gender studies; Religious studies; Art; Sociology; Literature; Philosophy","score_opus":0.007405869131266022,"score_gpt":0.20833932976721287,"score_spread":0.20093346063594683,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2596978954","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42947167,0.037213653,0.0018948017,0.055921026,0.0019264622,0.00010412707,0.00019353288,0.00006110874,0.47321358],"genre_scores_gemma":[0.91748786,0.0059590884,0.0002753546,0.004825603,0.00023540402,0.000077456745,0.00004718437,0.000120662684,0.07097142],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9976205,0.0015437173,0.000032637683,0.00015748161,0.00021513057,0.00043057202],"domain_scores_gemma":[0.9979096,0.0013092258,0.00016694887,0.000081684244,0.00017157459,0.00036101392],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002322171,0.0008185008,0.0004815141,0.0015822094,0.028761653,0.011677728,0.0011915193,0.0029652088,0.0056896126],"category_scores_gemma":[0.0037729375,0.00048023037,0.00024241512,0.0019384099,0.035996806,0.0071676937,0.0052682683,0.00735895,0.00045642006],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015329038,0.000008314099,0.00020938483,0.00004033703,0.0000029592688,0.00044207484,0.94584215,0.000024655485,0.00009414323,0.043125834,0.0080488855,0.0021458904],"study_design_scores_gemma":[0.0000038370013,0.000009413201,0.0006357099,0.00026232566,0.000003662242,0.00024346824,0.81136864,0.000028951541,0.00009266684,0.002857776,0.18447864,0.000014873755],"about_ca_topic_score_codex":0.18924698,"about_ca_topic_score_gemma":0.3852926,"teacher_disagreement_score":0.18924698,"about_ca_system_score_codex":0.01440411,"about_ca_system_score_gemma":0.006168279,"threshold_uncertainty_score":0.37629086},"labels":[],"label_agreement":null},{"id":"W2597246308","doi":"10.1386/sfs.7.2.181_1","title":"It passes through time and space","year":2017,"lang":"en","type":"article","venue":"Short Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Regina","funders":"","keywords":"Metaphor; Existentialism; Narrative; Compendium; Mythology; Romanian; Movie theater; Event (particle physics); Aesthetics; Perspective (graphical); Simple (philosophy); Space (punctuation); Art; Visual arts; Literature; Epistemology; Philosophy; Linguistics; Physics","score_opus":0.0834224890979465,"score_gpt":0.29927606276805435,"score_spread":0.21585357367010785,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2597246308","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07069794,0.0061785127,0.019408884,0.036504522,0.0022318182,0.000046143155,0.00028600855,0.00013066384,0.8645155],"genre_scores_gemma":[0.92430216,0.0026387258,0.0026579334,0.0019881208,0.0005982606,0.000040621784,0.00011054705,0.00018615442,0.06747727],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984195,0.00084282656,0.000041413394,0.00026808496,0.00023909801,0.00018901209],"domain_scores_gemma":[0.99861646,0.00056640216,0.00012736322,0.0002791683,0.0002128044,0.0001976838],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016929511,0.00040663275,0.00038251063,0.0011004233,0.0049772747,0.0124964295,0.00062780076,0.0013129608,0.013870626],"category_scores_gemma":[0.004132716,0.00023889563,0.00028282436,0.0009246185,0.023766847,0.013163425,0.0038626113,0.0028837617,0.0015133828],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022673206,0.000007926207,0.0003523989,0.00004509811,0.000009576345,0.00016430495,0.027790992,0.00010059702,0.0003472908,0.95391625,0.009173651,0.008069157],"study_design_scores_gemma":[0.000013450731,0.000048217036,0.0012189456,0.00045562707,0.000020774192,0.00030489976,0.04230485,0.00030858564,0.0005344691,0.2997006,0.6550649,0.000024633477],"about_ca_topic_score_codex":0.0036600966,"about_ca_topic_score_gemma":0.0029072824,"teacher_disagreement_score":0.013870626,"about_ca_system_score_codex":0.0023008282,"about_ca_system_score_gemma":0.0012615001,"threshold_uncertainty_score":0.04640186},"labels":[],"label_agreement":null},{"id":"W2598689381","doi":"","title":"Conversations with Scholars of American Popular Culture: Philippa Gates","year":2009,"lang":"en","type":"article","venue":"Americana : The Journal of American Popular Culture, 1900 to Present; Hollywood","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Filmmaking; Scholarship; Masculinity; Art history; Detective fiction; Art; Agatha; Film studies; State (computer science); Movie theater; Media studies; Literature; History; Sociology; Law; Gender studies; Political science","score_opus":0.01750372328817163,"score_gpt":0.24577196151164177,"score_spread":0.22826823822347014,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2598689381","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024996165,0.055384345,0.0002826479,0.8071796,0.0074280337,0.00002203341,0.00015991407,0.00006476202,0.10448259],"genre_scores_gemma":[0.54712933,0.06573075,0.00065936457,0.2502006,0.0072380034,0.0001819992,0.00014066182,0.00048323808,0.12823611],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99677616,0.0018803738,0.000069001806,0.00029105667,0.0005774569,0.00040585562],"domain_scores_gemma":[0.99161786,0.0049520778,0.00044020583,0.0002228303,0.0012401092,0.0015268478],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037676056,0.0007963606,0.00083134405,0.0033068212,0.016728358,0.010360473,0.0017501435,0.004486397,0.0110171195],"category_scores_gemma":[0.010574484,0.0004240745,0.00022503432,0.0056738183,0.012136794,0.011771762,0.005368294,0.009173392,0.0016443369],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025395877,0.000057779118,0.0016453023,0.0001871251,0.0000112259095,0.0005964106,0.19937249,0.000020704554,0.0001556446,0.056741986,0.7247348,0.016451249],"study_design_scores_gemma":[0.000005754596,0.000006883764,0.0009375276,0.00033271682,0.000004527944,0.00018587291,0.14534007,0.000026242458,0.00007126823,0.002856872,0.85021365,0.00001855963],"about_ca_topic_score_codex":0.038316965,"about_ca_topic_score_gemma":0.052394032,"teacher_disagreement_score":0.038316965,"about_ca_system_score_codex":0.008629868,"about_ca_system_score_gemma":0.005440387,"threshold_uncertainty_score":0.07618785},"labels":[],"label_agreement":null},{"id":"W2599433659","doi":"10.1163/1872-5309_ewic_ewiccom_0672","title":"Representations: Visual Arts: Television: Canada","year":2014,"lang":"en","type":"dataset","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; The arts; Art; Geography; Computer graphics (images); Computer science","score_opus":0.029548081526474316,"score_gpt":0.26295520268145317,"score_spread":0.23340712115497886,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2599433659","genre_codex":"dataset","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":"dataset","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00051159604,0.00013124007,0.000033633474,0.000067984256,0.000019418872,0.000009803406,0.99827063,0.00016550286,0.0007902122],"genre_scores_gemma":[0.0016630513,0.00020753407,0.00016644706,0.00003918297,0.000014231425,0.000047655558,0.99547946,0.000048045265,0.002334388],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99923325,0.000055739732,0.000049820126,0.00014427815,0.00027241406,0.00024455486],"domain_scores_gemma":[0.9978484,0.00030315062,0.00020868605,0.00031201277,0.00096703094,0.0003607495],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004598233,0.0029008207,0.0013155249,0.007614297,0.0017515887,0.0037577283,0.0028744626,0.0022207387,0.04857097],"category_scores_gemma":[0.0043426827,0.0006838891,0.0013537762,0.017326957,0.0007252082,0.00101686,0.0015131998,0.002034448,0.03081255],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049721664,0.000025539734,0.0019919958,0.00025277925,0.000030906467,0.00002489513,0.00003848045,0.00045938214,0.000044107368,0.00039867818,0.99355435,0.0031292744],"study_design_scores_gemma":[0.00021633143,0.000012823089,0.02488221,0.00039864134,0.000069418275,0.00007057227,0.00040246896,0.0013968733,0.00038056256,0.000809557,0.9713013,0.00005919951],"about_ca_topic_score_codex":0.86687374,"about_ca_topic_score_gemma":0.9211168,"teacher_disagreement_score":0.13312626,"about_ca_system_score_codex":0.007474462,"about_ca_system_score_gemma":0.013407533,"threshold_uncertainty_score":0.26782048},"labels":[],"label_agreement":null},{"id":"W2599554585","doi":"","title":"Saying It With Songs: Popular Music And The Coming Of Sound To Hollywood Cinema by Katherine Spring (review)","year":2015,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Hollywood; Publicity; Period (music); Popular music; Media studies; Visual arts; Music industry; History; Sociology; Aesthetics; Literature; Art history; Art; Law; Music education; Political science","score_opus":0.07243819464742675,"score_gpt":0.2457535504296392,"score_spread":0.17331535578221247,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2599554585","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000037385216,0.99820364,0.000012304984,0.000956629,0.0004879526,0.0000048805964,0.000015159542,0.0000021639057,0.00027989276],"genre_scores_gemma":[0.00039966282,0.99696475,0.00003502306,0.0013470117,0.00047110903,0.000014263347,0.00003790805,0.0000020901746,0.00072813174],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993753,0.00016196,0.00009779223,0.00008992768,0.0002134881,0.00006156631],"domain_scores_gemma":[0.99826896,0.00075037644,0.00034406377,0.000026192456,0.00042160798,0.00018881586],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012198206,0.00082594075,0.0014913703,0.0020372856,0.00040929992,0.002523494,0.0012102316,0.0017598582,0.008899663],"category_scores_gemma":[0.0033246928,0.0005721633,0.00082267827,0.0037013313,0.0008147842,0.003264621,0.0012295025,0.0033999777,0.0029975192],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015316487,0.000070934286,0.0003769115,0.07301272,0.00032486135,0.000111253976,0.00038839324,0.00013929962,0.0003267095,0.0015958609,0.44268596,0.48081395],"study_design_scores_gemma":[0.000056003657,0.00013429353,0.003291251,0.046593808,0.00035611045,0.0006823186,0.00048666893,0.00004055764,0.000086868895,0.00047546305,0.9477602,0.000036446447],"about_ca_topic_score_codex":0.0062213396,"about_ca_topic_score_gemma":0.009953203,"teacher_disagreement_score":0.008899663,"about_ca_system_score_codex":0.001311924,"about_ca_system_score_gemma":0.003450984,"threshold_uncertainty_score":0.029772341},"labels":[],"label_agreement":null},{"id":"W2600622028","doi":"","title":"Borderland Films: American Cinema, Mexico, and Canada during the Progressive Era by Dominique Brégent-Heald (review)","year":2016,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Progressive era; History; Art history; Political science; Law; Politics","score_opus":0.006470327211095992,"score_gpt":0.20168589359558078,"score_spread":0.19521556638448478,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2600622028","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0027459837,0.98829556,0.000011495075,0.004548665,0.00041312675,0.000008513924,0.00012711341,0.0000026773012,0.00384683],"genre_scores_gemma":[0.01459591,0.98206985,0.00004666915,0.0011991387,0.00061064656,0.000015308668,0.000120801014,0.0000038161934,0.0013379011],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994935,0.00012829818,0.00003052652,0.00005558722,0.00017549802,0.000116619696],"domain_scores_gemma":[0.996899,0.0012414553,0.0004542235,0.00004484988,0.0008958615,0.0004647318],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013448123,0.0005508082,0.00080054044,0.0027744502,0.0022151677,0.0048622256,0.0007528132,0.0016895118,0.0058480417],"category_scores_gemma":[0.0051139765,0.0002686019,0.00032123222,0.005506228,0.00140383,0.0020510745,0.001298149,0.0018092756,0.0003376675],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033781052,0.0001223821,0.007397116,0.029435767,0.00044062745,0.00040366786,0.012499926,0.00010136229,0.0004699374,0.005616653,0.3305655,0.61260927],"study_design_scores_gemma":[0.00006364867,0.00005995502,0.05609745,0.04730884,0.00057075394,0.00049052935,0.01855357,0.000027276368,0.00020681314,0.0004206465,0.87616575,0.000034692282],"about_ca_topic_score_codex":0.38280144,"about_ca_topic_score_gemma":0.63842475,"teacher_disagreement_score":0.6171986,"about_ca_system_score_codex":0.0054450408,"about_ca_system_score_gemma":0.014764417,"threshold_uncertainty_score":0.76114655},"labels":[],"label_agreement":null},{"id":"W2602503355","doi":"10.3138/cjfs.25.1.67","title":"The Rise and Fall of the Stratford International Film Festival","year":2016,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Film festival; World War II; Visual arts; Media studies; Competition (biology); Geopolitics; Art; History; Art history; Sociology; Political science; Archaeology; Politics; Law","score_opus":0.038049594815979304,"score_gpt":0.22955764180919966,"score_spread":0.19150804699322035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2602503355","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33781016,0.023027254,0.0019234708,0.052345686,0.005256333,0.0001610314,0.0026251483,0.00019977083,0.5766513],"genre_scores_gemma":[0.9348979,0.007121388,0.0008822897,0.0029102126,0.0008428451,0.000060148574,0.00068635546,0.00011709191,0.05248175],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983039,0.00026465394,0.000025377394,0.00014573435,0.0005719514,0.0006883495],"domain_scores_gemma":[0.99673164,0.0005034946,0.00019580394,0.00014100337,0.0008402571,0.0015877108],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016426641,0.00040236342,0.00022225757,0.0021057343,0.011617713,0.009098569,0.0008568325,0.001051492,0.011125753],"category_scores_gemma":[0.0047246255,0.0002643704,0.00021215767,0.0025989558,0.0063091274,0.0025244495,0.003154411,0.0027698576,0.0004887426],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027325194,0.00007542617,0.019444965,0.00048396093,0.00004390244,0.0012577204,0.13612115,0.0002973018,0.0015746272,0.39072528,0.34187144,0.10783099],"study_design_scores_gemma":[0.000006491291,0.000030608502,0.045116067,0.00031131168,0.000010874173,0.00017079285,0.04979574,0.00009118016,0.00035094382,0.0017636706,0.9023133,0.00003907502],"about_ca_topic_score_codex":0.83229756,"about_ca_topic_score_gemma":0.9338381,"teacher_disagreement_score":0.16770244,"about_ca_system_score_codex":0.029523794,"about_ca_system_score_gemma":0.02206385,"threshold_uncertainty_score":0.3373801},"labels":[],"label_agreement":null},{"id":"W2602918633","doi":"","title":"The Persistence of the Political: Films, Festivals and Looking Back","year":2016,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Reactionary; Scholarship; Politics; Ideology; Interpretation (philosophy); Manifesto; Media studies; Sociology; Criticism; History; Aesthetics; Literature; Political science; Law; Art; Art history; Philosophy","score_opus":0.04179028382470209,"score_gpt":0.22096915418174018,"score_spread":0.17917887035703808,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2602918633","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1986568,0.08189544,0.0017861209,0.18423386,0.02822643,0.00009820355,0.0004162737,0.00020739927,0.50447947],"genre_scores_gemma":[0.89648265,0.014897715,0.00073233864,0.010426898,0.007558314,0.00006528502,0.00013374796,0.00024951904,0.069453605],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99698573,0.0019257275,0.00007006111,0.00022879126,0.00032840416,0.00046139266],"domain_scores_gemma":[0.9969694,0.001326469,0.000256793,0.00023211552,0.00025769335,0.0009575373],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036815773,0.0005472398,0.00039093895,0.0014046256,0.01655872,0.017420312,0.00092314015,0.0019728276,0.008269506],"category_scores_gemma":[0.006769113,0.0003610539,0.00028672093,0.0014790869,0.014016636,0.0098351715,0.0050611747,0.005177352,0.00084020494],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019067821,0.00009172866,0.0022619297,0.00055847876,0.000031539097,0.0009981605,0.46027625,0.00006325847,0.0012124401,0.23289262,0.25417042,0.0472526],"study_design_scores_gemma":[0.000010775918,0.000058846494,0.002902737,0.0006388089,0.000013005714,0.00037997542,0.2039948,0.0000311071,0.00033794699,0.005595964,0.78600746,0.000028562747],"about_ca_topic_score_codex":0.0077314693,"about_ca_topic_score_gemma":0.019014513,"teacher_disagreement_score":0.017420312,"about_ca_system_score_codex":0.0034016022,"about_ca_system_score_gemma":0.0014786223,"threshold_uncertainty_score":0.027664304},"labels":[],"label_agreement":null},{"id":"W2604691835","doi":"","title":"The Specious Past: Reflections of a Film Historian in Canada","year":2018,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Historiography; Mainstream; History; Perspective (graphical); Aesthetics; Sociology; Media studies; Literature; Visual arts; Movie theater; Art; Art history; Law; Political science","score_opus":0.025687093774860396,"score_gpt":0.205713990115765,"score_spread":0.1800268963409046,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2604691835","genre_codex":"empirical","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4322629,0.026591763,0.0010609122,0.33969495,0.0055125547,0.0002553552,0.0008340777,0.000109150395,0.19367826],"genre_scores_gemma":[0.80856174,0.011803415,0.00068262254,0.027728252,0.00045188869,0.000057910685,0.00019379798,0.00021105437,0.15030925],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99461645,0.0013101525,0.00012448021,0.00056088413,0.0014746814,0.0019133583],"domain_scores_gemma":[0.9923924,0.0011988488,0.00033058578,0.000101467995,0.0025237566,0.0034529516],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032553058,0.000597392,0.00077563344,0.0024942814,0.07805143,0.01488977,0.0029760243,0.005134501,0.009674939],"category_scores_gemma":[0.0095314225,0.00096339546,0.00043967756,0.005859466,0.016948082,0.004428334,0.0053969724,0.013273219,0.0005442335],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006595403,0.000049066373,0.003500204,0.00015472222,0.000012169891,0.0027066614,0.90218663,0.000100688216,0.0006163365,0.016902314,0.06301965,0.010685694],"study_design_scores_gemma":[0.0000037227396,0.000009731173,0.0032306546,0.0002043283,0.000007556511,0.00017830092,0.7322483,0.00007309413,0.00014235494,0.00040596238,0.26346573,0.000030208408],"about_ca_topic_score_codex":0.99017566,"about_ca_topic_score_gemma":0.99631774,"teacher_disagreement_score":0.20745434,"about_ca_system_score_codex":0.20745434,"about_ca_system_score_gemma":0.16223526,"threshold_uncertainty_score":0.91924065},"labels":[],"label_agreement":null},{"id":"W2605543400","doi":"10.3138/cjfs.25.1.111","title":"Modes of Intersubjective Address in <i>The Central Character</i> (1977) and <i>Our Marilyn</i> (1987)","year":2016,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Character (mathematics); Representation (politics); Cognitive dissonance; Aesthetics; Sociology; Reading (process); Space (punctuation); Art; Philosophy; Psychology; Politics; Linguistics; Social psychology","score_opus":0.045195363340308714,"score_gpt":0.23881067258199618,"score_spread":0.19361530924168746,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2605543400","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39483678,0.007857563,0.005580456,0.016899135,0.00053744006,0.000100256606,0.00014321775,0.00006967697,0.57397544],"genre_scores_gemma":[0.98303014,0.0011507925,0.0005215617,0.0005549616,0.000051470623,0.000027247896,0.000022212504,0.000030553787,0.014611103],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977647,0.0009552827,0.000032170272,0.00021842786,0.0004641242,0.0005653966],"domain_scores_gemma":[0.99763656,0.0012213653,0.00022494608,0.00016716635,0.00040031318,0.00034967953],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028724174,0.00056730217,0.0002961945,0.0018675252,0.017125867,0.009163785,0.0011377535,0.0014844036,0.0046922266],"category_scores_gemma":[0.005115911,0.0003295012,0.00016881364,0.0018318788,0.0520827,0.0039175055,0.004301119,0.0035939747,0.00025772516],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000090411544,0.000034337594,0.0013589892,0.00008685883,0.000006330862,0.00029772357,0.5064611,0.00011414265,0.0013854009,0.45915675,0.0065842737,0.024423715],"study_design_scores_gemma":[0.000024387837,0.00006981867,0.015422657,0.00042562807,0.000019097775,0.00035630533,0.3701153,0.00026673495,0.0028254972,0.020464512,0.589925,0.00008502212],"about_ca_topic_score_codex":0.6962181,"about_ca_topic_score_gemma":0.8138581,"teacher_disagreement_score":0.6962181,"about_ca_system_score_codex":0.044183783,"about_ca_system_score_gemma":0.015081189,"threshold_uncertainty_score":0.6111419},"labels":[],"label_agreement":null},{"id":"W2605994878","doi":"10.2307/j.ctv6gqrjw","title":"The Documentary Art of Filmmaker Michael Rubbo","year":2017,"lang":"en","type":"book","venue":"University of Calgary Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Film Studies Association of Canada","funders":"","keywords":"Film director; Documentary film; Art; Art history; Visual arts; Movie theater","score_opus":0.025413516261267328,"score_gpt":0.18878086319453377,"score_spread":0.16336734693326643,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2605994878","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005982815,0.043392576,0.003559002,0.029580686,0.005495509,0.00007237566,0.00028165165,0.00032352802,0.9113118],"genre_scores_gemma":[0.09315636,0.033545278,0.0028633738,0.005172277,0.002876765,0.000107228545,0.00026015332,0.000637773,0.86138064],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915683,0.0002595726,0.00002874658,0.00012465696,0.00033315484,0.00009709376],"domain_scores_gemma":[0.9988883,0.0005393575,0.000083618215,0.000106876825,0.00025884042,0.00012296732],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00083327043,0.0004225389,0.00026069075,0.0013563412,0.0037814444,0.0068310713,0.0006635332,0.0010612473,0.018786566],"category_scores_gemma":[0.00391729,0.0003153918,0.00014085245,0.0015766699,0.003421351,0.004021758,0.0015966767,0.0031679722,0.0053219474],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034369707,0.00002723266,0.00017072663,0.00018367282,0.000005017934,0.00015658377,0.0088361995,0.00013724172,0.0006820051,0.2425601,0.6861783,0.061028488],"study_design_scores_gemma":[0.0000019975635,0.0000031319125,0.00020290479,0.00013765083,0.0000011765635,0.0000906775,0.000728178,0.00003933091,0.00016222571,0.002173967,0.9964545,0.00000442458],"about_ca_topic_score_codex":0.020452524,"about_ca_topic_score_gemma":0.027580103,"teacher_disagreement_score":0.020452524,"about_ca_system_score_codex":0.0053076013,"about_ca_system_score_gemma":0.0023945393,"threshold_uncertainty_score":0.062847376},"labels":[],"label_agreement":null},{"id":"W2606788126","doi":"10.1386/public.28.55.184_5","title":"The Ordinary Man of Cinema","year":2017,"lang":"en","type":"article","venue":"Public","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Movie theater; Art; Art history","score_opus":0.07181294048636147,"score_gpt":0.2469619491529363,"score_spread":0.17514900866657482,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2606788126","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07636519,0.02770638,0.013871959,0.21253093,0.0057555274,0.0000458428,0.000411747,0.00013527677,0.66317725],"genre_scores_gemma":[0.9234466,0.0051811617,0.0012387254,0.00882304,0.005189507,0.000024621795,0.000070155686,0.000094056835,0.055932008],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970079,0.0020299435,0.000056814773,0.0002780997,0.00044709083,0.00018019506],"domain_scores_gemma":[0.9899324,0.0059447084,0.0007539785,0.0009541213,0.0013514888,0.0010633785],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031594292,0.0003514443,0.00032873184,0.0022977411,0.002625316,0.009698171,0.0005370445,0.0016977595,0.024191324],"category_scores_gemma":[0.015975269,0.00024110312,0.00016759711,0.0016167846,0.013798408,0.01014651,0.0019853238,0.00331771,0.0014855166],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005459015,0.000028207893,0.002698314,0.000107877386,0.000015895443,0.00009740586,0.008467466,0.000097530596,0.00021491907,0.9242295,0.04185652,0.022131832],"study_design_scores_gemma":[0.000016983377,0.000061806924,0.008065112,0.0005612168,0.000030003997,0.00043470584,0.020000868,0.0007588066,0.00033357172,0.4061883,0.56351155,0.000037063455],"about_ca_topic_score_codex":0.0036752913,"about_ca_topic_score_gemma":0.0034452297,"teacher_disagreement_score":0.024191324,"about_ca_system_score_codex":0.002261974,"about_ca_system_score_gemma":0.0012430488,"threshold_uncertainty_score":0.08092803},"labels":[],"label_agreement":null},{"id":"W2607046820","doi":"10.1353/crc.2017.0008","title":"The End of Extreme Cinema Studies","year":2017,"lang":"en","type":"article","venue":"Canadian review of comparative literature","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Rhetoric; Transgressive; Film studies; Art; Exhibition; Sociology; Aesthetics; Media studies; Art history; Literature; Philosophy; Linguistics","score_opus":0.12014540917768501,"score_gpt":0.3199388808930716,"score_spread":0.19979347171538658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2607046820","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0036695842,0.8235011,0.0006090407,0.078371376,0.003262058,0.000026170968,0.0008205435,0.000031054467,0.08970903],"genre_scores_gemma":[0.15693027,0.7846586,0.003124926,0.029138263,0.0057400023,0.00007003206,0.0010788041,0.00014141602,0.019117685],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9912144,0.0031492221,0.00041037262,0.00070170575,0.0035006392,0.0010236184],"domain_scores_gemma":[0.95662016,0.012500378,0.0013527356,0.0018455852,0.024791801,0.002889376],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.013148684,0.00077271083,0.001395388,0.01641667,0.007792133,0.014910712,0.0021605182,0.002728254,0.022518897],"category_scores_gemma":[0.027407032,0.0005067934,0.0005423628,0.0198305,0.012157761,0.0068917717,0.0037140592,0.004873928,0.0013379654],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013993187,0.000082267434,0.0021944626,0.004397221,0.000107071464,0.000207562,0.011096471,0.00018667291,0.00033608705,0.38108256,0.26941678,0.33075297],"study_design_scores_gemma":[0.0000112370535,0.000012084998,0.0076302695,0.008024562,0.000050163297,0.000103614475,0.0073687937,0.00004274945,0.000107849526,0.015384725,0.96123195,0.000032020147],"about_ca_topic_score_codex":0.7276359,"about_ca_topic_score_gemma":0.7663406,"teacher_disagreement_score":0.7276359,"about_ca_system_score_codex":0.05284146,"about_ca_system_score_gemma":0.06714664,"threshold_uncertainty_score":0.54793614},"labels":[],"label_agreement":null},{"id":"W2607558857","doi":"10.7202/1039372ar","title":"Tester des attractions, penser le film musical. Le studio de la Paramount à Astoria (1929-19311)","year":2017,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Studio; Art; Musical; Art history; Visual arts","score_opus":0.048751699186151104,"score_gpt":0.2759515751263009,"score_spread":0.22719987594014981,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2607558857","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87246776,0.0014752864,0.0012322089,0.0013740045,0.00023481778,0.00015242348,0.00046779055,0.000024178962,0.122571535],"genre_scores_gemma":[0.9038461,0.00069176627,0.0012303075,0.00014544404,0.000059277078,0.00005794508,0.00017206259,0.000016118427,0.09378106],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.9995695,0.00014157269,0.000010881304,0.00010355981,0.000088793124,0.00008572205],"domain_scores_gemma":[0.9990933,0.0003667057,0.00009728176,0.00007283544,0.000113648886,0.00025629936],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010075873,0.00022271113,0.00015041186,0.0007193742,0.0025198704,0.0017282392,0.0002632265,0.0003231853,0.025518756],"category_scores_gemma":[0.002613556,0.00022398456,0.00015549437,0.0007394525,0.0020925645,0.0009478963,0.0016332266,0.0010987635,0.0015543315],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011288408,0.0005581139,0.13230014,0.00081428984,0.000060595496,0.0015591624,0.32551283,0.0005677768,0.031474385,0.08992459,0.022853622,0.39324573],"study_design_scores_gemma":[0.000051783274,0.0009527236,0.4619826,0.00029627126,0.000046051817,0.000442702,0.13466232,0.0002680104,0.0051735123,0.0031695173,0.39290518,0.000049350812],"about_ca_topic_score_codex":0.036721777,"about_ca_topic_score_gemma":0.14807437,"teacher_disagreement_score":0.036721777,"about_ca_system_score_codex":0.002363289,"about_ca_system_score_gemma":0.0014589903,"threshold_uncertainty_score":0.08536869},"labels":[],"label_agreement":null},{"id":"W2607725362","doi":"","title":"Dictionnaire général du cinéma — Du cinéma à Internet, André Roy Montréal : Éditions Fides, 2007, 517 pages","year":2008,"lang":"fr","type":"article","venue":"S&#233;quences : La revue de cin&#233;ma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Fides; Art; Theology; Philosophy","score_opus":0.01639132097557164,"score_gpt":0.19948858747657142,"score_spread":0.18309726650099978,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2607725362","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016936753,0.57349604,0.0044875853,0.018171255,0.013343721,0.000089354355,0.012936132,0.0008972628,0.37488502],"genre_scores_gemma":[0.019118039,0.29369286,0.0056632073,0.0021930314,0.004333891,0.00013663092,0.008043965,0.00094875303,0.66586953],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991709,0.00011968125,0.000074634576,0.00011966116,0.0004223831,0.000092750306],"domain_scores_gemma":[0.9981889,0.00038500546,0.00013101837,0.00013015929,0.0009558402,0.0002090876],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008622881,0.0016530149,0.001259558,0.006882089,0.0022285434,0.007583716,0.0011467957,0.0014955819,0.1009142],"category_scores_gemma":[0.0038092285,0.0008210834,0.0003763506,0.011106301,0.001834982,0.004422827,0.0013245045,0.0020535071,0.026581232],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014178125,0.000010680248,0.0002562387,0.0003808756,0.000005129045,0.000024961771,0.00062338135,0.00012508364,0.0002531752,0.017481223,0.88799506,0.09282999],"study_design_scores_gemma":[0.0000015822989,0.000002625412,0.0011613346,0.00028449565,0.0000025651275,0.000056757628,0.0002726066,0.000048245933,0.00006231377,0.00080882816,0.997292,0.000006721042],"about_ca_topic_score_codex":0.35658532,"about_ca_topic_score_gemma":0.3773754,"teacher_disagreement_score":0.35658532,"about_ca_system_score_codex":0.007693448,"about_ca_system_score_gemma":0.009987181,"threshold_uncertainty_score":0.70901954},"labels":[],"label_agreement":null},{"id":"W2608370715","doi":"10.1007/978-3-319-48042-8_1","title":"New Technologies of Gender: Women and Film in the Digital Era","year":2016,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Movie theater; Globalization; Context (archaeology); Subject matter; The Internet; Subject (documents); Democracy; Political science; Digital media; Key (lock); Selection (genetic algorithm); Sociology; Media studies; Gender studies; Art; History; Visual arts; Computer science; Computer security; Law; World Wide Web; Politics","score_opus":0.030097435928283265,"score_gpt":0.19441488711071492,"score_spread":0.16431745118243166,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2608370715","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03606661,0.15239185,0.004189378,0.03980387,0.0016788063,0.000021799751,0.00020070646,0.00003831416,0.7656087],"genre_scores_gemma":[0.66899663,0.111063905,0.0012888439,0.0040863985,0.0058005066,0.00004568952,0.00012174777,0.000115337745,0.20848086],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9991516,0.0004380142,0.000023743243,0.00009109062,0.00019507903,0.0001005298],"domain_scores_gemma":[0.9978169,0.0016717236,0.00012575834,0.00009082938,0.000120334305,0.00017443339],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010547714,0.00055289455,0.00032091048,0.0013472692,0.0015707067,0.009331614,0.000494254,0.0017092794,0.025442278],"category_scores_gemma":[0.0036975965,0.00019403509,0.00019476168,0.0019638098,0.0068947747,0.0073669096,0.0015604738,0.0018336994,0.00113956],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005721658,0.00004066611,0.0017970513,0.00028854675,0.000013033566,0.00021200837,0.016316937,0.00013640375,0.00045896426,0.84889746,0.036584828,0.095196806],"study_design_scores_gemma":[0.000010331178,0.000044400527,0.0047559123,0.0009755316,0.000015495141,0.00052860635,0.021059018,0.00034734793,0.00051850674,0.2707778,0.70094687,0.000020144531],"about_ca_topic_score_codex":0.0027759734,"about_ca_topic_score_gemma":0.0049234685,"teacher_disagreement_score":0.025442278,"about_ca_system_score_codex":0.0021072568,"about_ca_system_score_gemma":0.0010537198,"threshold_uncertainty_score":0.08511287},"labels":[],"label_agreement":null},{"id":"W2609037494","doi":"10.5749/movingimage.16.2.0021","title":"The Beginnings and the Ends of Film: Leader Standardization in the United States and Canada (1930–1999)","year":2016,"lang":"en","type":"article","venue":"The Moving Image The Journal of the Association of Moving Image Archivists","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Standardization; Art; Political science; Art history; Law","score_opus":0.007641182733260347,"score_gpt":0.2016880201310677,"score_spread":0.19404683739780737,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2609037494","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92295146,0.005557269,0.0001656558,0.014835286,0.00021538195,0.000044259195,0.0012427326,0.0000180041,0.054969877],"genre_scores_gemma":[0.98785853,0.0016014413,0.00008291451,0.00039570974,0.00003364793,0.000007063848,0.00033695812,0.000011911636,0.009671904],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99859816,0.00011081167,0.000027518754,0.00012267043,0.00047231218,0.0006685463],"domain_scores_gemma":[0.9955177,0.00035192788,0.0003957386,0.00008613925,0.00247296,0.0011755793],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0013722569,0.00020748467,0.00027277938,0.0027538734,0.010472129,0.00573098,0.0013114366,0.0009433693,0.003680075],"category_scores_gemma":[0.0054757395,0.00022684732,0.00018742052,0.004997196,0.0039182296,0.0019422588,0.002227475,0.0026881006,0.00019991127],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000430692,0.00016219977,0.24297181,0.00016288151,0.000069928305,0.0010176935,0.51023835,0.00043709675,0.0006405637,0.053227507,0.07433735,0.11630389],"study_design_scores_gemma":[0.00001211526,0.000026560234,0.58392334,0.00023654496,0.000034992165,0.000118314114,0.2779893,0.00019964717,0.00045588624,0.0007112719,0.13625,0.00004205725],"about_ca_topic_score_codex":0.9938083,"about_ca_topic_score_gemma":0.99734616,"teacher_disagreement_score":0.9895279,"about_ca_system_score_codex":0.071083024,"about_ca_system_score_gemma":0.07228269,"threshold_uncertainty_score":0.5157459},"labels":[],"label_agreement":null},{"id":"W2609412740","doi":"10.1057/978-1-137-53175-9_15","title":"Sirk and Suburbia: Queering the Straightest Space Imaginable","year":2017,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Rappaport; Heteronormativity; Queer; Human sexuality; Ideology; Context (archaeology); White (mutation); Gender studies; Paradise; Space (punctuation); Art; Sociology; Aesthetics; Art history; History; Philosophy; Political science; Politics; Law; Archaeology; Theology; Linguistics","score_opus":0.028452039838365605,"score_gpt":0.21379872902947558,"score_spread":0.18534668919110997,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2609412740","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09911643,0.03464041,0.0023751971,0.037255276,0.00062317733,0.000017191247,0.0001816368,0.00010300199,0.82568777],"genre_scores_gemma":[0.8888821,0.008890312,0.00046758665,0.0012327335,0.00022390265,0.000015270543,0.000045096545,0.00005822196,0.10018484],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993229,0.0004022831,0.000009675976,0.00007244211,0.00008653854,0.00010622447],"domain_scores_gemma":[0.9994413,0.00031208852,0.000061715706,0.000053330576,0.000052913434,0.00007860685],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008868948,0.00028048226,0.00023494712,0.00062304235,0.0025661942,0.0061616465,0.00042399426,0.0007070906,0.005137529],"category_scores_gemma":[0.0017277696,0.00014864161,0.00013098682,0.0010376228,0.013223078,0.003084814,0.0016438946,0.0021412014,0.0007470431],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021556265,0.000010556402,0.000618942,0.000047455207,0.0000029039109,0.000108198015,0.053305533,0.00010729481,0.00007307894,0.91337556,0.019080104,0.013248881],"study_design_scores_gemma":[0.000011837296,0.000020410458,0.0039625806,0.0003249895,0.0000066979974,0.0002142833,0.06203373,0.0004562927,0.00019253953,0.09607907,0.83667964,0.000017864768],"about_ca_topic_score_codex":0.04627644,"about_ca_topic_score_gemma":0.07192776,"teacher_disagreement_score":0.04627644,"about_ca_system_score_codex":0.0066525633,"about_ca_system_score_gemma":0.0030315581,"threshold_uncertainty_score":0.09201419},"labels":[],"label_agreement":null},{"id":"W2609414855","doi":"10.7202/1039371ar","title":"The American Connection: Jean-Christophe Averty and his U.S. TV Contemporaries","year":2017,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Period (music); Visual arts; Connection (principal bundle); Broadcast television systems; Art; Art history; History; Telecommunications; Aesthetics; Computer science; Engineering","score_opus":0.041827903142111746,"score_gpt":0.24989210758057645,"score_spread":0.2080642044384647,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2609414855","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13598245,0.0807956,0.0011827429,0.2559678,0.0039940686,0.000008734891,0.00013234596,0.000057235582,0.5218791],"genre_scores_gemma":[0.8301051,0.031085728,0.0006329634,0.016214164,0.003873019,0.00001493285,0.000053225296,0.00011288522,0.117907956],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916923,0.00035324303,0.000007796908,0.00013797541,0.00019135249,0.00014046508],"domain_scores_gemma":[0.9984249,0.0008459702,0.00008625011,0.000047737838,0.00030118116,0.00029395358],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010248501,0.00035846158,0.00026664537,0.0014352655,0.0073479824,0.0068242005,0.00034613218,0.0016141406,0.0061671208],"category_scores_gemma":[0.0035656707,0.00022726276,0.00010241229,0.0016589992,0.006264055,0.003664635,0.0015108903,0.0038517318,0.00062525965],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013655757,0.00010011491,0.0049477573,0.00005808453,0.000017172619,0.000508946,0.057434227,0.00020269665,0.00025931132,0.62144935,0.24911271,0.06577307],"study_design_scores_gemma":[0.0000058739815,0.000014529761,0.0034148719,0.00012789915,0.0000050437357,0.00017664886,0.010695246,0.00013966908,0.000109517256,0.015294742,0.96999645,0.000019524427],"about_ca_topic_score_codex":0.13087414,"about_ca_topic_score_gemma":0.1211531,"teacher_disagreement_score":0.13087414,"about_ca_system_score_codex":0.006979836,"about_ca_system_score_gemma":0.002914238,"threshold_uncertainty_score":0.26022476},"labels":[],"label_agreement":null},{"id":"W2610688518","doi":"10.25071/1708-6701.40283","title":"Music for Silent Film: A Guide to North American Resources – by Kendra Preston Leonard (book review)","year":2017,"lang":"en","type":"article","venue":"CAML Review / Revue de l ACBM","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Media studies; Art history; Management; Art; Sociology; Economics","score_opus":0.03207063360851812,"score_gpt":0.27645243208423614,"score_spread":0.24438179847571803,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2610688518","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00020651569,0.8095452,0.00069105387,0.049693286,0.022611808,0.00007254694,0.00034145568,0.00019708948,0.11664106],"genre_scores_gemma":[0.0024253477,0.4951132,0.0012145217,0.024109242,0.014981516,0.00018671932,0.00046400525,0.00021854551,0.46128687],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993212,0.00013326839,0.000046909114,0.00006813244,0.00036496657,0.000065458495],"domain_scores_gemma":[0.99864453,0.0003034408,0.00009167536,0.00005662593,0.0007051275,0.0001985818],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013625927,0.0011880492,0.00081835454,0.004728876,0.0016656844,0.0057771998,0.0015322049,0.0025104017,0.06588811],"category_scores_gemma":[0.00304104,0.0005375048,0.0003671348,0.0038591323,0.0011195083,0.0051207133,0.0021563987,0.0033057265,0.037048955],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000041833173,0.0000059047534,0.00001755971,0.00014031575,0.0000018471035,0.00000955996,0.000052381685,0.00000952654,0.000044821696,0.0013187475,0.93153304,0.06686205],"study_design_scores_gemma":[0.0000012960667,0.0000028495867,0.00014887917,0.000350319,0.0000019948948,0.000024035971,0.0000899354,0.000005459627,0.000016922519,0.00030255804,0.9990532,0.0000025749098],"about_ca_topic_score_codex":0.02714933,"about_ca_topic_score_gemma":0.08317291,"teacher_disagreement_score":0.06588811,"about_ca_system_score_codex":0.003230141,"about_ca_system_score_gemma":0.0039684004,"threshold_uncertainty_score":0.22041768},"labels":[],"label_agreement":null},{"id":"W2611118869","doi":"","title":"Peter Greenaway, Tulse Luper Suitcases (Parts I-III, 2003-04), The Montreal Festival of Nouveau Cinema, October 14-24, 2004","year":2005,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Art history; Visual arts","score_opus":0.010464188739371029,"score_gpt":0.16523660324743128,"score_spread":0.15477241450806026,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2611118869","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016661944,0.2982344,0.004967876,0.25999,0.049942277,0.00041209828,0.019710451,0.001165773,0.34891513],"genre_scores_gemma":[0.045787413,0.039276466,0.0011784675,0.0042193606,0.0042893514,0.00012994105,0.0023279279,0.0005009089,0.9022903],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995333,0.00007586705,0.000013426792,0.000075173855,0.00017593267,0.0001262047],"domain_scores_gemma":[0.99832755,0.00030646627,0.00011603385,0.000076683085,0.0006912014,0.0004820095],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015109566,0.00093995326,0.00043556225,0.0021391597,0.006489004,0.004920729,0.0010710377,0.0018721758,0.088545926],"category_scores_gemma":[0.00469765,0.0005344539,0.00024909523,0.0026731892,0.00092336885,0.0025218655,0.0015997658,0.0017739208,0.016408257],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019812254,0.000012275095,0.00033277442,0.000044353637,0.0000033739875,0.000022956618,0.00035241226,0.000037269874,0.000059545164,0.0017330738,0.9857061,0.011676103],"study_design_scores_gemma":[0.000009149536,0.00000897036,0.0069701956,0.00016434389,0.0000106965645,0.000017310951,0.0015848471,0.00005956048,0.00018827246,0.0011996721,0.98976946,0.00001746077],"about_ca_topic_score_codex":0.43987545,"about_ca_topic_score_gemma":0.78373694,"teacher_disagreement_score":0.5601245,"about_ca_system_score_codex":0.009236202,"about_ca_system_score_gemma":0.0049790298,"threshold_uncertainty_score":0.8746302},"labels":[],"label_agreement":null},{"id":"W2612211563","doi":"10.1057/978-1-137-56873-1_15","title":"The Utopian Impulse in the Videos of Pola Weiss (Mexico City, 1977–1990)","year":2017,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan US eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"CONTEST; Sociology; Impulse (physics); Pleasure; Aesthetics; Gender studies; Civility; Art; Psychology; Political science; Politics; Law","score_opus":0.03523824673494945,"score_gpt":0.24177325968985225,"score_spread":0.20653501295490279,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2612211563","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6089984,0.02175663,0.0011808752,0.056158483,0.0011749328,0.00006592331,0.00087201665,0.00006488022,0.30972785],"genre_scores_gemma":[0.8728659,0.01117542,0.00043559837,0.0014128725,0.00030523184,0.00006650267,0.0002671397,0.000048070633,0.11342323],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998801,0.000038580616,0.0000021666885,0.000022078315,0.000015392743,0.000041726293],"domain_scores_gemma":[0.9997794,0.000101904705,0.000047644036,0.000009566923,0.000028348342,0.000033121967],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040706756,0.00025902485,0.00010052259,0.00069803774,0.0051474655,0.0023602096,0.00030272626,0.00064548803,0.0049014455],"category_scores_gemma":[0.0011334901,0.00016270831,0.000063380176,0.0008090451,0.0033327895,0.002434785,0.0014028029,0.0013217907,0.00024540295],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019800708,0.000064071566,0.007869522,0.00036619598,0.000009535795,0.0013628303,0.49056566,0.00017999366,0.0012429794,0.27457702,0.12312449,0.10043968],"study_design_scores_gemma":[0.000005332389,0.000030397656,0.01884387,0.0003423997,0.000008508165,0.00022634462,0.12904383,0.00006466153,0.0005577365,0.002040703,0.8488242,0.000012007959],"about_ca_topic_score_codex":0.075196415,"about_ca_topic_score_gemma":0.16012377,"teacher_disagreement_score":0.075196415,"about_ca_system_score_codex":0.005465595,"about_ca_system_score_gemma":0.0015768231,"threshold_uncertainty_score":0.14951742},"labels":[],"label_agreement":null},{"id":"W2612316073","doi":"","title":"Théâtre d’androïdes / Maurice Maeterlinck, Les aveugles (Fantasmagorie technologique); conçu et réalisé par Denis Marleau, Musée d’art contemporain de Montréal. 28 février - 24 mars 2002","year":2002,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.013321247931268992,"score_gpt":0.16077484101401593,"score_spread":0.14745359308274694,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2612316073","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009198811,0.47102836,0.0023774814,0.09813128,0.008747458,0.000068805195,0.0014062809,0.00030840377,0.40873316],"genre_scores_gemma":[0.1012249,0.097179905,0.0013491684,0.0045130523,0.0028877554,0.000060669656,0.000421423,0.00032255618,0.79204047],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99945956,0.00016407888,0.000010308291,0.00009539155,0.00016434025,0.00010629129],"domain_scores_gemma":[0.9995351,0.0001351151,0.00003572002,0.000033043747,0.00014447376,0.000116584524],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007769424,0.0012713748,0.00036035723,0.0015175547,0.0049801,0.004922646,0.0010464351,0.0019135245,0.050135124],"category_scores_gemma":[0.0015709911,0.00047617898,0.00029521284,0.0016597015,0.0028584632,0.002816857,0.0017436501,0.0021011822,0.0075047505],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007074325,0.00003013969,0.0004771271,0.00020232776,0.000015067668,0.00024203319,0.00426343,0.00012886628,0.0003822623,0.060442496,0.90094715,0.032798443],"study_design_scores_gemma":[0.000008366305,0.000004907053,0.0023216547,0.00014446632,0.0000052275973,0.00012619831,0.0012657394,0.000044985765,0.0002313736,0.0017113478,0.994125,0.000010567624],"about_ca_topic_score_codex":0.41488954,"about_ca_topic_score_gemma":0.6717391,"teacher_disagreement_score":0.5851104,"about_ca_system_score_codex":0.009116367,"about_ca_system_score_gemma":0.0041376348,"threshold_uncertainty_score":0.82494926},"labels":[],"label_agreement":null},{"id":"W2612491264","doi":"","title":"Clint Neufeld, Pipe Dreams of Madame Récamier, Koffler Gallery Off-site at General Hardware Contemporary, Toronto, January 10 – March 3, 2013","year":2013,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Art; Visual arts; Computer graphics (images); Archaeology; Computer science; History","score_opus":0.013398039249316122,"score_gpt":0.17025785712889935,"score_spread":0.15685981787958322,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2612491264","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025431244,0.12351646,0.0021595394,0.5808366,0.06386832,0.00008223786,0.0017546527,0.0008483279,0.22439075],"genre_scores_gemma":[0.0132043,0.021295188,0.0008048351,0.04069387,0.006240557,0.00004662148,0.000404503,0.0004995498,0.91681063],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991868,0.00018098696,0.000021927142,0.00015423723,0.00029722124,0.00015890137],"domain_scores_gemma":[0.9980081,0.0003928471,0.00008286268,0.000078486184,0.0007221621,0.0007156448],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016561971,0.000688078,0.00045185065,0.0012019108,0.0059634424,0.0049981303,0.0010056765,0.003733153,0.12633337],"category_scores_gemma":[0.0058975816,0.0004897474,0.00029779176,0.00094322057,0.0012289323,0.003469426,0.0022247138,0.004937327,0.043959536],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006308351,0.0000030305578,0.000036469726,0.000012769277,5.499841e-7,0.000012798232,0.000119977376,0.000008260521,0.000019098521,0.0010687426,0.99462295,0.004089019],"study_design_scores_gemma":[0.0000031941042,0.0000033922715,0.00025475727,0.000051809424,0.0000014663126,0.000036128917,0.000575814,0.000019325162,0.00004237936,0.00052057265,0.9984854,0.0000058063742],"about_ca_topic_score_codex":0.07434137,"about_ca_topic_score_gemma":0.26084852,"teacher_disagreement_score":0.92565864,"about_ca_system_score_codex":0.003623317,"about_ca_system_score_gemma":0.0030212912,"threshold_uncertainty_score":0.4226272},"labels":[],"label_agreement":null},{"id":"W2612576719","doi":"","title":"The End of Cinema?: A Medium in Crisis in the Digital Age by André Gaudreault and Philippe Marion (review)","year":2016,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Metaphor; Surprise; Art history; Theme (computing); Exhibition; Media studies; Art; Film studies; Sociology; History; Literature; Philosophy","score_opus":0.02595654853380424,"score_gpt":0.23030882823211168,"score_spread":0.20435227969830744,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2612576719","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00003086417,0.99610645,0.000013363682,0.0026681134,0.0007865197,0.000004259769,0.000013563351,0.0000016722798,0.0003751535],"genre_scores_gemma":[0.0005534151,0.99529463,0.000045194574,0.0023868224,0.0009314114,0.000014016205,0.000035961126,0.000002564885,0.0007360608],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919885,0.00025867633,0.00009999059,0.00011026967,0.00026563395,0.00006663237],"domain_scores_gemma":[0.9980386,0.001006008,0.0003038093,0.00002338877,0.0004435472,0.00018463236],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012874882,0.0013218536,0.0015775092,0.0026379267,0.0006219148,0.0039256867,0.0013232203,0.0023210517,0.0073536607],"category_scores_gemma":[0.0040597366,0.0005187404,0.0008013334,0.0044642775,0.0012580383,0.005041435,0.0017629126,0.0038658122,0.002369804],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008790614,0.0000378865,0.00038023925,0.058742307,0.00017137271,0.00017119464,0.00078330317,0.00018300992,0.00023440832,0.0038780333,0.6012967,0.3340335],"study_design_scores_gemma":[0.000018614995,0.000049553997,0.0022650808,0.045565218,0.00014112984,0.00076617085,0.00091062253,0.00003749768,0.000076411205,0.0010817964,0.94905305,0.000034882883],"about_ca_topic_score_codex":0.007199297,"about_ca_topic_score_gemma":0.009190897,"teacher_disagreement_score":0.0073536607,"about_ca_system_score_codex":0.0020087175,"about_ca_system_score_gemma":0.004436555,"threshold_uncertainty_score":0.024600446},"labels":[],"label_agreement":null},{"id":"W2613275414","doi":"10.1353/cj.2017.0026","title":"Gnawing at the Whiteness of Cinema Studies: On Asian American Media Now","year":2017,"lang":"en","type":"article","venue":"Cinema Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":18,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Aesthetics; Asian americans; Ambivalence; Media studies; Sociology; Gender studies; Invisibility; Ethnic group; Art; History; Visual arts; Anthropology; Psychology","score_opus":0.07126515830147866,"score_gpt":0.2940285438316795,"score_spread":0.2227633855302008,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2613275414","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.071868934,0.076521195,0.0028140724,0.59011406,0.017345,0.00006488085,0.00009953355,0.00013079021,0.24104151],"genre_scores_gemma":[0.6458183,0.07721335,0.0018859197,0.10261945,0.015298957,0.0001836147,0.000093186914,0.00031644848,0.15657084],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99813783,0.0010211443,0.000053045533,0.00019478987,0.00039233224,0.00020082353],"domain_scores_gemma":[0.9941334,0.0019229816,0.00032663744,0.00035549537,0.001483178,0.0017784062],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0056412476,0.00052085426,0.00024690968,0.0015910661,0.00903726,0.008899473,0.0006373118,0.0016394851,0.010445899],"category_scores_gemma":[0.0049576843,0.00024925344,0.00015916562,0.0012993068,0.015249094,0.011366867,0.0052293926,0.0049146404,0.0015290304],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008482606,0.00019496852,0.004035533,0.00038977287,0.000022602848,0.0004366844,0.26580903,0.000043217533,0.0034304124,0.26718158,0.2849665,0.17340481],"study_design_scores_gemma":[0.0000063334455,0.00005299693,0.0059228,0.0009172366,0.000020605748,0.00020762935,0.11555477,0.000081117905,0.000651686,0.01636199,0.86019087,0.00003193167],"about_ca_topic_score_codex":0.013161058,"about_ca_topic_score_gemma":0.02733005,"teacher_disagreement_score":0.013161058,"about_ca_system_score_codex":0.003001408,"about_ca_system_score_gemma":0.0050920458,"threshold_uncertainty_score":0.03494501},"labels":[],"label_agreement":null},{"id":"W2613908181","doi":"10.33178/alpha.6.11","title":"World Cinema on Demand: Film Distribution and Education in the Streaming Media Era (2013)","year":2013,"lang":"en","type":"article","venue":"Alphaville Journal of Film and Screen Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Arts and Humanities Research Council; Queen's University; Queen's University Belfast","keywords":"Movie theater; Queen (butterfly); Media studies; The arts; Video on demand; Consumption (sociology); Distribution (mathematics); Sociology; Advertising; Visual arts; Art; Multimedia; Business; Social science; Computer science","score_opus":0.017191490973834,"score_gpt":0.22618874183836293,"score_spread":0.20899725086452894,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2613908181","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.59508866,0.019182162,0.005146699,0.077258065,0.0009042331,0.00026138127,0.048105616,0.00017153486,0.25388166],"genre_scores_gemma":[0.90803754,0.008766868,0.002143002,0.0008220891,0.00049241894,0.00008753421,0.011689069,0.00005166726,0.06790986],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998247,0.000040192204,0.0000058255628,0.0000217451,0.00005779762,0.00004978177],"domain_scores_gemma":[0.99921787,0.00018975405,0.0001358818,0.000026095102,0.00021893442,0.00021146459],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006171006,0.00016189013,0.00011164936,0.0006856884,0.00042456252,0.0017926124,0.00030309995,0.00046139714,0.011835413],"category_scores_gemma":[0.0021291634,0.000121786805,0.000114670205,0.0019601348,0.0002860168,0.0016553907,0.00071825116,0.0006645762,0.00056564703],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00048853364,0.00022614008,0.115168996,0.00061171275,0.000051859417,0.00057436136,0.0044365665,0.0022877892,0.00057009654,0.053073995,0.489726,0.33278388],"study_design_scores_gemma":[0.00006200105,0.00012909614,0.61909956,0.0004408459,0.00007078507,0.00034466616,0.011950373,0.007537854,0.001167686,0.015345881,0.34380314,0.000048099824],"about_ca_topic_score_codex":0.12290726,"about_ca_topic_score_gemma":0.16298787,"teacher_disagreement_score":0.12290726,"about_ca_system_score_codex":0.0031685503,"about_ca_system_score_gemma":0.002064185,"threshold_uncertainty_score":0.2443837},"labels":[],"label_agreement":null},{"id":"W2615444893","doi":"","title":"The Feminine Peter Pan","year":2013,"lang":"en","type":"article","venue":"ScholarsArchive  (Brigham Young University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.01524057869139316,"score_gpt":0.1771333569290729,"score_spread":0.16189277823767972,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2615444893","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029405056,0.009090561,0.00479368,0.09375371,0.0040643625,0.00005181701,0.00022091845,0.00016410925,0.8584557],"genre_scores_gemma":[0.37119362,0.0050095287,0.0020343626,0.011868449,0.0016132856,0.00009028121,0.00006422713,0.00027812007,0.60784805],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985592,0.0007233579,0.00002714089,0.00030787304,0.00022006556,0.00016239991],"domain_scores_gemma":[0.99887353,0.00050556875,0.00012938616,0.00009169456,0.00014349126,0.00025630216],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012509456,0.00065952784,0.00019176526,0.00055275596,0.0048247078,0.004426682,0.00036517705,0.0013712608,0.024240848],"category_scores_gemma":[0.0035491197,0.00034919832,0.00015019343,0.0003443215,0.0059711076,0.0049083577,0.002993489,0.0037381556,0.0033115507],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000119894976,0.000027126214,0.001366394,0.00020089852,0.0000082826355,0.0007746093,0.07782803,0.00009550259,0.0018022156,0.58719844,0.27274683,0.057831705],"study_design_scores_gemma":[0.0000014059605,0.000012408735,0.0004686504,0.00008180679,0.0000012164453,0.00030718258,0.0051872744,0.000032390642,0.00024438795,0.003133192,0.9905235,0.0000065659515],"about_ca_topic_score_codex":0.0035864369,"about_ca_topic_score_gemma":0.0067576296,"teacher_disagreement_score":0.024240848,"about_ca_system_score_codex":0.0016668957,"about_ca_system_score_gemma":0.0011197793,"threshold_uncertainty_score":0.08109373},"labels":[],"label_agreement":null},{"id":"W2616219017","doi":"","title":"Julie Gemuend, Imprint (2014), Ryerson Image Center, Toronto, June 18 – July 13, 2014","year":2015,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Center (category theory)","score_opus":0.01461804489065549,"score_gpt":0.17409289134440759,"score_spread":0.1594748464537521,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2616219017","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004134521,0.029475199,0.0028060966,0.048353866,0.034289427,0.00019795704,0.0054389667,0.0020018087,0.87330216],"genre_scores_gemma":[0.0019124016,0.0025251491,0.000390601,0.000400041,0.00050004583,0.000010431469,0.00031662392,0.00013693476,0.99380773],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996884,0.000025947711,0.000007505731,0.00006021602,0.00014988847,0.000068016176],"domain_scores_gemma":[0.9991659,0.00006215141,0.000026770302,0.000026526306,0.00037913257,0.00033950355],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00063814083,0.0005265293,0.00028154242,0.00092573196,0.002678027,0.0029564127,0.0005326592,0.00082946714,0.49374005],"category_scores_gemma":[0.0013490854,0.0002615938,0.00014280638,0.0006906695,0.0005213033,0.0014148665,0.0014657562,0.0010576597,0.20127738],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009152181,0.0000061178725,0.000094300354,0.000018269193,6.2396407e-7,0.000016905718,0.000058226666,0.0000123368345,0.00009240475,0.00060996995,0.9801396,0.018942049],"study_design_scores_gemma":[0.0000014228623,0.0000040102664,0.0005138051,0.000033363078,0.0000011939931,0.000025446929,0.00016892685,0.000020288988,0.00012264916,0.00009163973,0.9990145,0.0000028735565],"about_ca_topic_score_codex":0.048361354,"about_ca_topic_score_gemma":0.25828007,"teacher_disagreement_score":0.49374005,"about_ca_system_score_codex":0.0028328705,"about_ca_system_score_gemma":0.002961788,"threshold_uncertainty_score":0.7221184},"labels":[],"label_agreement":null},{"id":"W261809476","doi":"10.1525/aft.2011.39.1-2.4","title":"“Instants of Truth”","year":2011,"lang":"en","type":"article","venue":"Afterimage","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Citation; Afterimage; Download; Computer science; Art; Information retrieval; World Wide Web; Artificial intelligence; Image (mathematics)","score_opus":0.06741184105618306,"score_gpt":0.2080694545368276,"score_spread":0.14065761348064454,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W261809476","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0073019234,0.007309113,0.0015895,0.032881033,0.016361726,0.00003697496,0.0003542839,0.00042390122,0.93374157],"genre_scores_gemma":[0.15061715,0.006707736,0.0017151696,0.005558144,0.0045075654,0.000041440086,0.00034659888,0.00068604824,0.82982016],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914134,0.00025776803,0.000021044301,0.0001116168,0.0003479389,0.000120306635],"domain_scores_gemma":[0.99925536,0.00016699683,0.000057840116,0.00013667397,0.00019430812,0.00018879598],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00079275586,0.0006216179,0.0002542051,0.0009755549,0.0040578707,0.008029382,0.0006530462,0.0015109177,0.12578985],"category_scores_gemma":[0.0029451838,0.000321348,0.00037186177,0.00083098165,0.0050441576,0.0048423777,0.0036648558,0.0031981252,0.018786618],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006990031,0.000018725417,0.00031002949,0.00014904999,0.000008293733,0.00024489517,0.0077037243,0.000048800048,0.00062010624,0.078221805,0.85883147,0.05377314],"study_design_scores_gemma":[0.000003340295,0.000012394922,0.00056869746,0.0001256945,0.0000041802973,0.00022264876,0.0038901556,0.000023138133,0.00020809649,0.0038877304,0.9910471,0.000006785435],"about_ca_topic_score_codex":0.0053803353,"about_ca_topic_score_gemma":0.013924414,"teacher_disagreement_score":0.12578985,"about_ca_system_score_codex":0.0032637136,"about_ca_system_score_gemma":0.0011550725,"threshold_uncertainty_score":0.42080897},"labels":[],"label_agreement":null},{"id":"W2618192848","doi":"","title":"The Pavilion of Finland at the 1900 World Fair in Paris, a selection in 32nd edition of the International Festival of Films on Art (Festival International du Film sur l’Art) held in Montreal, Canada.","year":2013,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pavilion; Art; Art history; Selection (genetic algorithm); Visual arts; Humanities; History; Archaeology; Computer science","score_opus":0.009350714371514064,"score_gpt":0.18249680474229493,"score_spread":0.17314609037078088,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2618192848","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06192872,0.15545581,0.0017938088,0.08173321,0.049846854,0.00013283342,0.0041975575,0.00022000339,0.64469105],"genre_scores_gemma":[0.28756732,0.028230185,0.0008172169,0.003840407,0.0056403857,0.000069759844,0.0012151056,0.00025374643,0.6723658],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996598,0.00006733855,0.00001038395,0.000066693625,0.00008759374,0.00010826879],"domain_scores_gemma":[0.99965584,0.00008537715,0.000026066658,0.00001239548,0.000069128655,0.00015118625],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00067631,0.00082644226,0.00030514578,0.0015132409,0.008078879,0.005472494,0.000675516,0.0016024406,0.019946273],"category_scores_gemma":[0.0015944276,0.00030504953,0.00038861422,0.0013498714,0.0016586524,0.0025203978,0.0010736382,0.0013781814,0.002084576],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000115508155,0.000017990023,0.0020813318,0.00024052325,0.000016011296,0.0008778501,0.022130704,0.00016169419,0.00034043333,0.034976743,0.90102786,0.0380134],"study_design_scores_gemma":[0.0000039487127,0.000012913197,0.011606178,0.000248685,0.0000062127538,0.00014379187,0.010321986,0.000022183895,0.00017334805,0.0014404244,0.97600687,0.0000135146],"about_ca_topic_score_codex":0.059035014,"about_ca_topic_score_gemma":0.25961575,"teacher_disagreement_score":0.940965,"about_ca_system_score_codex":0.005167746,"about_ca_system_score_gemma":0.004120067,"threshold_uncertainty_score":0.117382765},"labels":[],"label_agreement":null},{"id":"W2619099471","doi":"10.31390/gradschool_dissertations.4051","title":"Projected performances: the phenomenology of hybrid theater","year":2012,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Liveness; Aesthetics; Opera; Visual arts; Phenomenology (philosophy); Performing arts; Popularity; Projection (relational algebra); Film theory; Psychology; Computer science; Epistemology; Philosophy; Social psychology","score_opus":0.032958050540949184,"score_gpt":0.22986255940176087,"score_spread":0.19690450886081168,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2619099471","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6280098,0.0043524653,0.03715313,0.008319915,0.00060957286,0.00038116987,0.00030603554,0.00016509315,0.3207029],"genre_scores_gemma":[0.98576015,0.0010562402,0.0023452581,0.00037269946,0.00008229424,0.00012132942,0.00006236373,0.0000907188,0.010109057],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99516183,0.0036456983,0.000081383536,0.0003568691,0.0004132378,0.00034099194],"domain_scores_gemma":[0.99772304,0.0015595963,0.00015380081,0.00016878026,0.00012691066,0.00026791354],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027013728,0.0006713044,0.00045181214,0.001453469,0.008036213,0.0098758815,0.0018675198,0.0022028354,0.00398763],"category_scores_gemma":[0.0059025064,0.00047227403,0.0006613765,0.0012729429,0.028335085,0.009120266,0.008135314,0.003997695,0.0006403118],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003321734,0.000026798723,0.00053530734,0.00013833329,0.00000774614,0.0007445215,0.93816733,0.00019094472,0.0010161985,0.054680813,0.0012598182,0.0031989454],"study_design_scores_gemma":[0.000015274522,0.00008034908,0.0011807651,0.00036575252,0.000012567582,0.0015386918,0.8799746,0.00064301793,0.0008028248,0.01691622,0.09841654,0.000053249907],"about_ca_topic_score_codex":0.0030189739,"about_ca_topic_score_gemma":0.0030377556,"teacher_disagreement_score":0.0098758815,"about_ca_system_score_codex":0.0025053595,"about_ca_system_score_gemma":0.0012530766,"threshold_uncertainty_score":0.018177748},"labels":[],"label_agreement":null},{"id":"W2619425385","doi":"","title":"Martha Langford and John Langford, A Cold War Tourist and His Camera, McGill-Queen’s University Press, 2011, 196 p","year":2012,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queen (butterfly); Art; Art history; Cold war; Tourism; History; Media studies; Political science; Archaeology; Sociology; Law","score_opus":0.007685470425223361,"score_gpt":0.14212767881475605,"score_spread":0.1344422083895327,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2619425385","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001169419,0.6572274,0.0013421872,0.20711583,0.022692531,0.00003536901,0.00087717595,0.00023366575,0.10930642],"genre_scores_gemma":[0.010686496,0.23732868,0.0011379253,0.019245896,0.007829507,0.00004428616,0.0003894073,0.00025595605,0.7230819],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936527,0.00016785608,0.000029421572,0.00009357578,0.00025147095,0.0000923532],"domain_scores_gemma":[0.998389,0.00057246187,0.00009063512,0.00006510557,0.00056485645,0.00031784788],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011008804,0.0014474819,0.0006370458,0.0023870755,0.004082783,0.006386121,0.0010742019,0.004354056,0.053260423],"category_scores_gemma":[0.0034599234,0.0008095237,0.00034644626,0.0027465366,0.0022770686,0.0063041463,0.0017816917,0.0031052495,0.02088877],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008576237,0.000004245994,0.00008699666,0.00007467451,0.0000021834674,0.000024175111,0.00037054345,0.00002196836,0.00003023359,0.0021213726,0.98046106,0.01679398],"study_design_scores_gemma":[0.0000027931153,0.000002889338,0.00088460214,0.00017547449,0.0000030698118,0.000059109876,0.0011844421,0.00003043743,0.000042220927,0.0011180473,0.9964882,0.0000086525815],"about_ca_topic_score_codex":0.14201003,"about_ca_topic_score_gemma":0.4014522,"teacher_disagreement_score":0.14201003,"about_ca_system_score_codex":0.0046965578,"about_ca_system_score_gemma":0.0043791006,"threshold_uncertainty_score":0.28236687},"labels":[],"label_agreement":null},{"id":"W2619533724","doi":"","title":"Research guides: CIN374: American Cinema of the Studio Era: Primary Sources: Other Toronto Libraries (TIFF, TPL)","year":2017,"lang":"en","type":"libguides","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Studio; Movie theater; Visual arts; Art; Media studies; Sociology","score_opus":0.08244258130221845,"score_gpt":0.30373596051774465,"score_spread":0.22129337921552622,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2619533724","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007562181,0.0018947809,0.00044380242,0.0018383646,0.00062495243,0.00023278045,0.1282549,0.0020889454,0.8638652],"genre_scores_gemma":[0.003780969,0.0017339211,0.00069041236,0.00023577808,0.00028749558,0.00023846135,0.03852032,0.0017031421,0.9528096],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99899024,0.00012516599,0.000059959613,0.00014468351,0.0005212102,0.00015870885],"domain_scores_gemma":[0.98783976,0.001345188,0.0004542491,0.0006160205,0.007605388,0.0021394398],"candidate_categories":["scholarly_communication","insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0014084384,0.0011382212,0.0007330362,0.01048173,0.0034814319,0.007834266,0.0013996343,0.0013919531,0.7426186],"category_scores_gemma":[0.009795602,0.000869599,0.00033481728,0.016659414,0.0008002887,0.004010057,0.0026014762,0.0014198459,0.48674121],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009829246,0.000007944934,0.00019171045,0.00014626865,7.041652e-7,0.0000064432147,0.00013038643,0.000019009134,0.000019462259,0.0010510184,0.97945374,0.01896342],"study_design_scores_gemma":[0.0000043272494,0.0000052358473,0.002924294,0.00027778884,0.000002286173,0.000014247746,0.00041017076,0.000038465758,0.00009753183,0.00045655027,0.9957632,0.00000597202],"about_ca_topic_score_codex":0.20449063,"about_ca_topic_score_gemma":0.42211595,"teacher_disagreement_score":0.99216574,"about_ca_system_score_codex":0.008209996,"about_ca_system_score_gemma":0.018349476,"threshold_uncertainty_score":0.4066007},"labels":[],"label_agreement":null},{"id":"W2620154450","doi":"","title":"Rapidement et simplement / Vicky Cristina Barcelona de Woody Allen","year":2008,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Gerontology; Humanities; Art; Medicine","score_opus":0.05875195174062955,"score_gpt":0.26545913496214696,"score_spread":0.2067071832215174,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2620154450","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006501132,0.36699438,0.0019538628,0.32656732,0.0495008,0.000028171722,0.0002747768,0.00021454117,0.24796505],"genre_scores_gemma":[0.07454671,0.092067845,0.001383797,0.021029847,0.017337624,0.000040543695,0.00013557164,0.00034324673,0.7931148],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938095,0.00024142924,0.000014663162,0.000127135,0.00016305802,0.000072702955],"domain_scores_gemma":[0.99892944,0.00041863314,0.00006953899,0.00006992703,0.00030728866,0.00020516488],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013766715,0.0006548024,0.00032998313,0.000862422,0.001945069,0.0049362355,0.00050022907,0.0023120388,0.02492931],"category_scores_gemma":[0.0035563363,0.00034653035,0.00020876263,0.0005147929,0.0014165632,0.002894527,0.0017515412,0.0032371217,0.0058940044],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005898882,0.00002236914,0.00027427054,0.000120093326,0.0000054501525,0.00009621476,0.0011050171,0.000099066754,0.00027337065,0.09691268,0.838079,0.06295365],"study_design_scores_gemma":[0.0000030758965,0.0000047856033,0.00040762557,0.00012877514,0.000001927733,0.000063823565,0.00038050362,0.00004902444,0.00008617188,0.0032319634,0.9956365,0.0000058591286],"about_ca_topic_score_codex":0.019258538,"about_ca_topic_score_gemma":0.02383257,"teacher_disagreement_score":0.02492931,"about_ca_system_score_codex":0.002461763,"about_ca_system_score_gemma":0.00135133,"threshold_uncertainty_score":0.08339685},"labels":[],"label_agreement":null},{"id":"W2620681470","doi":"10.3366/film.2017.0045","title":"Fearsome Acts of Interpretation: Audiovisual Historiography, Film Theory and<i>Gangs of New York</i>","year":2017,"lang":"en","type":"article","venue":"Film-Philosophy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Interpretation (philosophy); Epistemology; Historiography; Metaphor; Film studies; Meaning (existential); Filmmaking; Hermeneutics; Sociology; Field (mathematics); Film theory; Aesthetics; History; Philosophy; Art history; Archaeology","score_opus":0.04296738457035714,"score_gpt":0.24507580181760233,"score_spread":0.20210841724724518,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2620681470","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30274957,0.019699302,0.005893195,0.04909789,0.0012907053,0.00009349909,0.000095762545,0.000077999546,0.6210021],"genre_scores_gemma":[0.9689482,0.0022683777,0.0005077314,0.00080491527,0.00023168873,0.00005697917,0.000022970851,0.00004596767,0.027113082],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99836534,0.0010771018,0.000028886489,0.0001560764,0.00017508624,0.00019752969],"domain_scores_gemma":[0.9973053,0.0019730302,0.0002834203,0.0001338008,0.000122054946,0.00018232534],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019501909,0.00046982034,0.00028944662,0.0025374396,0.010111228,0.010193185,0.0011948729,0.0018643608,0.006526539],"category_scores_gemma":[0.0054303985,0.00028268178,0.00013674253,0.0019916839,0.036279812,0.007978894,0.004919856,0.0035288355,0.00027904887],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020433718,0.000018442079,0.00072361616,0.000058352365,0.0000029673454,0.00020670198,0.45518655,0.00008342376,0.000088616995,0.5291392,0.006168851,0.008302913],"study_design_scores_gemma":[0.00002877983,0.000031398813,0.002128515,0.0005944982,0.000013337281,0.00032298022,0.48781663,0.0006877096,0.0003774794,0.11665277,0.39131597,0.000030003102],"about_ca_topic_score_codex":0.05503478,"about_ca_topic_score_gemma":0.07340149,"teacher_disagreement_score":0.05503478,"about_ca_system_score_codex":0.013103236,"about_ca_system_score_gemma":0.002850975,"threshold_uncertainty_score":0.10942888},"labels":[],"label_agreement":null},{"id":"W2620803763","doi":"10.15173/mjc.v8i0.262","title":"The Politics of Transparency","year":2013,"lang":"en","type":"article","venue":"The McMaster Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Aurora College; University of Toronto","funders":"","keywords":"Spectacle; Transparency (behavior); Politics; Sociology; Aesthetics; Ideology; Framing (construction); Political science; Media studies; Law; Law and economics; Art; History","score_opus":0.04237721645524205,"score_gpt":0.23561949624974488,"score_spread":0.1932422797945028,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2620803763","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04477783,0.007814448,0.021023018,0.12340868,0.0012848141,0.00004289916,0.00010704634,0.00011599588,0.80142534],"genre_scores_gemma":[0.9695173,0.0017559078,0.001972961,0.0054636253,0.0007978792,0.0000510252,0.000023591956,0.000081379556,0.020336235],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9865745,0.0080448855,0.0003147628,0.0012985322,0.0027496403,0.0010177317],"domain_scores_gemma":[0.9779915,0.015171316,0.0023865,0.0023263895,0.0014005158,0.0007236605],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007609433,0.0004297503,0.00028933157,0.001566847,0.0075252997,0.013400785,0.00074188085,0.003924087,0.006783484],"category_scores_gemma":[0.025309764,0.0003521815,0.00041951973,0.0014728913,0.032700423,0.012866067,0.007233144,0.006955633,0.00080221205],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011344911,0.000005365702,0.00030505835,0.000026949263,0.0000048040124,0.00005309882,0.0064223516,0.000116334304,0.00017763936,0.98496175,0.0029056326,0.005009636],"study_design_scores_gemma":[0.000018636027,0.000027307035,0.0009649122,0.00024749842,0.000012924665,0.00015615024,0.0051682345,0.00036273553,0.0007050144,0.71930337,0.273005,0.000028215072],"about_ca_topic_score_codex":0.0036296248,"about_ca_topic_score_gemma":0.0021495833,"teacher_disagreement_score":0.013400785,"about_ca_system_score_codex":0.006085679,"about_ca_system_score_gemma":0.0037571928,"threshold_uncertainty_score":0.044154882},"labels":[],"label_agreement":null},{"id":"W2622464327","doi":"10.1093/fs/knx118","title":"<i>Cirque global: Quebec’s Expanding Circus Boundaries</i> . Edited by L <scp>ouis</scp> P <scp>atrick</scp> L <scp>eroux</scp> and C <scp>harles</scp> R. B <scp>atson</scp> <i>Cirque global: Quebec’s Expanding Circus Boundaries</i> . Edited by LerouxLouis Patrick and BatsonCharles R.. Montreal: McGill-Queen’s University Press, 2016. xxxi + 363 pp., ill.","year":2017,"lang":"en","type":"article","venue":"French Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cirque; The arts; Art; State (computer science); Media studies; Visual arts; Art history; Humanities; Sociology; Geography","score_opus":0.016563056241479305,"score_gpt":0.22960351566442133,"score_spread":0.21304045942294203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2622464327","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0024697473,0.33440647,0.0013930148,0.048516314,0.033600893,0.00011020226,0.010524219,0.0008661642,0.56811297],"genre_scores_gemma":[0.013951499,0.06742174,0.001018395,0.004857914,0.0014979905,0.00006157413,0.003989138,0.000636282,0.90656537],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999451,0.000042491407,0.000016581622,0.00006875226,0.00030219564,0.0001190196],"domain_scores_gemma":[0.99927586,0.000057021236,0.00003372094,0.000033716504,0.00039070332,0.00020899913],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00055321166,0.0016225553,0.0005607562,0.0022470828,0.0046519404,0.0073820762,0.001407002,0.0017757973,0.12613946],"category_scores_gemma":[0.00095705956,0.00071451097,0.00060050975,0.00508784,0.0021326514,0.0034514891,0.001885182,0.0027979878,0.03559327],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006203045,0.0000049319247,0.00015995653,0.00011348632,0.0000022156757,0.00003449495,0.00042428623,0.000060380804,0.000102541504,0.0031127206,0.9687959,0.027182832],"study_design_scores_gemma":[9.466179e-7,0.0000010382236,0.0007174293,0.00012336267,8.758392e-7,0.00002082949,0.0003162898,0.000012711711,0.000021523134,0.0001800775,0.9985997,0.0000051747475],"about_ca_topic_score_codex":0.92679787,"about_ca_topic_score_gemma":0.9739973,"teacher_disagreement_score":0.12613946,"about_ca_system_score_codex":0.028859926,"about_ca_system_score_gemma":0.04592351,"threshold_uncertainty_score":0.42197853},"labels":[],"label_agreement":null},{"id":"W2622610427","doi":"","title":"Video Painting: A Hybrid Between the Still and the Moving Image","year":2007,"lang":"en","type":"article","venue":"Scientific Repository of Open Access of Portugal (RCAAP)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Painting; Portrait; Video art; Visual arts; Art; Presentation (obstetrics); Narrative; Still life; German; Computer science; Art history; History; Literature; Performance art","score_opus":0.04940376742455279,"score_gpt":0.308275702978268,"score_spread":0.25887193555371524,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2622610427","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07305429,0.009141314,0.077000596,0.011076042,0.0036501582,0.00025215457,0.00044793673,0.0011052839,0.82427216],"genre_scores_gemma":[0.60581225,0.009275961,0.07393429,0.004720401,0.0024988633,0.00030920366,0.0006243903,0.0013438709,0.30148086],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992223,0.00026198488,0.000016649192,0.00011726425,0.00027759396,0.00010420164],"domain_scores_gemma":[0.99960345,0.00015354747,0.000022283923,0.000075587974,0.000044818145,0.00010029759],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00092229486,0.00053452014,0.00018182074,0.00092683337,0.0019531632,0.0059730527,0.0007703409,0.0009975709,0.018378247],"category_scores_gemma":[0.0014087483,0.00020948084,0.00045200507,0.0006173036,0.0043187723,0.0035143595,0.0037085582,0.0014596727,0.0017729781],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003068145,0.00011789819,0.0011583918,0.0010299964,0.00006024068,0.0019026544,0.07547362,0.0011162435,0.034259614,0.48681137,0.14916876,0.24859439],"study_design_scores_gemma":[0.000029573377,0.00013884122,0.0021071355,0.00034874564,0.000021294974,0.0021788864,0.0105979545,0.00056781154,0.0026257946,0.013465252,0.9678724,0.000046231944],"about_ca_topic_score_codex":0.0017885145,"about_ca_topic_score_gemma":0.0030570957,"teacher_disagreement_score":0.018378247,"about_ca_system_score_codex":0.00083532266,"about_ca_system_score_gemma":0.0005181837,"threshold_uncertainty_score":0.061481416},"labels":[],"label_agreement":null},{"id":"W2624440178","doi":"","title":"Les Yeux noirs — Canada [Québec] 2011, 14 minutes","year":2011,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Demography; Geography; Psychology; Sociology","score_opus":0.016737585008432778,"score_gpt":0.14222973812864367,"score_spread":0.1254921531202109,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2624440178","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0063502933,0.25412065,0.0007444004,0.07022798,0.07674322,0.00048625466,0.18657158,0.0010290144,0.40372664],"genre_scores_gemma":[0.020576552,0.04504455,0.0006502453,0.004816797,0.0051055937,0.0002893252,0.02346707,0.00037752223,0.8996723],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991855,0.00004585226,0.000045271587,0.00013476703,0.0003544518,0.00023410546],"domain_scores_gemma":[0.99883837,0.0000632767,0.000075144155,0.000042448635,0.0007107738,0.00027005177],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008753451,0.0017799743,0.0010243815,0.0020279323,0.0064643137,0.0057692872,0.0012570297,0.0034869732,0.11633076],"category_scores_gemma":[0.0024042604,0.0008017683,0.0007690877,0.007048741,0.00093150686,0.0017565079,0.0015515574,0.0028347839,0.028650044],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030059973,0.000006112945,0.00034762433,0.00011028751,0.0000058082715,0.000036366153,0.00007275621,0.000077931945,0.000036934962,0.00049536256,0.9926555,0.006125279],"study_design_scores_gemma":[0.000009781313,0.000003648156,0.0059779054,0.00023476248,0.0000066705043,0.000013075206,0.00021349167,0.000034067187,0.00003959702,0.000103757004,0.9933515,0.000011785796],"about_ca_topic_score_codex":0.9548655,"about_ca_topic_score_gemma":0.98953944,"teacher_disagreement_score":0.11633076,"about_ca_system_score_codex":0.030225374,"about_ca_system_score_gemma":0.031214872,"threshold_uncertainty_score":0.38916516},"labels":[],"label_agreement":null},{"id":"W2624913900","doi":"","title":"Youth filmmaking in canada","year":2014,"lang":"en","type":"article","venue":"YA Hotline","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Dalhousie University","funders":"","keywords":"Filmmaking; Political science; Visual arts; Art; Movie theater","score_opus":0.032532595990599204,"score_gpt":0.19154778367019745,"score_spread":0.15901518767959824,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2624913900","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35107517,0.03512369,0.0009465235,0.018483207,0.0021418,0.00032149712,0.045530293,0.00050853024,0.5458693],"genre_scores_gemma":[0.74258405,0.030196153,0.0017789165,0.0018252517,0.00024590708,0.000086481356,0.012908259,0.00031165875,0.21006334],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99894685,0.000058051948,0.000023996037,0.000086963315,0.00044802015,0.0004361135],"domain_scores_gemma":[0.9971706,0.00013454363,0.00013124644,0.000039102597,0.0013554696,0.0011690118],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00070911576,0.00038808442,0.0003220663,0.0037306796,0.009042146,0.0047597107,0.00079453696,0.0004355469,0.032175075],"category_scores_gemma":[0.002050847,0.00028528174,0.00030426212,0.0076678083,0.00092993275,0.0007480515,0.0012236853,0.0011016278,0.0015526452],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028366782,0.00014116662,0.05241386,0.0010934789,0.00007500741,0.0016920626,0.03421786,0.0005403715,0.0015903477,0.034243003,0.62523425,0.24847499],"study_design_scores_gemma":[0.000016058384,0.000025645104,0.14736485,0.00060239277,0.00002715035,0.0002133973,0.03459299,0.00022749174,0.00047967254,0.00038887953,0.81601715,0.00004433431],"about_ca_topic_score_codex":0.9940906,"about_ca_topic_score_gemma":0.99766624,"teacher_disagreement_score":0.04413395,"about_ca_system_score_codex":0.04413395,"about_ca_system_score_gemma":0.086971566,"threshold_uncertainty_score":0.3202157},"labels":[],"label_agreement":null},{"id":"W2624945039","doi":"10.1525/fq.2017.70.4.93","title":"John Berger of the Haute-Savoie","year":2017,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Download; Citation; White (mutation); Library science; Art; Art history; Citation database; World Wide Web; Computer science; Political science","score_opus":0.028945451223655078,"score_gpt":0.22218781608692936,"score_spread":0.19324236486327429,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2624945039","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0075148265,0.07001889,0.00031773062,0.053201217,0.017141152,0.000048383143,0.00034316885,0.00013857688,0.851276],"genre_scores_gemma":[0.042915847,0.015221096,0.00032792706,0.0027219718,0.0012829805,0.00001744376,0.00013356132,0.00010649635,0.93727267],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939764,0.000096974916,0.000013152244,0.00010413419,0.00026440728,0.00012373012],"domain_scores_gemma":[0.99919003,0.00009385642,0.000031996384,0.000030969284,0.000262716,0.00039027934],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057977194,0.00036207418,0.0002747822,0.00066243473,0.0034017344,0.0037763948,0.0003904877,0.0010847754,0.13153341],"category_scores_gemma":[0.002123147,0.0002452577,0.00014531879,0.00042021475,0.000974833,0.0018147867,0.002041587,0.0018808615,0.018054912],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003078521,0.000021227406,0.0007143827,0.00014492388,0.0000049270097,0.00035748613,0.0026594794,0.000026268279,0.00038948623,0.01984331,0.92457306,0.051234625],"study_design_scores_gemma":[9.229515e-7,0.0000031729953,0.0005159139,0.00006493322,6.3224195e-7,0.00007742115,0.00049597875,0.000005697791,0.00004001126,0.00016337637,0.9986304,0.0000016137443],"about_ca_topic_score_codex":0.06901187,"about_ca_topic_score_gemma":0.1392585,"teacher_disagreement_score":0.13153341,"about_ca_system_score_codex":0.0024204245,"about_ca_system_score_gemma":0.0029918076,"threshold_uncertainty_score":0.44002312},"labels":[],"label_agreement":null},{"id":"W2625143150","doi":"","title":"Ottawa International Animation Festival : Une sélection plus joyeuse, de belles rencontres et une exploration du long métrage animé","year":2010,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Geography","score_opus":0.012150395390297318,"score_gpt":0.18904151119056378,"score_spread":0.17689111580026645,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2625143150","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07506748,0.08942783,0.005559365,0.21359418,0.12855476,0.0005751962,0.022251226,0.0013146879,0.46365526],"genre_scores_gemma":[0.17863631,0.013379171,0.003393081,0.0053488105,0.009057376,0.00021212286,0.004036131,0.001178633,0.7847583],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980414,0.0003199695,0.00007411467,0.00021248886,0.0007902391,0.0005618098],"domain_scores_gemma":[0.9939281,0.0005553866,0.00021399566,0.00034963715,0.0017794825,0.003173334],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028841607,0.0013210891,0.0008006964,0.003377996,0.013355111,0.013404064,0.0010644828,0.002255657,0.07553716],"category_scores_gemma":[0.005160255,0.0006859027,0.0006298651,0.0034380779,0.0034592722,0.002997441,0.0043280977,0.0035069645,0.0075826254],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024268561,0.00004009431,0.0018127676,0.00021692377,0.000030390614,0.00017198027,0.0039999215,0.00018823115,0.0010098303,0.014650974,0.95324266,0.024393538],"study_design_scores_gemma":[0.000008106523,0.000015459807,0.0045743347,0.000100606805,0.000009487741,0.00003540767,0.0021731942,0.000044557954,0.00016760566,0.00033627916,0.99251115,0.000023779361],"about_ca_topic_score_codex":0.53003275,"about_ca_topic_score_gemma":0.85544276,"teacher_disagreement_score":0.46996725,"about_ca_system_score_codex":0.01714822,"about_ca_system_score_gemma":0.018210365,"threshold_uncertainty_score":0.94547},"labels":[{"model":"gemma","categories":[],"domain":null,"study_design":"not_applicable","genre":"other","about_ca_system":false,"about_ca_topic":true,"confidence":"low"},{"model":"gpt","categories":[],"domain":null,"study_design":"not_applicable","genre":"commentary","about_ca_system":false,"about_ca_topic":false,"confidence":"medium"}],"label_agreement":"agree"},{"id":"W2625384994","doi":"","title":"Issue #1 - October 2016","year":2016,"lang":"en","type":"article","venue":"Pro Tem","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The arts; Entertainment; Art history; Art; Visual arts; Club; Media studies; Humanities; Officer; Library science; Sociology; Political science; Medicine; Law; Computer science","score_opus":0.0332240017416787,"score_gpt":0.22785688438496796,"score_spread":0.19463288264328926,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2625384994","genre_codex":"editorial","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005310283,0.015540021,0.00044405673,0.035190325,0.5252489,0.00028897557,0.0027685664,0.00057432894,0.41941378],"genre_scores_gemma":[0.0015552782,0.0067548766,0.00017729435,0.0063743056,0.056211397,0.00008991672,0.0014044432,0.000301928,0.9271307],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983753,0.00018467932,0.00012661284,0.00019969816,0.0008554553,0.00025815322],"domain_scores_gemma":[0.9938074,0.0005386497,0.0003482485,0.00035776527,0.0031211928,0.0018266494],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0021733823,0.001660781,0.0012802082,0.0022231352,0.0015388913,0.008637961,0.0017379366,0.00269201,0.5484708],"category_scores_gemma":[0.008170541,0.00049104437,0.0009171807,0.0015152242,0.0006950801,0.0036313944,0.0024522778,0.002650507,0.45465013],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019368903,0.000014065707,0.000056928697,0.00012207318,0.0000018260928,0.00002109639,0.0000075868375,0.000011115944,0.000048405385,0.0003663261,0.9808353,0.018495811],"study_design_scores_gemma":[0.0000068480194,0.0000130382705,0.00034963092,0.00018607899,0.0000015828837,0.00002699491,0.00003234573,0.00001485293,0.00003899412,0.00019080481,0.99913543,0.0000034204409],"about_ca_topic_score_codex":0.00237216,"about_ca_topic_score_gemma":0.0064431066,"teacher_disagreement_score":0.4515292,"about_ca_system_score_codex":0.0020664511,"about_ca_system_score_gemma":0.0029503678,"threshold_uncertainty_score":0.64405155},"labels":[],"label_agreement":null},{"id":"W2625595716","doi":"10.1093/oxfordhb/9780199757640.013.034","title":"The Sonic Summons","year":2013,"lang":"en","type":"reference-entry","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Ontario College of Art and Design","funders":"","keywords":"Summons; Confession (law); Movie theater; Focus (optics); Metaphysics; Sound (geography); Art; Art history; Aesthetics; Sociology; Philosophy; History; Epistemology; Law; Acoustics; Political science","score_opus":0.0475092052398493,"score_gpt":0.2294577234071414,"score_spread":0.1819485181672921,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2625595716","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005600971,0.007734513,0.0026361663,0.02203847,0.009991331,0.000051156952,0.00043625294,0.0002226964,0.95128846],"genre_scores_gemma":[0.13081326,0.007968695,0.002534867,0.005834174,0.0051294453,0.00010983543,0.00059418,0.0004369542,0.84657866],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987342,0.00029402305,0.000054653192,0.00022188522,0.00047172984,0.00022361887],"domain_scores_gemma":[0.99856025,0.00042881496,0.00007711374,0.00021024032,0.00033969322,0.00038385866],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014537291,0.0008323118,0.00039280643,0.0020745392,0.004829625,0.010276863,0.0011004123,0.0019738653,0.092171796],"category_scores_gemma":[0.0047786636,0.00033748487,0.00044261367,0.0013995722,0.0035131122,0.005050537,0.00626654,0.0036233875,0.019291107],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000117335774,0.000055656492,0.00065312086,0.00024836586,0.000010097768,0.00023015882,0.010632087,0.00010375536,0.0007890713,0.47963166,0.3724625,0.13506617],"study_design_scores_gemma":[0.0000034617171,0.000014921305,0.0004337352,0.00014235191,0.0000026942148,0.00007907248,0.0018733974,0.000036690395,0.00017089465,0.009725738,0.98751116,0.000005924619],"about_ca_topic_score_codex":0.0034062185,"about_ca_topic_score_gemma":0.007154482,"teacher_disagreement_score":0.092171796,"about_ca_system_score_codex":0.0027545844,"about_ca_system_score_gemma":0.001827917,"threshold_uncertainty_score":0.30834538},"labels":[],"label_agreement":null},{"id":"W2626102175","doi":"","title":"À découvrir… / Canada [Québec] 2000, 79 min","year":2001,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Work (physics); Physics; Thermodynamics","score_opus":0.007267111611116326,"score_gpt":0.14030339939815534,"score_spread":0.13303628778703902,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2626102175","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0048675155,0.034805797,0.0010474657,0.016014736,0.008029521,0.000292798,0.03653862,0.00074683223,0.8976568],"genre_scores_gemma":[0.005637124,0.0038486305,0.00030903003,0.0007495768,0.00019894754,0.000045022796,0.0018485701,0.00015576574,0.98720723],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995115,0.000028848364,0.000026752403,0.00012536524,0.00017493503,0.00013254702],"domain_scores_gemma":[0.9993044,0.00002901094,0.00002943864,0.000036389745,0.0004934393,0.00010735968],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057943305,0.0012905932,0.0006524489,0.0017081724,0.0057576937,0.0047900816,0.0011008625,0.0021019503,0.2863272],"category_scores_gemma":[0.0013524507,0.0005675829,0.0005172387,0.0048043556,0.00080511405,0.0015424796,0.0009160095,0.0019274555,0.055000357],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005590449,0.000017550878,0.0007836643,0.00012912082,0.000012580579,0.00010849436,0.00015490761,0.00017023756,0.0001903587,0.005966419,0.9614435,0.030967325],"study_design_scores_gemma":[0.000008142895,0.000003950126,0.0034382439,0.000078004865,0.0000044200306,0.000017088396,0.000107030464,0.00005811847,0.00008922592,0.0002342972,0.9959532,0.000008365591],"about_ca_topic_score_codex":0.9596696,"about_ca_topic_score_gemma":0.98645014,"teacher_disagreement_score":0.2863272,"about_ca_system_score_codex":0.02659886,"about_ca_system_score_gemma":0.02262146,"threshold_uncertainty_score":0.95785993},"labels":[],"label_agreement":null},{"id":"W2626439002","doi":"10.26522/vp.v14i1.1562","title":"Lavigne, Mishka. Cinéma","year":2017,"lang":"fr","type":"article","venue":"Voix Plurielles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.028933117327115405,"score_gpt":0.24150806125095237,"score_spread":0.21257494392383697,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2626439002","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031301887,0.3136708,0.0019029059,0.04243828,0.01862971,0.000031772175,0.0018529914,0.001095183,0.6172482],"genre_scores_gemma":[0.049391504,0.097786374,0.0013815506,0.004652357,0.00802511,0.000060057966,0.00065047544,0.0007079967,0.83734465],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999689,0.00007891283,0.000014954522,0.0000817731,0.00009784868,0.000037658177],"domain_scores_gemma":[0.99935776,0.00027868713,0.000053892174,0.000052942625,0.00012426784,0.00013246105],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003658876,0.0009923833,0.000488656,0.0025514623,0.0013550881,0.003974223,0.00058310945,0.0020576946,0.30780405],"category_scores_gemma":[0.0018837211,0.00028727116,0.00018444273,0.0024489742,0.00073773187,0.0031681077,0.001467008,0.0014656815,0.13208926],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042989315,0.000023070992,0.00024296665,0.00040257713,0.0000060038897,0.000102279366,0.00070799876,0.000057311507,0.00019770047,0.01867141,0.76507354,0.21447216],"study_design_scores_gemma":[0.000004774504,0.000009247834,0.0007529361,0.0001545791,0.0000029173293,0.00018667756,0.0003351673,0.00004090766,0.000053872922,0.0015447516,0.9969098,0.0000044087046],"about_ca_topic_score_codex":0.0062193763,"about_ca_topic_score_gemma":0.012124829,"teacher_disagreement_score":0.30780405,"about_ca_system_score_codex":0.0007216047,"about_ca_system_score_gemma":0.00046805138,"threshold_uncertainty_score":0.98733354},"labels":[],"label_agreement":null},{"id":"W2626682359","doi":"","title":"Canada's Best Features: Critical Essays on 15 Canadian Films","year":2002,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":10,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.02592870769459785,"score_gpt":0.2055919833893708,"score_spread":0.17966327569477294,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2626682359","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.060619157,0.05127354,0.000803513,0.1707972,0.0071253967,0.00013113143,0.0017668691,0.000101608624,0.7073816],"genre_scores_gemma":[0.57830584,0.032432545,0.0011938687,0.017285423,0.0019351734,0.000088516266,0.000569464,0.0002633648,0.36792576],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978224,0.00020906447,0.00004213127,0.00016104027,0.0010291996,0.0007362565],"domain_scores_gemma":[0.99486756,0.0010357205,0.00016873692,0.00011008188,0.0030981353,0.00071971247],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017204932,0.0007800574,0.0003419746,0.004401776,0.02596674,0.013475278,0.0013597026,0.0031379042,0.018033555],"category_scores_gemma":[0.009670509,0.0003979994,0.0003737689,0.0064474884,0.005435005,0.0028034532,0.0018095113,0.00364178,0.00078046456],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000061977844,0.000027500719,0.0013661438,0.0002530712,0.000017368588,0.00036604144,0.04346371,0.00016537106,0.00042824753,0.14477763,0.7741686,0.034904275],"study_design_scores_gemma":[0.0000055509295,0.000004408047,0.004982443,0.00034935315,0.00002051721,0.00006912834,0.042434573,0.00005684417,0.0003337806,0.0026938855,0.94901764,0.000031908683],"about_ca_topic_score_codex":0.9823485,"about_ca_topic_score_gemma":0.9937158,"teacher_disagreement_score":0.10228796,"about_ca_system_score_codex":0.10228796,"about_ca_system_score_gemma":0.08866926,"threshold_uncertainty_score":0.7421546},"labels":[],"label_agreement":null},{"id":"W263042989","doi":"10.3138/cjfs.19.1.20","title":"“One Single Mystery of Persons and Objects”: The Erotics of Fragmentation in au Hasard Balthazar","year":2010,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Philosophy; Humanities; Art","score_opus":0.05776256371953013,"score_gpt":0.24341133427524939,"score_spread":0.18564877055571927,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W263042989","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11362109,0.02483355,0.01944971,0.054946724,0.0009061481,0.000062590705,0.000059530954,0.00008632238,0.7860344],"genre_scores_gemma":[0.93079704,0.0044052894,0.0022615085,0.0025262323,0.00026916066,0.000058114834,0.000028276865,0.00009326015,0.059561174],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973266,0.0018242482,0.00004282809,0.00025757775,0.0002852935,0.00026339502],"domain_scores_gemma":[0.99902475,0.0005246179,0.00009166602,0.00010991765,0.00012704062,0.00012195387],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018604888,0.00042399263,0.00035997952,0.001157472,0.0074432557,0.0068675103,0.0006950066,0.0016740145,0.004855288],"category_scores_gemma":[0.0030703067,0.0002482959,0.00022366275,0.0010012783,0.032209318,0.008133798,0.004043491,0.0028616157,0.00069239154],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001540652,0.000006534166,0.00017726382,0.000025221467,0.000001574387,0.00010432028,0.10916742,0.000038896746,0.00013109599,0.8808332,0.004286983,0.0052122325],"study_design_scores_gemma":[0.00001631371,0.000035823123,0.0016775014,0.00035126007,0.000011693525,0.0006735356,0.097920135,0.00034106482,0.00041416584,0.25871,0.6398228,0.000025867448],"about_ca_topic_score_codex":0.02045924,"about_ca_topic_score_gemma":0.014920815,"teacher_disagreement_score":0.02045924,"about_ca_system_score_codex":0.005424159,"about_ca_system_score_gemma":0.0017827929,"threshold_uncertainty_score":0.04068029},"labels":[],"label_agreement":null},{"id":"W2653843206","doi":"","title":"Lauzon, Lauzone : le cinéma anthropophage / Lauzon, Lauzone, Canada [Québec] 2000, 89 minutes","year":2001,"lang":"fr","type":"article","venue":"Séquences : la revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography","score_opus":0.014730170543140682,"score_gpt":0.21033047473148186,"score_spread":0.19560030418834118,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2653843206","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0034062858,0.3045003,0.0016119528,0.03094303,0.048752382,0.0003391003,0.032056104,0.0015917302,0.5767992],"genre_scores_gemma":[0.008850421,0.033263613,0.00055167964,0.0009792215,0.0022380792,0.00010026511,0.00412629,0.00054943206,0.949341],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999421,0.00006103292,0.000029727145,0.00010217163,0.00026015082,0.00012581247],"domain_scores_gemma":[0.99914646,0.00009043172,0.000049386428,0.000040073992,0.00046438543,0.00020916667],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00076985836,0.0026175678,0.0011330114,0.0025630349,0.00558709,0.0059599304,0.0012283899,0.0025556134,0.26267764],"category_scores_gemma":[0.0019745692,0.0007786204,0.000495978,0.0065876245,0.0012235454,0.002634454,0.0014368738,0.0021434838,0.06732325],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020191332,0.0000045556985,0.000101370344,0.000083698236,0.0000022954114,0.000020986292,0.00012124924,0.000068017056,0.00007364637,0.0007616612,0.9859958,0.01274653],"study_design_scores_gemma":[0.000005210246,0.0000029615094,0.001559429,0.00015903954,0.0000025163429,0.000016921575,0.00020885884,0.000046198253,0.000045998266,0.00012499918,0.9978225,0.000005269346],"about_ca_topic_score_codex":0.83154815,"about_ca_topic_score_gemma":0.9432413,"teacher_disagreement_score":0.26267764,"about_ca_system_score_codex":0.017214665,"about_ca_system_score_gemma":0.012540745,"threshold_uncertainty_score":0.87874424},"labels":[],"label_agreement":null},{"id":"W265694250","doi":"","title":"In Transit: Kelly Reichardt's Meek's Cutoff","year":2011,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Style (visual arts); Narrative; Art; History; Performance art; Visual arts; Literature","score_opus":0.06618074042931184,"score_gpt":0.21664723332768648,"score_spread":0.15046649289837466,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W265694250","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08657194,0.00730993,0.0014432467,0.18740891,0.019199088,0.00006170886,0.00020000384,0.0004634012,0.69734186],"genre_scores_gemma":[0.41942558,0.0036006323,0.0007809913,0.02098468,0.0009921803,0.000045642068,0.00011753594,0.0005824875,0.5534703],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992843,0.0001686129,0.000018337409,0.0001016588,0.00019728942,0.00022984445],"domain_scores_gemma":[0.9993187,0.000100702855,0.00003744576,0.000038124163,0.00016990957,0.00033517845],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006113196,0.00035296334,0.00020049557,0.0003724129,0.008866761,0.006198847,0.0006305763,0.0014241379,0.02565281],"category_scores_gemma":[0.0027737776,0.00025925165,0.00016279181,0.00037127302,0.0028011454,0.0036319103,0.003573897,0.0050866255,0.006035513],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000067438144,0.000040209827,0.0012561175,0.00006576979,0.0000043043724,0.0012943611,0.06421071,0.000030467158,0.0011220146,0.035910934,0.8683825,0.027615167],"study_design_scores_gemma":[0.000004161921,0.000018870758,0.0011892811,0.00014628163,0.0000034775412,0.00040155562,0.057551775,0.000035017976,0.00036136198,0.0015284586,0.93874705,0.000012819204],"about_ca_topic_score_codex":0.04309482,"about_ca_topic_score_gemma":0.12079467,"teacher_disagreement_score":0.04309482,"about_ca_system_score_codex":0.0033999584,"about_ca_system_score_gemma":0.0019124601,"threshold_uncertainty_score":0.08581716},"labels":[],"label_agreement":null},{"id":"W265969319","doi":"","title":"The Invisible Catastrophe: Lingering Movement and Duration in Werckmeister Harmonies","year":2011,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Harmony (Music); Aesthetics; Art; Mainstream; Subject (documents); French New Wave; Art history; Parade; Visual arts; Humanities; Law; Political science","score_opus":0.05688442408964928,"score_gpt":0.2108048423602463,"score_spread":0.15392041827059702,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W265969319","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3033274,0.009480094,0.0070916265,0.017861398,0.00090480474,0.00007548097,0.00007484488,0.0001195516,0.66106474],"genre_scores_gemma":[0.9817182,0.00084514974,0.000518788,0.0006218276,0.00015841669,0.000027916565,0.000012137099,0.00007628483,0.016021248],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975466,0.0013456607,0.000059410882,0.00033758435,0.00029271352,0.00041804684],"domain_scores_gemma":[0.9978783,0.0012532601,0.00032422307,0.00016663347,0.00014707119,0.00023045717],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022402157,0.000373106,0.0003036767,0.0019088583,0.008189455,0.010308252,0.00088518515,0.0022353884,0.005643257],"category_scores_gemma":[0.0065395655,0.00035751506,0.00023265023,0.001325884,0.030067027,0.009097843,0.006854384,0.0030668466,0.0004833503],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003921453,0.000023569042,0.00068663683,0.000050714963,0.0000061953397,0.0005377161,0.41663918,0.00012284268,0.00023652051,0.5648413,0.007782496,0.009033594],"study_design_scores_gemma":[0.000028539567,0.00005417568,0.0034785839,0.0003582717,0.000015305015,0.0010172138,0.31607455,0.00048223557,0.00065752555,0.17837445,0.49937934,0.00007980209],"about_ca_topic_score_codex":0.007914607,"about_ca_topic_score_gemma":0.009830779,"teacher_disagreement_score":0.010308252,"about_ca_system_score_codex":0.003957215,"about_ca_system_score_gemma":0.0012420961,"threshold_uncertainty_score":0.028711736},"labels":[],"label_agreement":null},{"id":"W266896064","doi":"10.3138/cjfs.15.1.2","title":"Considering Canadian Television: Intersections, Missed Directions, and the Prospects for Textual Expansion","year":2006,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Theme (computing); Scholarship; Sociology; Media studies; Mandate; Nothing; Aesthetics; History; Political science; Epistemology; Law; Computer science; Art","score_opus":0.03527703841260451,"score_gpt":0.2284081921819286,"score_spread":0.19313115376932408,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W266896064","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.040279996,0.05882988,0.0016895804,0.5389957,0.017354116,0.000064614855,0.00095844374,0.00022838022,0.34159926],"genre_scores_gemma":[0.7514677,0.058894925,0.0031162838,0.055980235,0.015561424,0.000112093134,0.001197604,0.000626562,0.11304309],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99311227,0.0011407057,0.00016997899,0.0005003914,0.0029965646,0.0020801022],"domain_scores_gemma":[0.98058766,0.00816861,0.0006991031,0.00053627556,0.0065882993,0.0034199748],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006521152,0.00058590306,0.00065906916,0.0069364635,0.034949977,0.044034336,0.0029262588,0.0053109736,0.020525314],"category_scores_gemma":[0.02171207,0.0004733841,0.0004852643,0.012041389,0.018901702,0.012271894,0.0060969926,0.0067718425,0.0013172895],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000762788,0.000023313554,0.0026718127,0.0005899213,0.000020109908,0.0009913474,0.13624628,0.00019649159,0.00047870833,0.26691604,0.51363575,0.078153946],"study_design_scores_gemma":[0.0000044100548,0.000008102386,0.0029291261,0.0006557287,0.000020686519,0.00018692928,0.14163889,0.00012534409,0.0002256129,0.0069527472,0.84720397,0.000048410522],"about_ca_topic_score_codex":0.88400143,"about_ca_topic_score_gemma":0.94625336,"teacher_disagreement_score":0.115998566,"about_ca_system_score_codex":0.09232738,"about_ca_system_score_gemma":0.0873976,"threshold_uncertainty_score":0.66988516},"labels":[],"label_agreement":null},{"id":"W2670056088","doi":"","title":"\"Bitches, Bullies and Brutes\": Re-Viewing Gender in 1970s Canuxploitation Cinema","year":2017,"lang":"en","type":"article","venue":"Research Repository (University of Gloucestershire)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Aesthetics; Psychology; Art; Visual arts","score_opus":0.19095039658955892,"score_gpt":0.2983545154586705,"score_spread":0.10740411886911155,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2670056088","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7446437,0.004886823,0.0007546944,0.017547393,0.00038759728,0.00003610038,0.00035579898,0.000048353508,0.23133956],"genre_scores_gemma":[0.98230064,0.0011434412,0.0001357154,0.00060542545,0.00006378736,0.000007757312,0.00004302097,0.00002672382,0.015673483],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998701,0.0004350007,0.000016093776,0.00008973511,0.00034263503,0.00041553206],"domain_scores_gemma":[0.99810636,0.00083441753,0.00020262804,0.0000930323,0.00041486902,0.00034861505],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017199338,0.00044492335,0.00020901956,0.0024360802,0.012415527,0.0078806095,0.00070210185,0.0012279231,0.0075224484],"category_scores_gemma":[0.0038478642,0.00023742398,0.00016952661,0.0017572255,0.010674459,0.0026619544,0.0028470412,0.0026561222,0.00024069496],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006282699,0.000014923958,0.0059713395,0.00007166192,0.0000060043344,0.0003412354,0.93326277,0.00004615163,0.00072046823,0.030822475,0.012200745,0.016479446],"study_design_scores_gemma":[0.0000038660096,0.000017525557,0.026893754,0.0002468493,0.000013670659,0.0002472727,0.7215406,0.000099612276,0.00052282773,0.0012455384,0.24914226,0.000026348576],"about_ca_topic_score_codex":0.75764036,"about_ca_topic_score_gemma":0.90681094,"teacher_disagreement_score":0.24235964,"about_ca_system_score_codex":0.02438715,"about_ca_system_score_gemma":0.009899077,"threshold_uncertainty_score":0.48757386},"labels":[],"label_agreement":null},{"id":"W2682134569","doi":"","title":"Take One's 2002 Survey of Canadian Cinema","year":2003,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Media studies; Sociology; Art; Art history","score_opus":0.09173381939624953,"score_gpt":0.21368429842484882,"score_spread":0.12195047902859929,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2682134569","genre_codex":"dataset","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23429886,0.017625256,0.00084783917,0.040035762,0.0015595986,0.0003901053,0.5546808,0.00073148933,0.14983039],"genre_scores_gemma":[0.48226112,0.022004172,0.0028218383,0.016753307,0.0008880134,0.00039777905,0.16374552,0.00026528456,0.31086302],"study_design_codex":"not_applicable","study_design_gemma":"observational","domain_scores_codex":[0.99879706,0.000031256965,0.00002804361,0.000072396186,0.00058285566,0.0004882888],"domain_scores_gemma":[0.99299663,0.0002571675,0.00048778512,0.000113321796,0.004354843,0.0017902057],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004933416,0.00068120647,0.000440504,0.011547031,0.0035832159,0.0027015707,0.0009984894,0.0011705166,0.020989472],"category_scores_gemma":[0.0042443792,0.00023732484,0.00046310434,0.015323304,0.0003393524,0.0010552036,0.0008565709,0.0009331747,0.0045152353],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000068796406,0.00008021551,0.087804034,0.00047701667,0.00005187877,0.00021900098,0.003447581,0.00015599823,0.00035625458,0.0021864255,0.8433118,0.061841033],"study_design_scores_gemma":[0.000007502611,0.000019083078,0.51481444,0.00020103827,0.000043048454,0.00013098288,0.0074179443,0.00013314153,0.00028802484,0.00013886153,0.4767368,0.00006906303],"about_ca_topic_score_codex":0.9919464,"about_ca_topic_score_gemma":0.99775296,"teacher_disagreement_score":0.021896651,"about_ca_system_score_codex":0.021896651,"about_ca_system_score_gemma":0.027083674,"threshold_uncertainty_score":0.15887207},"labels":[],"label_agreement":null},{"id":"W2697521704","doi":"10.7202/1070616ar","title":"Baudrillard, Youth, and American Film: Fatal Theory and Education (Kip Kline)","year":2020,"lang":"en","type":"article","venue":"Philosophical Inquiry in Education","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Psychology; Sociology","score_opus":0.0668342673510493,"score_gpt":0.28930283844152854,"score_spread":0.22246857109047924,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2697521704","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019487679,0.28987938,0.0017537518,0.28177428,0.0030583309,0.000027951284,0.00016364257,0.000038348444,0.40381658],"genre_scores_gemma":[0.65742403,0.15317984,0.0009860954,0.020533394,0.0028070689,0.00012406093,0.00007644849,0.00008220283,0.16478683],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990159,0.00063020893,0.000023987217,0.000080570135,0.0001498345,0.0000995324],"domain_scores_gemma":[0.99843544,0.00095819024,0.00018522544,0.000049213813,0.00016222935,0.00020975506],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012273893,0.00040835445,0.00024881298,0.0013632223,0.0047074137,0.0064977556,0.00044230133,0.0021801973,0.00806534],"category_scores_gemma":[0.004021928,0.00028977933,0.00014428573,0.0014820689,0.008000719,0.005479727,0.0017887139,0.0031483667,0.0008759216],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015360623,0.00005496142,0.0011865168,0.0001055754,0.000004614942,0.0001352953,0.015528164,0.00008663557,0.00003637002,0.75770134,0.20083836,0.024306864],"study_design_scores_gemma":[0.000009791884,0.000012537921,0.0031407762,0.00095333776,0.000005832182,0.00020268206,0.01642872,0.00015891093,0.00007199665,0.15919042,0.819813,0.000011891842],"about_ca_topic_score_codex":0.021146309,"about_ca_topic_score_gemma":0.025095476,"teacher_disagreement_score":0.021146309,"about_ca_system_score_codex":0.00547757,"about_ca_system_score_gemma":0.0024071226,"threshold_uncertainty_score":0.042046428},"labels":[],"label_agreement":null},{"id":"W269782460","doi":"","title":"Sculpting Time: An Interview with Michael Snow","year":2012,"lang":"en","type":"article","venue":"Millennium film journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Sculpture; Painting; Art history; Wife; Visual arts; Philosophy","score_opus":0.03893296157895576,"score_gpt":0.2287939610201095,"score_spread":0.18986099944115373,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W269782460","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1413635,0.025303546,0.0008375549,0.7591207,0.0052590296,0.00016969968,0.00020450956,0.00007603377,0.06766546],"genre_scores_gemma":[0.62695295,0.04282466,0.0026677684,0.21311809,0.0022754471,0.00044491605,0.0001516379,0.00029216707,0.11127234],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970318,0.0015534201,0.00008414107,0.00024165667,0.0005086377,0.00058032596],"domain_scores_gemma":[0.99716645,0.00088934245,0.00022499064,0.000039611004,0.0003507261,0.001328925],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027941414,0.0006663405,0.0006729545,0.001154352,0.021897852,0.004280131,0.0012110099,0.0042636525,0.0062381867],"category_scores_gemma":[0.0056546642,0.0007535065,0.00040116275,0.0016970146,0.008107888,0.007110372,0.004154841,0.007769177,0.0013858277],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003497181,0.00009038065,0.0021005874,0.00012989591,0.000006932708,0.0026764476,0.6844447,0.00006843271,0.0006320839,0.0105097955,0.2866964,0.012609416],"study_design_scores_gemma":[0.0000063083253,0.00003329278,0.0010431003,0.00022921794,0.000002678373,0.0008431661,0.62813276,0.00006726846,0.00009675708,0.0015638045,0.36796075,0.000020939002],"about_ca_topic_score_codex":0.08253138,"about_ca_topic_score_gemma":0.12100478,"teacher_disagreement_score":0.08253138,"about_ca_system_score_codex":0.0075145564,"about_ca_system_score_gemma":0.0077396384,"threshold_uncertainty_score":0.16410202},"labels":[],"label_agreement":null},{"id":"W2697934961","doi":"","title":"Book Reviews: Censored 2006 by Peter Phillips and Project Censored","year":2006,"lang":"en","type":"article","venue":"Flinders Academic Commons (Flinders University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Econometrics; Economics; Actuarial science; History; Sociology","score_opus":0.02653642553456224,"score_gpt":0.21517513369612531,"score_spread":0.18863870816156308,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2697934961","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005631761,0.7028155,0.003986747,0.071208976,0.056669045,0.000088685454,0.020232435,0.0014285125,0.14300686],"genre_scores_gemma":[0.01182664,0.45967513,0.00217726,0.020589389,0.050802674,0.00031701397,0.01937621,0.0016230404,0.4336127],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971572,0.00052871084,0.00018947564,0.0004202015,0.001524057,0.00018038694],"domain_scores_gemma":[0.98199975,0.006259107,0.0016553948,0.0017621955,0.006885803,0.0014377383],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0040826043,0.0015437896,0.0022853056,0.00720873,0.0014340974,0.0060776174,0.0015290509,0.0025177952,0.11201325],"category_scores_gemma":[0.023195207,0.0010646492,0.0010812763,0.015997494,0.0012174533,0.0052271876,0.001946115,0.004143374,0.079002455],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000119225815,0.0000031469883,0.000046398654,0.00013577174,0.0000050958724,0.000005220496,0.00001380644,0.000045053708,0.000006167171,0.00083425274,0.98077136,0.01812184],"study_design_scores_gemma":[0.000007983947,0.000009863223,0.00090428314,0.0007446696,0.000013436989,0.00003428779,0.000035732195,0.000073433155,0.000034001012,0.0018921917,0.9962321,0.000017962888],"about_ca_topic_score_codex":0.011734681,"about_ca_topic_score_gemma":0.022844438,"teacher_disagreement_score":0.11201325,"about_ca_system_score_codex":0.003332254,"about_ca_system_score_gemma":0.00535437,"threshold_uncertainty_score":0.37472165},"labels":[],"label_agreement":null},{"id":"W2707288317","doi":"","title":"Angles de réflexion / Cinéma québécois : de l’artisanat à l’industrie, Gilles Marsolais, Montréal : Triptyque, 2011, 316 pages","year":2012,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.012740870958927456,"score_gpt":0.1675347467106213,"score_spread":0.15479387575169384,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2707288317","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009226532,0.6233374,0.001641089,0.10489221,0.009906221,0.000025342455,0.0011370484,0.00018454013,0.24964966],"genre_scores_gemma":[0.2421101,0.25272834,0.0021067392,0.0044148997,0.004718719,0.000050396713,0.00071116287,0.00032278313,0.4928368],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993168,0.00017976825,0.000020765814,0.000096337695,0.00026379732,0.00012264568],"domain_scores_gemma":[0.9989453,0.00028904248,0.00006696317,0.000048730864,0.00041231568,0.00023773311],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011105193,0.0015616049,0.00045330173,0.0034764593,0.0048079886,0.0112803755,0.0010633614,0.0019750511,0.04655136],"category_scores_gemma":[0.0024189143,0.0006117771,0.0003190244,0.0053250534,0.004996907,0.00417932,0.0014123934,0.0028822976,0.0026813745],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056679844,0.000031378575,0.0014985715,0.00039441284,0.00002836008,0.00024792014,0.013402173,0.0003161987,0.00081613014,0.10892261,0.76993424,0.10435141],"study_design_scores_gemma":[0.000004335375,0.0000035910066,0.007149089,0.00050688954,0.000008819603,0.00012333614,0.006676139,0.00011707002,0.00015858134,0.002326098,0.9829081,0.000017911592],"about_ca_topic_score_codex":0.8728484,"about_ca_topic_score_gemma":0.9270458,"teacher_disagreement_score":0.12715161,"about_ca_system_score_codex":0.028871683,"about_ca_system_score_gemma":0.020457119,"threshold_uncertainty_score":0.25580084},"labels":[],"label_agreement":null},{"id":"W272179700","doi":"","title":"Claude Jutra: Filmmaker by Jim Leach (review)","year":2000,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Film director; Art history; Art; History; Movie theater","score_opus":0.01077718032401851,"score_gpt":0.18439178029229944,"score_spread":0.17361459996828094,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W272179700","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00009879963,0.87865096,0.00010226937,0.07951838,0.038782045,0.0000176528,0.00009720603,0.000032445565,0.0027002757],"genre_scores_gemma":[0.0025845845,0.7782703,0.00029129948,0.091590546,0.080418676,0.00009556358,0.00026039724,0.000054649838,0.046434026],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998789,0.0003155973,0.00011420633,0.00020931609,0.00042978782,0.00014212815],"domain_scores_gemma":[0.9957824,0.0010461431,0.00047934992,0.000118830416,0.0017123081,0.00086096564],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021254295,0.001334021,0.0018063113,0.0036571021,0.0011723065,0.0040010456,0.0014132935,0.005029955,0.02404278],"category_scores_gemma":[0.0105372965,0.000622447,0.0006636553,0.004150465,0.0011798469,0.0036561273,0.0027409,0.0038823849,0.014939358],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020806441,0.000005231115,0.00007025269,0.00069416745,0.000014655028,0.000031983738,0.00002624931,0.000009078218,0.00003424326,0.00016465852,0.96661705,0.032311615],"study_design_scores_gemma":[0.00002192923,0.00001488632,0.000683835,0.0011625044,0.000032262884,0.0001834864,0.0000724786,0.000009723588,0.00003973208,0.0002537452,0.9975147,0.000010557483],"about_ca_topic_score_codex":0.009322494,"about_ca_topic_score_gemma":0.022901677,"teacher_disagreement_score":0.02404278,"about_ca_system_score_codex":0.0024897878,"about_ca_system_score_gemma":0.0034236102,"threshold_uncertainty_score":0.0804311},"labels":[],"label_agreement":null},{"id":"W2727499846","doi":"","title":"The Transgressive Stage: The Culture of Public Entertainment in Late Victorian Toronto","year":2012,"lang":"en","type":"dissertation","venue":"TSpace (University of Toronto)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Transgressive; Stage (stratigraphy); Entertainment; History; Media studies; Art; Sociology; Visual arts; Geology","score_opus":0.019782231535754303,"score_gpt":0.23013178996225161,"score_spread":0.2103495584264973,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2727499846","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8814918,0.0024747439,0.0008787766,0.006699061,0.00013915185,0.000034512464,0.00014575104,0.00003302411,0.10810327],"genre_scores_gemma":[0.98898894,0.0005149195,0.0001284193,0.00024676794,0.000009633826,0.000010279732,0.000024160103,0.00002392408,0.010052915],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9975738,0.00090152834,0.00006921994,0.00017846432,0.00054268877,0.0007343972],"domain_scores_gemma":[0.9974796,0.0007960418,0.00026762963,0.00012872496,0.00047875955,0.0008492502],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001580979,0.00032579593,0.00028058657,0.0009391624,0.020463783,0.008247272,0.0011308085,0.0013113536,0.0037759817],"category_scores_gemma":[0.0027159024,0.00042222082,0.00022146938,0.0019041554,0.017457118,0.0019745955,0.0038093603,0.0025632642,0.0002628967],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020699676,0.000006346849,0.0020223968,0.000050233888,0.000004188036,0.00031167959,0.9751971,0.00006243052,0.00051175815,0.015966443,0.002435004,0.0034118919],"study_design_scores_gemma":[0.0000041695853,0.0000301136,0.012688564,0.00015216411,0.000014004326,0.00023141288,0.8377369,0.00024412625,0.00040695918,0.0011481806,0.14728487,0.000058576665],"about_ca_topic_score_codex":0.910089,"about_ca_topic_score_gemma":0.9608125,"teacher_disagreement_score":0.089910984,"about_ca_system_score_codex":0.07545287,"about_ca_system_score_gemma":0.025999716,"threshold_uncertainty_score":0.5474515},"labels":[],"label_agreement":null},{"id":"W2730735914","doi":"10.1353/mos.2017.a663695","title":"Reading Race and \"Rita\" in The Lady from Shanghai: Decrypting the Mogul, the Star, and the Auteur","year":2017,"lang":"en","type":"article","venue":"Mosaic","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Reading (process); Auteur theory; Hollywood; Race (biology); Star (game theory); History; Genealogy; Art history; Sociology; Political science; Gender studies; Law; Movie theater; Astrophysics","score_opus":0.03310642838048054,"score_gpt":0.23619370747130214,"score_spread":0.20308727909082158,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2730735914","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6440744,0.0047820625,0.0019598715,0.034075964,0.00061028043,0.000015916828,0.000107305634,0.00007396626,0.31430015],"genre_scores_gemma":[0.97400284,0.00080269785,0.00012033144,0.0006309521,0.00010234343,0.0000037847485,0.00001644884,0.000024505194,0.024296194],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99964976,0.00020198677,0.000003577094,0.000023060342,0.00003003425,0.000091625894],"domain_scores_gemma":[0.9995653,0.00018928114,0.00006283985,0.000027923365,0.000036181624,0.0001184525],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00065187085,0.00032767144,0.0001425782,0.00054573163,0.006429129,0.003963936,0.00024459703,0.0006943383,0.0047845836],"category_scores_gemma":[0.00089132367,0.00013895522,0.00010049432,0.00060685776,0.011039023,0.0024088006,0.001718073,0.0014604699,0.00032933286],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044379976,0.000009367636,0.003251566,0.000052021856,0.0000047317294,0.00052675727,0.70039,0.000085991574,0.0004703664,0.2667074,0.01897846,0.009478963],"study_design_scores_gemma":[0.000011618375,0.00007544192,0.023760088,0.00022737774,0.000020318923,0.00048815456,0.45872307,0.0003097066,0.00096060976,0.02381639,0.49156404,0.000043204567],"about_ca_topic_score_codex":0.04872052,"about_ca_topic_score_gemma":0.12307005,"teacher_disagreement_score":0.04872052,"about_ca_system_score_codex":0.0042689317,"about_ca_system_score_gemma":0.0013299,"threshold_uncertainty_score":0.09687382},"labels":[],"label_agreement":null},{"id":"W2731178894","doi":"10.1093/oxfordhb/9780199757640.013.017","title":"A Gash in the Portrait","year":2013,"lang":"en","type":"reference-entry","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Manitoba","funders":"","keywords":"Narrative; Art; Pathos; Art history; Portrait; Key (lock); Literature; Visual arts; Computer science","score_opus":0.05254806537813331,"score_gpt":0.231641501767064,"score_spread":0.1790934363889307,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2731178894","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0051929266,0.011947822,0.003301167,0.038891505,0.009081414,0.00003883835,0.00049504323,0.0002049486,0.9308463],"genre_scores_gemma":[0.09037312,0.006605374,0.0016223174,0.007269512,0.0024393126,0.000049896506,0.00027324466,0.00032051516,0.8910468],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99960285,0.00013781182,0.0000072968874,0.00008704117,0.00011852272,0.00004643192],"domain_scores_gemma":[0.9998024,0.00006502649,0.0000128238435,0.000026804197,0.000048484595,0.000044440825],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00036052335,0.0005476875,0.0002274787,0.00081313215,0.002600291,0.003132125,0.0005271979,0.0011196492,0.052142035],"category_scores_gemma":[0.0012651399,0.00014841248,0.000252212,0.0007522108,0.0024270802,0.0023491068,0.0015847982,0.00236325,0.020865431],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042774715,0.000017922022,0.00048301727,0.000057686062,0.0000038641283,0.0004470951,0.0066518546,0.000093977425,0.00036653195,0.2513335,0.70071477,0.039787136],"study_design_scores_gemma":[9.986554e-7,0.0000028608313,0.00015380765,0.000027596661,5.406818e-7,0.00013898332,0.0014773274,0.000032168984,0.00003892733,0.0041842144,0.9939401,0.000002418781],"about_ca_topic_score_codex":0.0068919878,"about_ca_topic_score_gemma":0.011676192,"teacher_disagreement_score":0.052142035,"about_ca_system_score_codex":0.0016277521,"about_ca_system_score_gemma":0.0009075713,"threshold_uncertainty_score":0.17443252},"labels":[],"label_agreement":null},{"id":"W2731528915","doi":"","title":"Festival Wraps - St. John's International Women's Film and Video Festival","year":2004,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film festival; Art; Visual arts","score_opus":0.017947748660420326,"score_gpt":0.21543601384871158,"score_spread":0.19748826518829127,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2731528915","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11555151,0.011921515,0.0016106965,0.063212395,0.025069812,0.00038352452,0.017408177,0.0006942029,0.7641483],"genre_scores_gemma":[0.20073807,0.0044483347,0.001320335,0.0024913473,0.0044944417,0.00011170738,0.00574866,0.00029503278,0.7803522],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997379,0.00002668026,0.0000067213978,0.00003454283,0.00010395786,0.00009023724],"domain_scores_gemma":[0.9987525,0.0001167604,0.0000656838,0.00006019873,0.00028817647,0.0007167225],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007779018,0.0005094927,0.00019711847,0.0011684736,0.0033000878,0.0035951687,0.0004029632,0.00090199057,0.046786886],"category_scores_gemma":[0.0020103727,0.0002183249,0.00023980846,0.0009665489,0.0005465252,0.00084347295,0.001573074,0.0015872129,0.0047040437],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028408362,0.00007850884,0.0033960305,0.00017338958,0.000021299851,0.0005321595,0.0024650048,0.00009925772,0.00077468937,0.0084359525,0.9399345,0.043805268],"study_design_scores_gemma":[0.000016465772,0.000077224286,0.03385559,0.00017792026,0.000013182433,0.00016712165,0.004284655,0.00009986144,0.0007561001,0.0009768812,0.9595581,0.000016837803],"about_ca_topic_score_codex":0.04133268,"about_ca_topic_score_gemma":0.17162734,"teacher_disagreement_score":0.046786886,"about_ca_system_score_codex":0.0020906506,"about_ca_system_score_gemma":0.0021374463,"threshold_uncertainty_score":0.15651768},"labels":[],"label_agreement":null},{"id":"W2733212922","doi":"","title":"Bamako temps suspendu, Couleur, 30 minutes, Canada, 2014 / Les printemps incertains, Couleur, 52 minutes, Canada, 1992","year":2016,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Geography","score_opus":0.009638475298101608,"score_gpt":0.15440068786528857,"score_spread":0.14476221256718697,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2733212922","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002582133,0.007407495,0.0009428613,0.007184772,0.008473071,0.00036565377,0.02110693,0.0018786459,0.9500584],"genre_scores_gemma":[0.005932995,0.0019806593,0.00048666264,0.00047140243,0.00037751126,0.00007323071,0.0023093666,0.0005303404,0.9878378],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993863,0.00003991512,0.00001574083,0.000079499034,0.0002994628,0.00017897588],"domain_scores_gemma":[0.9983376,0.0001646181,0.00005685058,0.000067690446,0.0009910432,0.00038218359],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00058338494,0.00095450523,0.0005851143,0.0012114386,0.0039728377,0.0036882504,0.0009215705,0.0017197562,0.71878064],"category_scores_gemma":[0.002633368,0.00054408074,0.0003050527,0.0016723401,0.0008930247,0.0017940917,0.0013509825,0.0020673098,0.40169707],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008996601,0.000011282592,0.00017527502,0.00007974857,0.000001829618,0.00003763831,0.00013060437,0.00003032358,0.00038111664,0.0010375549,0.9777825,0.020242203],"study_design_scores_gemma":[0.00000873983,0.000007862183,0.0016755735,0.00006447663,0.0000014183202,0.00002354732,0.00018020513,0.00002082714,0.00020637874,0.000083233674,0.99771994,0.000007667279],"about_ca_topic_score_codex":0.38750875,"about_ca_topic_score_gemma":0.7046615,"teacher_disagreement_score":0.71878064,"about_ca_system_score_codex":0.0059672655,"about_ca_system_score_gemma":0.0050759125,"threshold_uncertainty_score":0.7705064},"labels":[],"label_agreement":null},{"id":"W273496884","doi":"","title":"A Postmodern Cinema: The Voice of the Other in Canadian Film / Canadian National Cinema","year":2003,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Postmodernism; Context (archaeology); Style (visual arts); Sociology; Aesthetics; Art history; Media studies; Art; Literature; History","score_opus":0.04137805519182479,"score_gpt":0.2360450465406336,"score_spread":0.19466699134880883,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W273496884","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.056193467,0.15675372,0.0027641938,0.15139733,0.0068479427,0.00011008722,0.00028706645,0.00012989777,0.62551624],"genre_scores_gemma":[0.7722128,0.061800808,0.0026472458,0.010799491,0.0014420071,0.000085448926,0.00017730318,0.00023147752,0.15060341],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99813193,0.00062350224,0.000028826958,0.00016895494,0.0006309897,0.00041589575],"domain_scores_gemma":[0.9982992,0.0005259776,0.000081041784,0.00007499209,0.000591386,0.00042750337],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023369542,0.00079075765,0.00034931803,0.0023352227,0.02158352,0.011763693,0.001384877,0.0024835865,0.010576166],"category_scores_gemma":[0.0030955444,0.00036919647,0.00028049405,0.0034981389,0.01880747,0.005802659,0.0027862128,0.0033130478,0.00067042495],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058498543,0.000026810338,0.0010589265,0.000362816,0.000012324166,0.000661224,0.42191628,0.000114796385,0.00079635484,0.23609556,0.25965998,0.07923637],"study_design_scores_gemma":[0.000005567689,0.000012415561,0.003891555,0.0005639345,0.000015574087,0.00041209944,0.19739722,0.00015683137,0.00023849698,0.0072119078,0.7900506,0.00004375436],"about_ca_topic_score_codex":0.91019654,"about_ca_topic_score_gemma":0.96512425,"teacher_disagreement_score":0.08980346,"about_ca_system_score_codex":0.05253656,"about_ca_system_score_gemma":0.036968503,"threshold_uncertainty_score":0.38118124},"labels":[],"label_agreement":null},{"id":"W2735276468","doi":"10.5325/jmodeperistud.7.1-2.0096","title":"Canada's New Stars: The Decline of the Stage and the Rise of Cinema in Early-Twentieth Century Magazines","year":2016,"lang":"en","type":"article","venue":"The Journal of Modern Periodical Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Movie theater; Entertainment; Representation (politics); Art; Stars; History; Visual arts; Political science; Computer science; Law","score_opus":0.027640237645948296,"score_gpt":0.23020847584385712,"score_spread":0.2025682381979088,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2735276468","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8420937,0.006383157,0.00048899045,0.014174145,0.00028811506,0.00002841468,0.0010018297,0.00006345323,0.13547818],"genre_scores_gemma":[0.9875695,0.0020033277,0.00014710867,0.00037287327,0.000106123545,0.000004292084,0.00013927107,0.000026335067,0.0096312],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986212,0.00019298682,0.000025088253,0.00011974176,0.0007068424,0.00033406593],"domain_scores_gemma":[0.9935842,0.0012304789,0.0008542515,0.00016563563,0.0026891676,0.0014763281],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013312713,0.00023550446,0.00020057645,0.0061207185,0.008425816,0.009647798,0.00062912994,0.00074572547,0.0050016604],"category_scores_gemma":[0.008255088,0.00019518276,0.00012064055,0.0075875395,0.006378035,0.0022011413,0.0016440394,0.001419929,0.0002512759],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00041688667,0.000069054775,0.08555786,0.00042705704,0.000038785085,0.0008976929,0.61207277,0.00020066753,0.0028948616,0.08864204,0.05920944,0.14957286],"study_design_scores_gemma":[0.000010526075,0.000040606705,0.37577116,0.00034153325,0.0000290642,0.00029103798,0.24128725,0.00026375818,0.0009219445,0.0021388354,0.37883672,0.00006749978],"about_ca_topic_score_codex":0.92639667,"about_ca_topic_score_gemma":0.96691877,"teacher_disagreement_score":0.07360333,"about_ca_system_score_codex":0.035856247,"about_ca_system_score_gemma":0.020989858,"threshold_uncertainty_score":0.2601565},"labels":[],"label_agreement":null},{"id":"W2736293346","doi":"","title":"\"Shadow Play.\" Review of Ambiguous Borderlands: Shadow Imagery in Cold War American Culture by Erik Mortenson.","year":2017,"lang":"en","type":"article","venue":"Canadian parliamentary review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Shadow (psychology); Cold war; History; Psychology; Psychoanalysis; Political science; Law","score_opus":0.020468240245986265,"score_gpt":0.24948669430588763,"score_spread":0.22901845405990137,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2736293346","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00012924879,0.9836277,0.000052059673,0.009415568,0.0032487535,0.0000069200664,0.00015164331,0.0000060854954,0.0033620251],"genre_scores_gemma":[0.0036461845,0.98233175,0.00010465625,0.005192078,0.0034126681,0.000013696501,0.00020409097,0.000018347688,0.0050766086],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910104,0.00022568656,0.000067579596,0.00007776405,0.0003909803,0.00013694471],"domain_scores_gemma":[0.9945591,0.0018485391,0.00045142707,0.00011809767,0.0026629525,0.00035981345],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023168724,0.0008475516,0.00092882063,0.0077311364,0.0015897683,0.0028532532,0.001151806,0.0014546869,0.008373466],"category_scores_gemma":[0.00729984,0.00052774546,0.0003860312,0.008695011,0.0029170352,0.0023523576,0.0014033627,0.0019282794,0.0022307744],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026693802,0.000008768331,0.00037175088,0.004337082,0.000026562337,0.00004320157,0.00051307783,0.000040828607,0.0000925991,0.0049693035,0.8380333,0.15153678],"study_design_scores_gemma":[0.0000043950167,0.000007730108,0.0032754866,0.0071976953,0.00003328553,0.00013180097,0.00078402983,0.000015741096,0.00006519602,0.0007524178,0.9877221,0.000010123197],"about_ca_topic_score_codex":0.23638824,"about_ca_topic_score_gemma":0.45542035,"teacher_disagreement_score":0.23638824,"about_ca_system_score_codex":0.0064264648,"about_ca_system_score_gemma":0.014612066,"threshold_uncertainty_score":0.4700246},"labels":[],"label_agreement":null},{"id":"W2736346701","doi":"","title":"Fast Company, Canada, 1979, 90 minutes","year":2005,"lang":"fr","type":"article","venue":"Séquences : la revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Business","score_opus":0.0184276980416026,"score_gpt":0.21181285526092677,"score_spread":0.19338515721932417,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2736346701","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002109559,0.105693415,0.001301809,0.008662668,0.022032315,0.00022011941,0.19846782,0.0012276502,0.6602847],"genre_scores_gemma":[0.0040364517,0.023042558,0.00046241708,0.0003421312,0.0008773879,0.0000663078,0.022471504,0.0003663152,0.9483349],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986027,0.000054121647,0.000098558194,0.00019736403,0.0008384976,0.0002087279],"domain_scores_gemma":[0.997463,0.0001355428,0.00008897417,0.00009836426,0.0019702844,0.0002438824],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006453364,0.003118819,0.0013168193,0.007887233,0.0038963899,0.0053480957,0.0015008035,0.001688465,0.31051478],"category_scores_gemma":[0.0038808694,0.0010818157,0.0005205339,0.019347867,0.00080861436,0.0030787927,0.0012066655,0.0015945414,0.18910392],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038366787,0.000006133267,0.0001870127,0.00016394757,0.000003704724,0.000029357225,0.00003552482,0.00014938305,0.00007458778,0.0011514593,0.96605456,0.032106],"study_design_scores_gemma":[0.000005677255,0.0000043216605,0.0022861587,0.00019046207,0.0000035132039,0.000025084342,0.00008344893,0.000058844715,0.000058981917,0.00028892822,0.9969879,0.0000066698526],"about_ca_topic_score_codex":0.8269645,"about_ca_topic_score_gemma":0.92416644,"teacher_disagreement_score":0.31051478,"about_ca_system_score_codex":0.018568419,"about_ca_system_score_gemma":0.021667033,"threshold_uncertainty_score":0.983467},"labels":[],"label_agreement":null},{"id":"W2737241108","doi":"10.1177/002070200506000225","title":"Review: Hell's Corner","year":2005,"lang":"en","type":"article","venue":"International Journal Canada s Journal of Global Policy Analysis","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Political science","score_opus":0.01581142054407988,"score_gpt":0.274909832358146,"score_spread":0.2590984118140661,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2737241108","genre_codex":"review","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000107132706,0.6990966,0.00024418335,0.18376356,0.111036755,0.00006357774,0.0003368641,0.00010069965,0.0052505597],"genre_scores_gemma":[0.0035657487,0.6210364,0.0005077321,0.20874575,0.14799227,0.00022107037,0.00038870666,0.000113562506,0.017428864],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9956736,0.00091756665,0.00048180486,0.00069589366,0.0017418965,0.0004892186],"domain_scores_gemma":[0.9772117,0.0062281936,0.0019072327,0.0017123116,0.010086076,0.002854559],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007124049,0.0023619563,0.0052093877,0.0066795694,0.0021889128,0.008397625,0.0034076872,0.012534971,0.020799324],"category_scores_gemma":[0.025544196,0.0013537258,0.0015991597,0.006985017,0.004697367,0.0067897523,0.0045010005,0.010058387,0.019359112],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002890381,0.0000057876186,0.000031960633,0.0014890671,0.000034708293,0.000024287949,0.00001735045,0.000008795018,0.000028526969,0.00052203477,0.9704727,0.027335988],"study_design_scores_gemma":[0.00003586589,0.000012290489,0.00027188304,0.0030883236,0.00008415205,0.00007767726,0.00003973106,0.00001010778,0.000022211547,0.0016428122,0.9947038,0.0000111955715],"about_ca_topic_score_codex":0.0044159438,"about_ca_topic_score_gemma":0.009318874,"teacher_disagreement_score":0.020799324,"about_ca_system_score_codex":0.0051002535,"about_ca_system_score_gemma":0.010390879,"threshold_uncertainty_score":0.069580615},"labels":[],"label_agreement":null},{"id":"W2737283890","doi":"","title":"L’oeil au-dessus du puits. Deux conversations avec Johan van der Keuken Robert Daudelin Éd. Les 400 coups cinéma, Montréal, 2006. 85 pages","year":2007,"lang":"fr","type":"article","venue":"Images","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.018057089098046007,"score_gpt":0.22389189326844514,"score_spread":0.20583480417039912,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2737283890","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010639616,0.55504644,0.0023937991,0.14131038,0.01597529,0.000016229635,0.0005406889,0.00013096607,0.27394658],"genre_scores_gemma":[0.28363413,0.19131647,0.0025978207,0.0082299085,0.0079377815,0.000036747344,0.00032521167,0.0004893328,0.5054327],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991671,0.00036999633,0.000019319332,0.00013827177,0.00019855614,0.0001068242],"domain_scores_gemma":[0.9992255,0.0003726474,0.000060989798,0.000042984546,0.00019883171,0.00009902454],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011679004,0.00079339714,0.00043110066,0.0010567321,0.0030650846,0.005978519,0.0004673561,0.0020807488,0.027260518],"category_scores_gemma":[0.0050434014,0.00065219897,0.0002761363,0.0010402704,0.0031966679,0.0043048086,0.0011192749,0.0028126503,0.0029784562],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013066755,0.000022475426,0.000768173,0.00027428643,0.000019104686,0.0002959611,0.008929933,0.00023570414,0.00061764236,0.17856018,0.705276,0.10486979],"study_design_scores_gemma":[0.0000035444243,0.0000046549853,0.0011764535,0.00021775093,0.0000036460472,0.0001763103,0.0018285128,0.00008503204,0.00022336931,0.0036823193,0.99258983,0.000008561338],"about_ca_topic_score_codex":0.1112558,"about_ca_topic_score_gemma":0.13745463,"teacher_disagreement_score":0.1112558,"about_ca_system_score_codex":0.0050264364,"about_ca_system_score_gemma":0.002247659,"threshold_uncertainty_score":0.22121644},"labels":[],"label_agreement":null},{"id":"W2737454144","doi":"10.1007/978-94-6351-017-2_1","title":"Currere 2.0","year":2017,"lang":"en","type":"book-chapter","venue":"Constructing knowledge: curriculum studies in action","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Computer science","score_opus":0.14446013387949005,"score_gpt":0.34423237488643005,"score_spread":0.19977224100694,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2737454144","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00018962056,0.0028581792,0.00139276,0.0012406191,0.0010026883,0.000030176367,0.001053762,0.0011247961,0.9911074],"genre_scores_gemma":[0.0017485536,0.0024243859,0.00096909003,0.00050192425,0.00031782076,0.00004825317,0.0010698636,0.001441154,0.991479],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.999257,0.000081558675,0.000034578938,0.00017087876,0.0003620099,0.00009397145],"domain_scores_gemma":[0.99925226,0.00012456925,0.000042483643,0.00017019505,0.00025406678,0.00015640257],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00066301296,0.0011256105,0.00079903443,0.0032444673,0.0018271566,0.008724843,0.0016059957,0.002490983,0.63056195],"category_scores_gemma":[0.002709116,0.0006654832,0.0007708068,0.002842488,0.0010806199,0.0071110385,0.003335217,0.0024656304,0.5160784],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003241619,0.000025912308,0.00010819399,0.00032790905,0.0000051195248,0.000086852866,0.00030250056,0.00010271609,0.00032154034,0.13306844,0.7135227,0.15209575],"study_design_scores_gemma":[0.0000012434165,0.0000014775742,0.000035540837,0.00007469466,7.3801135e-7,0.000035602883,0.000018497802,0.00001288583,0.000040111747,0.0032432936,0.99653375,0.0000022196714],"about_ca_topic_score_codex":0.0042346227,"about_ca_topic_score_gemma":0.0069413595,"teacher_disagreement_score":0.63056195,"about_ca_system_score_codex":0.00269467,"about_ca_system_score_gemma":0.0022178644,"threshold_uncertainty_score":0.5269585},"labels":[],"label_agreement":null},{"id":"W2737768211","doi":"","title":"Obéissance, je te hais / COSTES, Jean-Philippe. Les Subversifs hollywoodiens – L’esprit critique du cinéma grand public, Montréal, Liber, 2015, 496 p.","year":2015,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.01781373121914359,"score_gpt":0.17767262027159103,"score_spread":0.15985888905244744,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2737768211","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018564743,0.8203854,0.001862335,0.1155397,0.007572447,0.000020943387,0.001406487,0.00014527945,0.05121097],"genre_scores_gemma":[0.11970865,0.6577171,0.003912221,0.015277211,0.0122898,0.00012786,0.0011782437,0.00049020106,0.18929869],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993766,0.00015413316,0.000026716592,0.0000819537,0.00028106285,0.00007964616],"domain_scores_gemma":[0.997919,0.00076194917,0.0001306881,0.00006397,0.0009959617,0.00012842132],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011330837,0.0012613625,0.0006008853,0.003507343,0.003677328,0.006861162,0.001643965,0.0031904455,0.037485406],"category_scores_gemma":[0.00404492,0.0005753444,0.0004123417,0.0046499404,0.0027188591,0.0062184893,0.0012325277,0.0031041529,0.010561889],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049797593,0.00002266392,0.00079962553,0.00046706287,0.000018868328,0.000118994525,0.0049530915,0.00009740341,0.00017456817,0.04796875,0.8795111,0.065818],"study_design_scores_gemma":[0.000011938826,0.00000569679,0.0047785332,0.0007055667,0.00001722644,0.00013018827,0.0033833531,0.00006638563,0.0002493659,0.00828195,0.98235404,0.000015879943],"about_ca_topic_score_codex":0.24604079,"about_ca_topic_score_gemma":0.32945836,"teacher_disagreement_score":0.7539592,"about_ca_system_score_codex":0.005675626,"about_ca_system_score_gemma":0.00401665,"threshold_uncertainty_score":0.48921734},"labels":[],"label_agreement":null},{"id":"W2737982350","doi":"","title":"26e Festival international du film de Toronto : Rencontre avec le septième art","year":2002,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Political science; Humanities","score_opus":0.007744480983843943,"score_gpt":0.14646711159742196,"score_spread":0.138722630613578,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2737982350","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.048825216,0.09258971,0.0018983021,0.11072018,0.03454544,0.00023373231,0.012194225,0.0003172982,0.6986759],"genre_scores_gemma":[0.2794393,0.015385113,0.0010077204,0.0019909136,0.004324814,0.000086060834,0.002462005,0.00028289776,0.6950212],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99820006,0.00024337323,0.000055543354,0.00019386128,0.0005990333,0.00070814264],"domain_scores_gemma":[0.9980432,0.00025695266,0.00012860952,0.00013045467,0.0006065043,0.0008342461],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012972152,0.0014724854,0.00042469043,0.0030117675,0.0085164355,0.010205696,0.00091270416,0.0026558253,0.07485265],"category_scores_gemma":[0.002898642,0.00042720098,0.00053302356,0.0034004254,0.0031554773,0.0016882683,0.0031904262,0.003203907,0.0044068275],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017679884,0.000048010508,0.004023002,0.00046232835,0.00004807218,0.0011770836,0.012875743,0.00043316133,0.0015265022,0.08834035,0.8482353,0.042653702],"study_design_scores_gemma":[0.0000054362035,0.000010059155,0.010651689,0.0001018352,0.000009319883,0.00007228342,0.0025061087,0.000040457013,0.00029067532,0.0003790703,0.98592013,0.000012881594],"about_ca_topic_score_codex":0.7288001,"about_ca_topic_score_gemma":0.8734608,"teacher_disagreement_score":0.27119988,"about_ca_system_score_codex":0.033107113,"about_ca_system_score_gemma":0.019157438,"threshold_uncertainty_score":0.54559404},"labels":[],"label_agreement":null},{"id":"W2738794395","doi":"","title":"Dead Ringers / Faux-semblants — Canada 1988, 115 minutes","year":2005,"lang":"fr","type":"article","venue":"Séquences : la revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography","score_opus":0.019358930090593064,"score_gpt":0.21622696160339008,"score_spread":0.19686803151279703,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2738794395","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008679661,0.18708317,0.0007822721,0.07767787,0.055120885,0.0004100257,0.07276899,0.0007237608,0.5967533],"genre_scores_gemma":[0.017329924,0.018810075,0.0003903681,0.0024643582,0.0036303329,0.00012320644,0.006208932,0.00013669822,0.95090616],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914765,0.000036275593,0.000037021277,0.00012982565,0.00041755202,0.00023156067],"domain_scores_gemma":[0.9988274,0.00008849042,0.000054064178,0.0000383311,0.00075052556,0.00024121223],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00073059456,0.0012005521,0.00067189353,0.0027331158,0.007450086,0.004668804,0.001086794,0.0032575007,0.08343337],"category_scores_gemma":[0.0026921239,0.0006505099,0.00037456007,0.005527679,0.0010587521,0.0014143547,0.0012381555,0.0023135121,0.020010617],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037132406,0.000008148657,0.00027005453,0.00008123817,0.0000026283062,0.000053711487,0.0001324524,0.000072980285,0.000058280195,0.0022370813,0.9861595,0.010886814],"study_design_scores_gemma":[0.000005601055,0.0000026456298,0.0042963475,0.00013222342,0.0000026101957,0.000012153416,0.00016523374,0.000025446669,0.00004269777,0.00026823688,0.9950413,0.0000055408236],"about_ca_topic_score_codex":0.9330146,"about_ca_topic_score_gemma":0.9833067,"teacher_disagreement_score":0.08343337,"about_ca_system_score_codex":0.03509,"about_ca_system_score_gemma":0.027027443,"threshold_uncertainty_score":0.2791124},"labels":[],"label_agreement":null},{"id":"W2738937198","doi":"10.14591/aniki.v4n2.290","title":"The Trail of ’98 (Clarence Brown, 1928) and the Klondike Gold Rush: The Last Big road show of Hollywood’s Silent Film Era","year":2017,"lang":"en","type":"article","venue":"Aniki Revista Portuguesa da Imagem em Movimento","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Gold rush; Movie theater; EPIC; Context (archaeology); Exhibition; Art history; Art; Cartography; History; Archaeology; Geography; Literature","score_opus":0.0329625071348202,"score_gpt":0.23957477833730115,"score_spread":0.20661227120248093,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2738937198","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5249825,0.013872618,0.00071615586,0.014872586,0.0005007946,0.00003308797,0.0004929193,0.000032729193,0.44449666],"genre_scores_gemma":[0.93835855,0.004054108,0.00024988237,0.00061421515,0.0002211839,0.000016651795,0.0001294427,0.00005099052,0.05630502],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994128,0.00020221948,0.000010506242,0.000075069875,0.00014917414,0.00015032993],"domain_scores_gemma":[0.9986725,0.0007485704,0.00018713466,0.00005797399,0.00013270935,0.00020107851],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00077258423,0.0002290697,0.00014922899,0.0010651686,0.0038768179,0.005342896,0.00044779258,0.0008219707,0.010284282],"category_scores_gemma":[0.003217076,0.00015486198,0.0000789877,0.0016224727,0.0046289777,0.0022528728,0.0014657121,0.0016235544,0.0008400733],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031915368,0.00011888815,0.013155718,0.00044403228,0.000026218675,0.002252943,0.39547178,0.00019155019,0.00129415,0.37125146,0.134057,0.08141719],"study_design_scores_gemma":[0.000016254278,0.00009121168,0.05726215,0.00066014193,0.000016743861,0.00080879085,0.1687748,0.00014951917,0.0007353958,0.0069368226,0.7645074,0.00004071279],"about_ca_topic_score_codex":0.093328014,"about_ca_topic_score_gemma":0.23998924,"teacher_disagreement_score":0.906672,"about_ca_system_score_codex":0.005216358,"about_ca_system_score_gemma":0.001654673,"threshold_uncertainty_score":0.18556952},"labels":[],"label_agreement":null},{"id":"W2739188233","doi":"","title":"L’image numérique au cinéma / L’image numérique au cinéma, Philippe Lemieux, Montréal : Les 400 coups, 2002, 175 pages","year":2003,"lang":"fr","type":"article","venue":"Séquences : la revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.017342435667733636,"score_gpt":0.22329361954337065,"score_spread":0.20595118387563702,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2739188233","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0032060612,0.84641606,0.00397609,0.034295402,0.007118702,0.000024304954,0.0009889759,0.00034092204,0.10363344],"genre_scores_gemma":[0.08172797,0.45898318,0.0045585535,0.0017695966,0.0098830955,0.00006172448,0.0011537739,0.00047722115,0.44138494],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995815,0.00008484412,0.00002041865,0.00008869948,0.0001749236,0.000049681083],"domain_scores_gemma":[0.99910945,0.00022509434,0.00006196981,0.00006211034,0.00041826058,0.0001231585],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000619896,0.0016612508,0.000739432,0.003458151,0.0019314159,0.006377854,0.00093453954,0.0015993022,0.046038106],"category_scores_gemma":[0.0024147825,0.00075520226,0.00036463822,0.0049040415,0.0027975105,0.003901177,0.0010343139,0.0019419177,0.0056792577],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057493835,0.000026042042,0.00094276934,0.0006966737,0.00002377697,0.00008474533,0.0013486266,0.00092436443,0.00095341634,0.05707959,0.7798854,0.15797713],"study_design_scores_gemma":[0.000010226307,0.000008127877,0.007665304,0.00081387674,0.000016014243,0.00022806489,0.0008259251,0.0006707235,0.0005164262,0.0050414708,0.9841813,0.000022555958],"about_ca_topic_score_codex":0.5168137,"about_ca_topic_score_gemma":0.52212244,"teacher_disagreement_score":0.5168137,"about_ca_system_score_codex":0.012762191,"about_ca_system_score_gemma":0.00680446,"threshold_uncertainty_score":0.9720638},"labels":[],"label_agreement":null},{"id":"W2739643083","doi":"","title":"Arjuna / Canada [Québec], 1999, 52 minutes","year":2000,"lang":"zh","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography","score_opus":0.006296050865951097,"score_gpt":0.13320274481109923,"score_spread":0.12690669394514814,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2739643083","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022252365,0.087714635,0.0009090652,0.011526535,0.021009326,0.00047574428,0.15960363,0.0017439632,0.71479183],"genre_scores_gemma":[0.0035169134,0.012267821,0.00032563688,0.00066445407,0.00074293365,0.00011065061,0.013165969,0.00043085872,0.96877474],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99920493,0.000046617584,0.00005116684,0.00013245987,0.00038431425,0.00018049039],"domain_scores_gemma":[0.9985176,0.00008284728,0.000073337476,0.00008441671,0.0010256978,0.0002161919],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010090836,0.0026440108,0.0013395561,0.003278614,0.0040811216,0.006875897,0.0020106875,0.0024401173,0.36680853],"category_scores_gemma":[0.0024585521,0.0009975315,0.0006612224,0.011848061,0.0007228702,0.0021821226,0.001556396,0.0016283985,0.16792376],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039251416,0.000007743833,0.00018085341,0.000121152865,0.000004978284,0.000026549871,0.00003260182,0.00011343084,0.000049551338,0.00036392477,0.98561066,0.013449401],"study_design_scores_gemma":[0.000013437107,0.0000049380196,0.0031880382,0.00018805794,0.000005779619,0.000013817554,0.000106529325,0.00005848018,0.0000465275,0.0001388685,0.99622655,0.000009003706],"about_ca_topic_score_codex":0.86803305,"about_ca_topic_score_gemma":0.9604985,"teacher_disagreement_score":0.36680853,"about_ca_system_score_codex":0.017013127,"about_ca_system_score_gemma":0.016044993,"threshold_uncertainty_score":0.90317076},"labels":[],"label_agreement":null},{"id":"W2739916535","doi":"10.3138/cjh.ach.52.2.rev26","title":"<i>Amateur Cinema: The Rise of North American Moviemaking, 1923–1960</i> by Charles Tepperman","year":2017,"lang":"en","type":"article","venue":"Journal of History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Amateur; Art; Media studies; Art history; Economic history; Political science; Sociology; History; Law","score_opus":0.023732766395423637,"score_gpt":0.21943253094343684,"score_spread":0.19569976454801322,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2739916535","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021024583,0.33514157,0.00071649085,0.3687434,0.026473602,0.000030024741,0.0013067845,0.00010333903,0.24646026],"genre_scores_gemma":[0.31179625,0.19970216,0.0009879922,0.024737459,0.036308255,0.00007477173,0.0008396944,0.00030275792,0.42525068],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997315,0.000078358156,0.000011064449,0.000053289106,0.00007931411,0.000046387875],"domain_scores_gemma":[0.999137,0.00034856307,0.00011847698,0.00003592497,0.00019280477,0.00016723076],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005556541,0.00053863437,0.00021235336,0.0015057821,0.00491504,0.0040164557,0.00043741614,0.0012131631,0.010215831],"category_scores_gemma":[0.0016337896,0.00025345897,0.00016310162,0.0023833502,0.002543827,0.003964256,0.0014262662,0.0026114823,0.0014764034],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020065878,0.0000136446715,0.0011638169,0.00013287226,0.0000056849412,0.00007587371,0.007242234,0.00005704245,0.00016745256,0.029802877,0.93575996,0.025558481],"study_design_scores_gemma":[0.000001271739,0.000004156119,0.0065645073,0.00034126992,0.0000035433582,0.000046523714,0.004238981,0.000049661536,0.00010672066,0.0019738327,0.98666245,0.000007207888],"about_ca_topic_score_codex":0.10651709,"about_ca_topic_score_gemma":0.30071038,"teacher_disagreement_score":0.10651709,"about_ca_system_score_codex":0.0038860636,"about_ca_system_score_gemma":0.0023452044,"threshold_uncertainty_score":0.21179414},"labels":[],"label_agreement":null},{"id":"W2742668070","doi":"","title":"Intimacy in Cinema.","year":2014,"lang":"en","type":"book","venue":"McFarland eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Hollywood; Auteur theory; Mainstream; Art; Film studies; Aesthetics; Media studies; Sociology; Visual arts; Art history; Political science","score_opus":0.026660315751039245,"score_gpt":0.20622612068422488,"score_spread":0.17956580493318564,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2742668070","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007672415,0.07837343,0.0040610535,0.011462701,0.0015735854,0.000050499915,0.000049708782,0.000040362844,0.89671624],"genre_scores_gemma":[0.46414387,0.08432309,0.0048638512,0.0057492354,0.0037143186,0.00018910147,0.00012102668,0.00011887895,0.43677658],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998847,0.0006488834,0.00003418203,0.00011332804,0.00025837668,0.00009822458],"domain_scores_gemma":[0.99820054,0.0012018855,0.00013967839,0.00011031003,0.00016705506,0.00018053091],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010629897,0.00044037678,0.00020135252,0.0014429691,0.002672002,0.0070379428,0.00043177576,0.0014841281,0.011696774],"category_scores_gemma":[0.0043684607,0.00021606086,0.00017511328,0.0011822039,0.0069176783,0.005434902,0.0024996235,0.0021372358,0.0016821026],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001879985,0.000025766261,0.0005991724,0.0002943182,0.000005840096,0.00011489626,0.0214928,0.00009045943,0.00017454679,0.8413715,0.047607467,0.08820446],"study_design_scores_gemma":[0.000006161003,0.000021472188,0.0018615057,0.00083288486,0.0000056063677,0.00041715076,0.00487178,0.000117571355,0.00016013357,0.10409828,0.88759893,0.000008391615],"about_ca_topic_score_codex":0.0017411015,"about_ca_topic_score_gemma":0.0026869145,"teacher_disagreement_score":0.011696774,"about_ca_system_score_codex":0.0017375305,"about_ca_system_score_gemma":0.0012733295,"threshold_uncertainty_score":0.039129674},"labels":[],"label_agreement":null},{"id":"W2745035462","doi":"","title":"Papier glacé, média froid et cinéma muet / Stardom, Denys Arcand, Canada / France, 2000, 102 minutes","year":2000,"lang":"fr","type":"article","venue":"Séquences : la revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.012010393259839302,"score_gpt":0.20523102210921562,"score_spread":0.19322062884937632,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2745035462","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002927047,0.5213967,0.001772363,0.042341184,0.093816385,0.00013708847,0.008822507,0.0014038943,0.32738274],"genre_scores_gemma":[0.015313518,0.06368686,0.000787931,0.0016338023,0.017405968,0.00014740121,0.0024056577,0.0005079145,0.89811087],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910575,0.00013034284,0.000042377233,0.00023853216,0.00034699342,0.0001360508],"domain_scores_gemma":[0.9989231,0.0002717341,0.00007581315,0.000047311223,0.00035716523,0.00032482203],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009758464,0.0031535116,0.0013532559,0.0032663546,0.0034771631,0.006375449,0.0010075398,0.002917712,0.15808663],"category_scores_gemma":[0.0028162154,0.00069186254,0.000519678,0.0039860713,0.00094241294,0.002945562,0.0014290437,0.0025654812,0.047444187],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006871995,0.000012157471,0.00015183057,0.00017144824,0.000005674979,0.000037410562,0.00012428065,0.00012868733,0.00015998102,0.002891916,0.97453237,0.02171557],"study_design_scores_gemma":[0.000012251632,0.000008212957,0.0014896827,0.00017276213,0.0000034860088,0.00003811333,0.00014451442,0.000079655685,0.00008586703,0.0003709302,0.9975896,0.0000049573828],"about_ca_topic_score_codex":0.13196908,"about_ca_topic_score_gemma":0.22334853,"teacher_disagreement_score":0.8680309,"about_ca_system_score_codex":0.006595168,"about_ca_system_score_gemma":0.00385738,"threshold_uncertainty_score":0.52885246},"labels":[],"label_agreement":null},{"id":"W2749885916","doi":"","title":"Ce corps qui me danse / Les Saisons Sullivan, réalisé par Mario Côté et Françoise Sullivan. Vidéo HD, 48 min 30 s, v.o.fr., production : Mario Côté, Canada, 2007","year":2007,"lang":"fr","type":"article","venue":"Spirale : arts • Lettres • Sciences humaines","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.034251008992783626,"score_gpt":0.2437607848060597,"score_spread":0.20950977581327607,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2749885916","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.053688534,0.019014938,0.006797793,0.08132371,0.020111714,0.0002450606,0.0019017995,0.00091308786,0.8160033],"genre_scores_gemma":[0.10572084,0.005066789,0.004567753,0.0018751294,0.0011838819,0.000052624124,0.00040743846,0.00037816793,0.8807473],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99956125,0.00008004752,0.000009148642,0.000082035236,0.00017707431,0.00009039837],"domain_scores_gemma":[0.99942315,0.00009554986,0.000047333502,0.000040674928,0.0001660532,0.0002272173],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006093665,0.0008454738,0.00024980016,0.00066011015,0.007934934,0.0041043083,0.00053237897,0.002128832,0.09913295],"category_scores_gemma":[0.0025825691,0.00039314304,0.00034195097,0.00047682464,0.002225115,0.001972974,0.0023709734,0.0026678627,0.010760964],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022039884,0.000042110336,0.0020093233,0.00023846346,0.000010089982,0.0038256997,0.014188798,0.00028792373,0.0051478944,0.04624463,0.84030026,0.08748439],"study_design_scores_gemma":[0.000005614751,0.000011267332,0.0017197204,0.000103266306,0.0000020413295,0.00078810484,0.003940066,0.00007757447,0.00042716018,0.0006973864,0.9922174,0.000010411916],"about_ca_topic_score_codex":0.1778528,"about_ca_topic_score_gemma":0.38717774,"teacher_disagreement_score":0.8221472,"about_ca_system_score_codex":0.0034020192,"about_ca_system_score_gemma":0.0053773606,"threshold_uncertainty_score":0.3536352},"labels":[],"label_agreement":null},{"id":"W2752030588","doi":"","title":"\"To Live Would Be an Awfully Big Adventure\": Masculinity in J.M. Barrie's Peter Pan and Its Cinematic Adaptations","year":2017,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Adventure; Masculinity; Sociology; Art; Psychology; Psychoanalysis; Art history","score_opus":0.07328638387530116,"score_gpt":0.2722169176826638,"score_spread":0.19893053380736264,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2752030588","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14925312,0.018076528,0.0029813827,0.29369622,0.004165443,0.00003771269,0.00007829991,0.00006369077,0.5316477],"genre_scores_gemma":[0.90576035,0.005768775,0.0008173588,0.019236311,0.0015311526,0.000038297436,0.000017654738,0.000105590145,0.066724434],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987608,0.00085776334,0.000016618964,0.00012116046,0.000120026394,0.00012361273],"domain_scores_gemma":[0.99804425,0.0011302436,0.00015993555,0.00010028068,0.00016520958,0.00040000307],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022778853,0.00038169796,0.0002572207,0.0005631225,0.008990619,0.0049065906,0.00045986273,0.0019938687,0.005070093],"category_scores_gemma":[0.004479077,0.0003227213,0.00013618689,0.00040517634,0.015836107,0.004294455,0.0033439414,0.005139694,0.00061134354],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007696117,0.000048265672,0.0013034411,0.00010763301,0.00000992636,0.001045258,0.34385952,0.000055255925,0.0006479721,0.5052815,0.12316789,0.024396414],"study_design_scores_gemma":[0.000018459828,0.000054448443,0.0065854364,0.00040327065,0.000014368866,0.0022560668,0.15162502,0.00015307507,0.00041205707,0.05551008,0.7829273,0.00004044988],"about_ca_topic_score_codex":0.0067817564,"about_ca_topic_score_gemma":0.014326556,"teacher_disagreement_score":0.008990619,"about_ca_system_score_codex":0.0016015329,"about_ca_system_score_gemma":0.00084320176,"threshold_uncertainty_score":0.016961157},"labels":[],"label_agreement":null},{"id":"W2752336835","doi":"10.5325/critphilrace.3.2.0180","title":"The Force of Black and White","year":2015,"lang":"en","type":"article","venue":"Critical Philosophy of Race","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"White (mutation); Memoir; Race (biology); Set (abstract data type); Subject (documents); Art; Aesthetics; Epistemology; Philosophy; Art history; Sociology; Gender studies; Computer science; Chemistry","score_opus":0.06037910278342208,"score_gpt":0.2665447332976365,"score_spread":0.20616563051421444,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2752336835","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.339672,0.0063973307,0.0036254185,0.14503117,0.0013397327,0.000020007526,0.000057842484,0.00002127129,0.5038352],"genre_scores_gemma":[0.9878094,0.00040938752,0.00021165326,0.0029129288,0.00014141714,0.0000062601675,0.0000036141137,0.000013723367,0.008491683],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99530655,0.002808084,0.000064213906,0.00060894305,0.0007334035,0.000478892],"domain_scores_gemma":[0.99640584,0.0020778277,0.0003321989,0.00019808108,0.00044508415,0.00054092356],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0051770476,0.00024564055,0.0003824596,0.00094857335,0.0055383025,0.0067510144,0.0006697209,0.0018171836,0.0058080833],"category_scores_gemma":[0.010294372,0.00014571648,0.00013463617,0.0004670132,0.026996227,0.0037285627,0.003550083,0.0032921832,0.00028358446],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042136497,0.000015040131,0.0013172523,0.00002843842,0.0000064931733,0.00011983737,0.050389323,0.000029299432,0.00029791603,0.93299204,0.0054185665,0.009343672],"study_design_scores_gemma":[0.000034900262,0.00006769154,0.009948455,0.0008119515,0.0000369835,0.00035855194,0.12899064,0.0003930314,0.0013348324,0.40072587,0.45724145,0.000055631703],"about_ca_topic_score_codex":0.013230104,"about_ca_topic_score_gemma":0.011371901,"teacher_disagreement_score":0.013230104,"about_ca_system_score_codex":0.0034766078,"about_ca_system_score_gemma":0.001583755,"threshold_uncertainty_score":0.027379215},"labels":[],"label_agreement":null},{"id":"W2753176071","doi":"","title":"Du roman-vérité au cinéma biographique / Capote de Bennett Miller","year":2006,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Miller; Art","score_opus":0.011886376956393436,"score_gpt":0.19090042203527394,"score_spread":0.1790140450788805,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2753176071","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010394036,0.17068593,0.0022487328,0.41713643,0.020983666,0.000034684206,0.00024804365,0.00008347864,0.37818497],"genre_scores_gemma":[0.20135064,0.10824357,0.0019139053,0.036298506,0.020015217,0.000069586524,0.00018211572,0.00026797224,0.63165843],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984308,0.00085902115,0.000028752935,0.00018454822,0.00038101678,0.000115791256],"domain_scores_gemma":[0.9976125,0.001107524,0.0001699921,0.00012765253,0.0006917478,0.0002906216],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019367279,0.00046462408,0.0003921496,0.0015695302,0.0026079996,0.0055635846,0.00041091102,0.0020651487,0.022838416],"category_scores_gemma":[0.009935481,0.00030057222,0.00015568607,0.0011237363,0.002860893,0.0036735788,0.0017893405,0.00338205,0.004206688],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040610663,0.000035060068,0.0006552673,0.0001133588,0.000005867719,0.00013913882,0.0023445075,0.000117059535,0.00016877337,0.24606553,0.7040953,0.04621943],"study_design_scores_gemma":[0.000003649672,0.0000063819957,0.0009780196,0.00028432676,0.0000027620881,0.00014775133,0.0013794778,0.0001281241,0.00010619642,0.010545168,0.9864088,0.000009339676],"about_ca_topic_score_codex":0.023473775,"about_ca_topic_score_gemma":0.021249045,"teacher_disagreement_score":0.023473775,"about_ca_system_score_codex":0.0034411456,"about_ca_system_score_gemma":0.0017118427,"threshold_uncertainty_score":0.07640213},"labels":[],"label_agreement":null},{"id":"W2754130309","doi":"10.4000/appareil.2388","title":"L’art radiophonique : histoire d’un médium de masse devenu médium artistique","year":2017,"lang":"fr","type":"article","venue":"Appareil","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Espace pour la vie","funders":"","keywords":"Art; Humanities","score_opus":0.02174490377078587,"score_gpt":0.22924273529881226,"score_spread":0.2074978315280264,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2754130309","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.037280988,0.024734003,0.027393168,0.016999938,0.0036309299,0.00008315704,0.00018234378,0.00021021836,0.8894851],"genre_scores_gemma":[0.6698833,0.018577607,0.010008195,0.0028734377,0.004087871,0.00015874601,0.0001172022,0.00045868405,0.293835],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988005,0.00054482924,0.000028580325,0.00016184879,0.0003257624,0.00013843317],"domain_scores_gemma":[0.99821305,0.0012348321,0.00010221986,0.00015456953,0.00017480478,0.00012054176],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013087958,0.00065254816,0.00024225687,0.0027554308,0.0039040905,0.008167439,0.00075026177,0.0019876617,0.011980748],"category_scores_gemma":[0.0030410253,0.00024053507,0.00034632903,0.0020505786,0.011098636,0.0046055024,0.0022525426,0.002773957,0.0020065706],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006939353,0.000014839171,0.0006653148,0.00029971948,0.000008570285,0.0009146835,0.058697034,0.00031722794,0.0020546825,0.87156713,0.026078949,0.039312337],"study_design_scores_gemma":[0.000005035158,0.000026215008,0.0013041191,0.0003583143,0.0000058896676,0.0010557544,0.013486111,0.0002395171,0.0006480884,0.020114588,0.9627365,0.000019946921],"about_ca_topic_score_codex":0.004684699,"about_ca_topic_score_gemma":0.0074111046,"teacher_disagreement_score":0.011980748,"about_ca_system_score_codex":0.0025662477,"about_ca_system_score_gemma":0.0012426416,"threshold_uncertainty_score":0.040079594},"labels":[],"label_agreement":null},{"id":"W2755167625","doi":"10.1111/jpcu.12577","title":"Tim Burton: Essays on the Films. Ed. JohnsonCheu. McFarland, 2016. 256 pp. $29.95 paperback.","year":2017,"lang":"en","type":"article","venue":"The Journal of Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Humber College","funders":"","keywords":"Citation; History; Computer science; Library science","score_opus":0.029745606397102796,"score_gpt":0.2388057556320975,"score_spread":0.2090601492349947,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2755167625","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00065131916,0.80269307,0.00037291026,0.06244116,0.014834397,0.000016277256,0.0005507972,0.00007660672,0.11836349],"genre_scores_gemma":[0.012327975,0.49882936,0.0005608967,0.0059254877,0.0078693265,0.00004303894,0.000469511,0.00021207574,0.4737622],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99946517,0.00015432965,0.000028532055,0.000075274394,0.00020129974,0.00007535513],"domain_scores_gemma":[0.99896204,0.00041446526,0.00010360017,0.0000465418,0.00031037146,0.00016298919],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010789031,0.0015418534,0.0008203975,0.002673863,0.0029290162,0.005381504,0.0009979949,0.0024227363,0.14561105],"category_scores_gemma":[0.004672794,0.00080119324,0.00041137074,0.003195843,0.0014512347,0.0073151602,0.0018165678,0.0026554654,0.049288154],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021649235,0.000008632036,0.00004712327,0.00013936065,0.0000033857577,0.000027197635,0.00043912473,0.00001709523,0.000059063277,0.0033300468,0.9612232,0.034684215],"study_design_scores_gemma":[0.0000029290582,0.00000458862,0.00042620252,0.00078495074,0.000003930473,0.000073355695,0.000861856,0.00001450294,0.00008272992,0.0018684228,0.9958715,0.000004954332],"about_ca_topic_score_codex":0.0153871,"about_ca_topic_score_gemma":0.030598711,"teacher_disagreement_score":0.14561105,"about_ca_system_score_codex":0.0023922431,"about_ca_system_score_gemma":0.0015084831,"threshold_uncertainty_score":0.48711747},"labels":[],"label_agreement":null},{"id":"W2755826770","doi":"10.3138/cras.2017.023","title":"Is a Trojan Horse an Empty Signifier? The Televisual Politics of <i>Orange Is the New Black</i>","year":2017,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Trojan horse; Gaze; Politics; Narrative; Movie theater; Hegemony; Aesthetics; Trojan; Literature; Orange (colour); Sociology; Art; Law; Political science; Psychology; Psychoanalysis; Computer science; Computer security","score_opus":0.07414011033642944,"score_gpt":0.3216043070777508,"score_spread":0.24746419674132136,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2755826770","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13208008,0.025901778,0.007553802,0.12332186,0.0010699355,0.000021889427,0.00013434383,0.000080903774,0.7098354],"genre_scores_gemma":[0.9456306,0.009421388,0.001009245,0.002974392,0.0005446987,0.000017943346,0.000030016769,0.000075838245,0.0402959],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9992004,0.00056191185,0.000008347687,0.000053559896,0.0000938565,0.00008197075],"domain_scores_gemma":[0.9977012,0.0016805229,0.00019628978,0.00012149868,0.00016363036,0.00013689403],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001556122,0.00018967944,0.00016962267,0.0009821006,0.0025733195,0.006566305,0.00048697207,0.0008846459,0.0066373264],"category_scores_gemma":[0.0038439422,0.00013088707,0.00013678556,0.000828884,0.010170877,0.0051689446,0.0014856863,0.002028418,0.0005671064],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038399958,0.000018638251,0.0014264506,0.0001744366,0.000009133184,0.00013089353,0.08045804,0.00005446394,0.00047896808,0.84176296,0.039424367,0.036023267],"study_design_scores_gemma":[0.000011990042,0.000029918543,0.007227092,0.0008967483,0.00002186507,0.00023408017,0.098678924,0.00037445198,0.00072685495,0.09007229,0.8017041,0.000021630312],"about_ca_topic_score_codex":0.013747454,"about_ca_topic_score_gemma":0.024378536,"teacher_disagreement_score":0.013747454,"about_ca_system_score_codex":0.0027238335,"about_ca_system_score_gemma":0.001273648,"threshold_uncertainty_score":0.027334869},"labels":[],"label_agreement":null},{"id":"W2757159575","doi":"","title":"The Animator: The 26th Society for Animation Studies Annual Conference Toronto June 16 to 19, 2014","year":2014,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Animation; Computer graphics (images); Visual arts; Computer science; Art","score_opus":0.04199382325450209,"score_gpt":0.27465177994346857,"score_spread":0.23265795668896647,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2757159575","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005652258,0.05494148,0.003965546,0.0678309,0.13650233,0.00042224207,0.0076955897,0.0023277039,0.72066194],"genre_scores_gemma":[0.0094232,0.010052372,0.00079780817,0.001138529,0.0070488392,0.00013439986,0.001997232,0.0007520941,0.9686556],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991738,0.00017705059,0.000033731,0.000116326526,0.000330845,0.0001681581],"domain_scores_gemma":[0.99720407,0.000286845,0.000113623246,0.00016476994,0.0011446717,0.0010861054],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0019637211,0.0017607363,0.0011922681,0.002987491,0.004233555,0.008048591,0.0011900323,0.002125488,0.42232093],"category_scores_gemma":[0.003996429,0.00061313785,0.0006196957,0.0019271151,0.0012061197,0.0029439896,0.005857642,0.0024980512,0.10374095],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003194188,0.0000104949395,0.000120106386,0.00008409859,0.000005215462,0.00002118904,0.00017994031,0.000037805334,0.00015008102,0.0010664038,0.9847269,0.013565856],"study_design_scores_gemma":[0.000005950678,0.000010026779,0.00054744276,0.0001770556,0.000006657405,0.000016158274,0.00028683073,0.000054138385,0.000068700734,0.00017161685,0.9986486,0.0000069079515],"about_ca_topic_score_codex":0.03427324,"about_ca_topic_score_gemma":0.15492818,"teacher_disagreement_score":0.42232093,"about_ca_system_score_codex":0.0042678313,"about_ca_system_score_gemma":0.0062833754,"threshold_uncertainty_score":0.8239891},"labels":[],"label_agreement":null},{"id":"W275744916","doi":"10.3138/cjfs.19.2.82","title":"Cinematic Experience, Film Space, and the Child’s World","year":2010,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Space (punctuation); Computer science","score_opus":0.022481874117460877,"score_gpt":0.23019647647756808,"score_spread":0.2077146023601072,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W275744916","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5281351,0.018320872,0.0041421307,0.015084568,0.00061323476,0.00006326388,0.00031815565,0.00008715965,0.43323547],"genre_scores_gemma":[0.980981,0.0057808612,0.0004536701,0.0004900004,0.00011933862,0.00002749601,0.00006409521,0.000032292963,0.012051274],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991035,0.0004878516,0.000027255053,0.00009849231,0.000112245245,0.00017069731],"domain_scores_gemma":[0.9987691,0.00061120075,0.00024046871,0.00005919474,0.00008326535,0.00023679365],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008719088,0.000298417,0.00023107423,0.0011124776,0.0032273538,0.007165376,0.000608842,0.0010060497,0.010622826],"category_scores_gemma":[0.002426165,0.00017403248,0.00022604328,0.0009920733,0.008533943,0.0043954006,0.0034717016,0.001982969,0.00043069542],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000091572736,0.00006428008,0.006817096,0.00035551263,0.00002026588,0.0017421341,0.7471349,0.00011177051,0.002143533,0.21478646,0.006251601,0.020480907],"study_design_scores_gemma":[0.000021702872,0.00011603129,0.026105724,0.0006234196,0.000032615648,0.0037776048,0.5429707,0.0001362792,0.0009620585,0.016734833,0.40846226,0.00005682539],"about_ca_topic_score_codex":0.011438611,"about_ca_topic_score_gemma":0.013365211,"teacher_disagreement_score":0.011438611,"about_ca_system_score_codex":0.002221083,"about_ca_system_score_gemma":0.001039988,"threshold_uncertainty_score":0.035536885},"labels":[],"label_agreement":null},{"id":"W2757587404","doi":"","title":"L’image sidérante / The Shattering Image","year":2001,"lang":"en","type":"article","venue":"CV Photo","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Image (mathematics); Computer vision; Artificial intelligence; Computer science","score_opus":0.028882456012178766,"score_gpt":0.22493975517470588,"score_spread":0.19605729916252712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2757587404","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0139506105,0.004074808,0.002027247,0.03619798,0.005116031,0.000022987278,0.00036188992,0.00035882535,0.93788964],"genre_scores_gemma":[0.29074323,0.003232151,0.0019811348,0.01111381,0.0054278383,0.00003357799,0.0003731916,0.0007818513,0.6863133],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99940336,0.00019244573,0.000010306807,0.000091120346,0.00020872221,0.00009400708],"domain_scores_gemma":[0.9991726,0.00025370103,0.00006883571,0.00012692776,0.00025075703,0.00012715736],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007416302,0.00043424848,0.00017544923,0.0014278867,0.0017990036,0.006149692,0.00037765285,0.0018238715,0.108888306],"category_scores_gemma":[0.0035042458,0.00022660177,0.00024033677,0.0005811459,0.0019297714,0.0026664194,0.0014709053,0.0027127503,0.013259787],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015230775,0.0000435163,0.0014692433,0.000132185,0.000011840622,0.00043576,0.0022751843,0.00014330208,0.0017305812,0.19940124,0.6627679,0.13143694],"study_design_scores_gemma":[0.000010332405,0.00001631809,0.0020815807,0.00008914419,0.000003469544,0.0004957847,0.0012091707,0.00017920404,0.0006505678,0.005388464,0.9898628,0.000013216014],"about_ca_topic_score_codex":0.010721604,"about_ca_topic_score_gemma":0.011402793,"teacher_disagreement_score":0.108888306,"about_ca_system_score_codex":0.00196919,"about_ca_system_score_gemma":0.0004884085,"threshold_uncertainty_score":0.36426765},"labels":[],"label_agreement":null},{"id":"W2757632480","doi":"","title":"31e Festival international du nouveau cinéma et des nouveaux médias de Montréal","year":2003,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science; Art","score_opus":0.013652041808572072,"score_gpt":0.17974015975075797,"score_spread":0.1660881179421859,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2757632480","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.098158315,0.052776907,0.004103213,0.052326556,0.009319496,0.00050042477,0.084553204,0.0005612903,0.6977006],"genre_scores_gemma":[0.36264858,0.007851891,0.002040181,0.0012051357,0.0011142475,0.0002053865,0.009887256,0.00016905995,0.6148782],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990596,0.00009934566,0.000025224863,0.00010488461,0.00030321308,0.0004076403],"domain_scores_gemma":[0.9985374,0.00017157254,0.00010772232,0.000077906305,0.00060390425,0.0005015009],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007611985,0.00093898026,0.00039820722,0.0031269523,0.004237521,0.004736632,0.0008597104,0.0010863618,0.09586239],"category_scores_gemma":[0.0024121476,0.00029376245,0.0005065273,0.0033269643,0.00090144714,0.0011003173,0.0016855467,0.0012687123,0.0034568617],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030770662,0.00013926084,0.021806676,0.00056678493,0.00010111355,0.00093162205,0.006051555,0.0010879448,0.0019213011,0.12660298,0.74272746,0.09775563],"study_design_scores_gemma":[0.000020262407,0.000020623384,0.066906445,0.00012612574,0.000019032628,0.00007326547,0.0016758876,0.00019970624,0.00039290605,0.0010034924,0.9295286,0.000033689696],"about_ca_topic_score_codex":0.90093523,"about_ca_topic_score_gemma":0.938964,"teacher_disagreement_score":0.09906477,"about_ca_system_score_codex":0.020671954,"about_ca_system_score_gemma":0.01761008,"threshold_uncertainty_score":0.32069165},"labels":[],"label_agreement":null},{"id":"W2759537109","doi":"10.1525/fq.2015.68.3.96","title":"Tsai Ming-liang and a Cinema of Slowness by Song Hwee Lim","year":2015,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Slowness; Citation; Movie theater; Art; Art history; History; Visual arts; Computer science; Library science; Physics","score_opus":0.030951235581988635,"score_gpt":0.2133373679184798,"score_spread":0.18238613233649115,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2759537109","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001702478,0.7845394,0.0006461126,0.06841317,0.0386365,0.00007023349,0.00012744631,0.000070856935,0.10579379],"genre_scores_gemma":[0.024709115,0.5006649,0.0007250986,0.026541973,0.031926405,0.00012827362,0.00026708603,0.00017124425,0.41486603],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999453,0.00011678882,0.000025027792,0.000078626355,0.0002733065,0.000053283817],"domain_scores_gemma":[0.9990693,0.00028451276,0.00006266138,0.00002935664,0.00040920835,0.00014504367],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006707739,0.0004963105,0.00029801897,0.0014840453,0.00094258774,0.0022020128,0.0005940461,0.0013714874,0.03153277],"category_scores_gemma":[0.003276592,0.00023018366,0.00022502273,0.0013374252,0.00091015577,0.0033354736,0.0012502088,0.0027933936,0.0064673554],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011993553,0.000008886304,0.000087546556,0.00045883434,0.000004968258,0.00009106007,0.0006931146,0.00002487716,0.0002469464,0.00610283,0.9227602,0.069508776],"study_design_scores_gemma":[0.0000020950988,0.0000059681756,0.0002983037,0.0003910472,0.0000029950834,0.00012901486,0.00029881648,0.000010717953,0.00004441316,0.0002508519,0.99856275,0.0000030343156],"about_ca_topic_score_codex":0.005849012,"about_ca_topic_score_gemma":0.010438385,"teacher_disagreement_score":0.03153277,"about_ca_system_score_codex":0.0019907146,"about_ca_system_score_gemma":0.0019605947,"threshold_uncertainty_score":0.105487585},"labels":[],"label_agreement":null},{"id":"W2759619868","doi":"","title":"Opérascope — Le film-opéra en Amérique Réal La Rochelle Montréal : Éditions Tryptique, 2003 428 pages","year":2004,"lang":"fr","type":"article","venue":"S&#233;quences : La revue de cin&#233;ma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.01146957399882354,"score_gpt":0.21062523981401385,"score_spread":0.1991556658151903,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2759619868","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009060531,0.19311374,0.0028211735,0.028497469,0.019697135,0.00010493418,0.009407073,0.0017134944,0.73558444],"genre_scores_gemma":[0.028064266,0.033035073,0.0013477706,0.0007257196,0.0020797767,0.000035092322,0.00250531,0.00046073642,0.9317462],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99979025,0.000015299893,0.0000064818437,0.000026748025,0.00012080236,0.000040433515],"domain_scores_gemma":[0.9994431,0.00010987049,0.000026071528,0.00003853556,0.00025198318,0.00013035964],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00044286725,0.0010035884,0.00039170036,0.0027670497,0.0019140308,0.0075488337,0.0009415146,0.0008456362,0.16084895],"category_scores_gemma":[0.0010504373,0.00035787106,0.0002886411,0.0036172813,0.0012127396,0.002327211,0.00090826594,0.001195187,0.016903888],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028200826,0.000016367838,0.00041850904,0.00011505109,0.000005755314,0.000049019178,0.0004739537,0.00015902524,0.0006113605,0.01239889,0.9256932,0.060030565],"study_design_scores_gemma":[0.0000034656082,0.0000033912213,0.0020509595,0.000112021575,0.0000036500273,0.00003857435,0.0003658196,0.00006901416,0.00013556072,0.00058370066,0.9966287,0.0000051599113],"about_ca_topic_score_codex":0.51501256,"about_ca_topic_score_gemma":0.6090532,"teacher_disagreement_score":0.48498744,"about_ca_system_score_codex":0.009869943,"about_ca_system_score_gemma":0.007370349,"threshold_uncertainty_score":0.97568727},"labels":[],"label_agreement":null},{"id":"W2759918045","doi":"","title":"The Montreal Stop-Motion Film Festival","year":2011,"lang":"en","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Motion (physics); Computer science; Artificial intelligence","score_opus":0.015410098062669162,"score_gpt":0.14637721157106545,"score_spread":0.1309671135083963,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2759918045","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33569017,0.01093134,0.0012974575,0.070657045,0.0051882137,0.00033351555,0.03147794,0.0003867022,0.54403764],"genre_scores_gemma":[0.6995407,0.0022161878,0.0006470905,0.001949694,0.00094035984,0.000087186105,0.0045069675,0.00017114938,0.28994074],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99958056,0.000058839123,0.0000051380603,0.000057245157,0.00013790026,0.00016037143],"domain_scores_gemma":[0.9991374,0.000074860036,0.000051134357,0.00004171877,0.00028636504,0.0004086189],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00066313084,0.00051159353,0.00021918904,0.0012452963,0.006708908,0.0051026135,0.0006581571,0.0010871321,0.0421424],"category_scores_gemma":[0.0022691467,0.00024399214,0.00021497361,0.0016192256,0.0010393768,0.0010836575,0.0011654983,0.0013718774,0.0017639911],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00047706958,0.00014842926,0.01413762,0.00021165778,0.00008878225,0.00084064604,0.010374225,0.0007260311,0.0018184216,0.034228135,0.8909542,0.045994677],"study_design_scores_gemma":[0.000029920111,0.000049142054,0.15429978,0.00013572582,0.000025806208,0.00007249675,0.009449655,0.00029900816,0.0005589216,0.0013140679,0.83370394,0.00006158918],"about_ca_topic_score_codex":0.8504629,"about_ca_topic_score_gemma":0.95892316,"teacher_disagreement_score":0.14953709,"about_ca_system_score_codex":0.019372007,"about_ca_system_score_gemma":0.008528075,"threshold_uncertainty_score":0.30083543},"labels":[],"label_agreement":null},{"id":"W2761151601","doi":"10.5038/1911-9933.11.2.1490","title":"Film Review: Stealing a Nation","year":2017,"lang":"en","type":"article","venue":"Genocide Studies and Prevention","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Genocide; Political science; Criminology; Sociology; Law","score_opus":0.1132991807983494,"score_gpt":0.3224444215587747,"score_spread":0.2091452407604253,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2761151601","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003596336,0.72601664,0.00017498391,0.20565335,0.048892237,0.00004301727,0.00052688725,0.000021402042,0.0150751835],"genre_scores_gemma":[0.061468635,0.74724907,0.00040156752,0.079637185,0.091183394,0.00008234261,0.0008921497,0.00010469163,0.018981079],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.995001,0.002062267,0.0006413474,0.0004672327,0.0014186248,0.00040946575],"domain_scores_gemma":[0.9461094,0.025448237,0.006652928,0.002044133,0.017477745,0.0022674985],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006885701,0.00061814697,0.0010063737,0.0059245867,0.0013261486,0.004191688,0.0010438985,0.0058376472,0.010032956],"category_scores_gemma":[0.054589983,0.00042222365,0.0005865557,0.0055527627,0.0022421435,0.0033459647,0.0013324883,0.0042392295,0.0028150692],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010185407,0.000026187194,0.0011306044,0.0042000143,0.00012449358,0.00020713077,0.00039979492,0.000047440953,0.00017023268,0.004167882,0.9226794,0.06674491],"study_design_scores_gemma":[0.000029875646,0.000057259665,0.006916171,0.013863397,0.00022836383,0.0004647982,0.0012019248,0.00006139657,0.00018139213,0.0014591685,0.9755147,0.000021612095],"about_ca_topic_score_codex":0.015201778,"about_ca_topic_score_gemma":0.035883944,"teacher_disagreement_score":0.015201778,"about_ca_system_score_codex":0.004102798,"about_ca_system_score_gemma":0.006508933,"threshold_uncertainty_score":0.036415517},"labels":[],"label_agreement":null},{"id":"W2763534772","doi":"10.7202/1041111ar","title":"Pawns in Their Game: Bob Dylan’s Celebrity Persona in Dont Look Back","year":2017,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Persona; Commodification; Depiction; Narrative; Celebrity culture; Sociology; Spectacle; Aesthetics; Art; Reality television; Media studies; Popular culture; Complicity; The arts; Video game; Literature; Visual arts; Humanities; Law; Political science","score_opus":0.05261407622745813,"score_gpt":0.24727094857937987,"score_spread":0.19465687235192175,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2763534772","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28483862,0.011815851,0.004245226,0.13483508,0.003445303,0.000056532204,0.00016429239,0.00012981771,0.5604693],"genre_scores_gemma":[0.819615,0.0029578344,0.00089648005,0.0055689258,0.0003940991,0.000023382334,0.000044303208,0.00014049564,0.17035945],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99944514,0.00031484535,0.0000053933672,0.00006689312,0.00007134201,0.000096370655],"domain_scores_gemma":[0.9992668,0.00035180894,0.0000549718,0.000025798472,0.000092268216,0.00020836],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00072086864,0.00021221169,0.00017068503,0.0005556306,0.006051699,0.0056638895,0.0003667388,0.00091941265,0.007080064],"category_scores_gemma":[0.0022717738,0.00022016194,0.00010415392,0.00032129133,0.0039016341,0.002753343,0.0020768396,0.00252459,0.0010273888],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022418656,0.00016600045,0.003942614,0.00016095961,0.000018754625,0.0019470876,0.24576776,0.00023612937,0.0014944808,0.4068015,0.295938,0.04330253],"study_design_scores_gemma":[0.000012853159,0.000038313243,0.002223739,0.00017523702,0.0000088801935,0.00047648125,0.07755082,0.0002740683,0.0007811643,0.010495357,0.9079386,0.000024454035],"about_ca_topic_score_codex":0.015749354,"about_ca_topic_score_gemma":0.039434087,"teacher_disagreement_score":0.015749354,"about_ca_system_score_codex":0.002871755,"about_ca_system_score_gemma":0.0006458311,"threshold_uncertainty_score":0.031315386},"labels":[],"label_agreement":null},{"id":"W2765146255","doi":"10.3998/mij.15031809.0004.204","title":"Bureaucrats and Movie Czars: Canada’s Feature Film Policy since 2000","year":2017,"lang":"en","type":"article","venue":"Media Industries","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Calgary","funders":"","keywords":"Feature film; Feature (linguistics); Political science; Movie theater; Media studies; Art; Art history; Sociology; Linguistics; Philosophy","score_opus":0.03769698741983348,"score_gpt":0.2329937395459756,"score_spread":0.19529675212614211,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2765146255","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46556485,0.018037468,0.001257517,0.254872,0.0007879441,0.000200254,0.0017769808,0.00011281682,0.2573902],"genre_scores_gemma":[0.9442818,0.006590068,0.00058898824,0.011288753,0.00015690498,0.000037837584,0.0003157295,0.000031383213,0.036708508],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9955154,0.00043741826,0.00008338698,0.00036450897,0.0015469604,0.00205229],"domain_scores_gemma":[0.98969775,0.0018248351,0.00065341534,0.00021335002,0.0037532386,0.0038574254],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027652173,0.00032914957,0.00032890678,0.0022113149,0.016657455,0.011229403,0.0017719126,0.0032109334,0.0050874436],"category_scores_gemma":[0.011083104,0.00037509392,0.00025972765,0.0037336072,0.0060337423,0.0020443916,0.00202234,0.0037557546,0.00022822493],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00037988904,0.00024515367,0.052822564,0.00060837134,0.00008785575,0.0010039023,0.025296396,0.0030706152,0.0021461041,0.5564374,0.20822836,0.14967345],"study_design_scores_gemma":[0.000057592628,0.00009226572,0.11737022,0.0006643138,0.00008252139,0.0001327108,0.04362485,0.0021454971,0.00095693406,0.0075606965,0.8271823,0.00013012112],"about_ca_topic_score_codex":0.9952302,"about_ca_topic_score_gemma":0.99644923,"teacher_disagreement_score":0.2320436,"about_ca_system_score_codex":0.2320436,"about_ca_system_score_gemma":0.27708095,"threshold_uncertainty_score":0.8907206},"labels":[],"label_agreement":null},{"id":"W2765183027","doi":"10.1386/public.28.56.216_5","title":"Hamilton Babylon: A History of the McMaster Film Board","year":2017,"lang":"en","type":"article","venue":"Public","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Art; History","score_opus":0.07039494292942128,"score_gpt":0.21287043318360632,"score_spread":0.14247549025418504,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2765183027","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013395289,0.09834792,0.0007633203,0.22289808,0.014089804,0.00010898055,0.0012118851,0.00016181212,0.64902294],"genre_scores_gemma":[0.13699545,0.031887077,0.00061233557,0.01484955,0.0043619336,0.00005356415,0.00023540754,0.00028246237,0.81072223],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99811304,0.0005348215,0.000042804186,0.0002229438,0.000560401,0.00052590005],"domain_scores_gemma":[0.9966364,0.00084514514,0.00019054915,0.00019256595,0.000921529,0.0012138204],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018133853,0.00057783286,0.00032680444,0.0026705996,0.007607061,0.011185391,0.0012906736,0.002921631,0.08535121],"category_scores_gemma":[0.0063506877,0.0005629682,0.00019876403,0.0038984981,0.0057976567,0.0031160659,0.0024329568,0.0034370157,0.006229939],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007192305,0.000029533914,0.0007124839,0.00015413424,0.0000102511995,0.00017969475,0.0038824806,0.000060240098,0.00016854619,0.089965284,0.86563134,0.039134096],"study_design_scores_gemma":[0.000004010395,0.000006033743,0.0018089694,0.00016814022,0.0000031314712,0.000020299647,0.0020056835,0.000020706379,0.000103049024,0.0012821553,0.99456537,0.000012426286],"about_ca_topic_score_codex":0.39315727,"about_ca_topic_score_gemma":0.6521981,"teacher_disagreement_score":0.9800441,"about_ca_system_score_codex":0.019955866,"about_ca_system_score_gemma":0.010493768,"threshold_uncertainty_score":0.7817377},"labels":[],"label_agreement":null},{"id":"W2765316917","doi":"10.1007/978-3-319-60198-4_4","title":"War Films, Combat Simulators and the Absent Virtual Soldier","year":2017,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Adversary; Battle; Brainstorming; Theme (computing); Dehumanization; Battlefield; Facilitator; Engineering; Military tactics; Computer security; Media studies; Political science; Computer science; Law; Sociology; Operations research; Artificial intelligence; History; World Wide Web","score_opus":0.031230814329153832,"score_gpt":0.2145318019748859,"score_spread":0.18330098764573205,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2765316917","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.035729397,0.15374501,0.004727347,0.0320772,0.0026967146,0.000012282623,0.00011314458,0.000034539975,0.7708643],"genre_scores_gemma":[0.4533581,0.07969222,0.0013751903,0.0025699914,0.0033230782,0.00002127774,0.00014866055,0.00006859624,0.45944285],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99968743,0.00014738884,0.000008498385,0.000035860983,0.00008252238,0.000038394046],"domain_scores_gemma":[0.99859434,0.0010518804,0.00009391289,0.000044009455,0.00008682757,0.00012904394],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005904965,0.00041973492,0.00021171976,0.00071865483,0.0010888729,0.0055227843,0.0004881935,0.0017641262,0.024804503],"category_scores_gemma":[0.0033550588,0.000234623,0.00013468534,0.00078810554,0.0023762002,0.0037826675,0.0009682882,0.0023140626,0.0014016532],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006517461,0.00009686523,0.0011776784,0.00019536866,0.000010371592,0.00023672388,0.0023689712,0.00057456386,0.00028255806,0.8087477,0.08207701,0.10416706],"study_design_scores_gemma":[0.000012199244,0.00006798387,0.006993796,0.0010271487,0.000016557668,0.0007174364,0.005023494,0.0012906721,0.0003937632,0.28856373,0.69586855,0.000024653258],"about_ca_topic_score_codex":0.0035887617,"about_ca_topic_score_gemma":0.005917478,"teacher_disagreement_score":0.024804503,"about_ca_system_score_codex":0.001141371,"about_ca_system_score_gemma":0.0008802397,"threshold_uncertainty_score":0.08297932},"labels":[],"label_agreement":null},{"id":"W2765480068","doi":"10.1386/slac.14.2.153_1","title":"The institutionalization of film exhibition in Cuba (1959–64)","year":2017,"lang":"en","type":"article","venue":"Studies in Spanish & Latin-American Cinemas","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Exhibition; Institutionalisation; Scrutiny; Club; Political science; Scale (ratio); Sociology; Aesthetics; Media studies; Art; Art history; Law; Geography; Cartography","score_opus":0.07599736997892736,"score_gpt":0.3137221919300995,"score_spread":0.23772482195117212,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2765480068","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9678438,0.00121259,0.00010993346,0.0014296075,0.000030346524,0.000027088437,0.0002749101,0.00000830707,0.02906327],"genre_scores_gemma":[0.99701655,0.00030024676,0.000029912115,0.000030272966,0.000010721154,0.000008038884,0.000073164265,0.000004117973,0.0025270297],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993612,0.00016467253,0.0000141465125,0.00007258306,0.000052554755,0.00033476588],"domain_scores_gemma":[0.99876595,0.00023977911,0.00032063754,0.00011073869,0.00025791014,0.00030499484],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010225154,0.00017512831,0.00018058158,0.001643314,0.0037094003,0.003922676,0.000753555,0.0003610663,0.0038685163],"category_scores_gemma":[0.0016491996,0.0002243967,0.000116386414,0.0018138455,0.0025724398,0.00071071746,0.0023347994,0.000834671,0.0001692083],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0014369424,0.0005750462,0.34749034,0.00065500767,0.00012821217,0.0046445783,0.38850716,0.0013585762,0.008416397,0.1053336,0.015808308,0.12564579],"study_design_scores_gemma":[0.000012451127,0.00006055549,0.7276341,0.000313614,0.000022053138,0.00030125363,0.15996099,0.00031883808,0.001111062,0.0007964922,0.10942454,0.00004410996],"about_ca_topic_score_codex":0.39373392,"about_ca_topic_score_gemma":0.43424556,"teacher_disagreement_score":0.39373392,"about_ca_system_score_codex":0.016693475,"about_ca_system_score_gemma":0.0036490767,"threshold_uncertainty_score":0.78288424},"labels":[],"label_agreement":null},{"id":"W2766336428","doi":"10.1007/978-3-319-60198-4_1","title":"Introduction: Virtual Weaponry","year":2017,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Sketch; The Internet; Key (lock); Art history; Media studies; Art; Visual arts; History; Aesthetics; Literature; Sociology; Computer science; World Wide Web; Computer security","score_opus":0.03606374570314773,"score_gpt":0.21295762726527123,"score_spread":0.1768938815621235,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2766336428","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000593121,0.030831907,0.0074827266,0.003323104,0.0074753836,0.000046897476,0.0003895243,0.00029309638,0.9495641],"genre_scores_gemma":[0.0055864938,0.019975299,0.0022340305,0.0010121646,0.003908524,0.000051150415,0.00047723536,0.0003421369,0.9664129],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99965537,0.000060079696,0.000015005907,0.000058335623,0.00017771377,0.00003357689],"domain_scores_gemma":[0.99943763,0.00021996255,0.000024681207,0.00005513347,0.00017969897,0.00008291033],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00041705053,0.0009974726,0.0005548553,0.0024839006,0.0010236352,0.0045090565,0.0007383177,0.0014874727,0.16776861],"category_scores_gemma":[0.0015008629,0.0003121042,0.00031158244,0.002097112,0.00097079657,0.0041198735,0.0015098081,0.002332194,0.074468605],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011942107,0.000046243284,0.00008039983,0.00027606005,0.0000027639958,0.000046193647,0.00023320438,0.0004131288,0.00037844488,0.15828353,0.5932605,0.24696755],"study_design_scores_gemma":[9.763596e-7,0.0000054897323,0.000096112824,0.00021825926,0.000001115777,0.0000700709,0.00004621877,0.00009875221,0.00010114111,0.0155022945,0.9838562,0.00000338032],"about_ca_topic_score_codex":0.0013354695,"about_ca_topic_score_gemma":0.003010495,"teacher_disagreement_score":0.16776861,"about_ca_system_score_codex":0.001076452,"about_ca_system_score_gemma":0.0011749924,"threshold_uncertainty_score":0.5612419},"labels":[],"label_agreement":null},{"id":"W2767304410","doi":"10.3138/seminar.53.4.05","title":"Berlin’s Own Rip Van Winkle: The Washington Irving Connection in Wolfgang Becker’s <i>Good Bye, Lenin!</i>","year":2017,"lang":"en","type":"article","venue":"Seminar A Journal of Germanic Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Connection (principal bundle); Engineering","score_opus":0.05716293284570361,"score_gpt":0.29000353042877663,"score_spread":0.23284059758307302,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2767304410","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42590526,0.008650069,0.0017183647,0.0362429,0.0015431427,0.000024448414,0.00018041587,0.00006392568,0.5256715],"genre_scores_gemma":[0.93625414,0.001714527,0.00024962128,0.0014818627,0.00015476842,0.000013583619,0.000051542975,0.000068693465,0.060011245],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994382,0.00028395525,0.000009552383,0.00006880963,0.000091320835,0.000108245724],"domain_scores_gemma":[0.9993705,0.00034671265,0.000089196285,0.00003938797,0.000034902463,0.0001192503],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007688287,0.00025152494,0.0001596686,0.001178553,0.0051909885,0.005649476,0.0003246713,0.0014830782,0.0069280793],"category_scores_gemma":[0.0028343347,0.0002508015,0.00008144528,0.001065397,0.007883715,0.003266867,0.0027349775,0.0023949153,0.0008543179],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014401533,0.00007014183,0.0029561967,0.00013737113,0.000020666253,0.001642969,0.3514193,0.00021420162,0.0010981964,0.51922077,0.08851071,0.034565464],"study_design_scores_gemma":[0.00001030405,0.000018589099,0.004729092,0.00028255157,0.0000094298985,0.00039802142,0.09363662,0.00010827131,0.00056188926,0.015237152,0.88498116,0.000026966312],"about_ca_topic_score_codex":0.008998257,"about_ca_topic_score_gemma":0.026120655,"teacher_disagreement_score":0.008998257,"about_ca_system_score_codex":0.0036829486,"about_ca_system_score_gemma":0.00080040237,"threshold_uncertainty_score":0.026721835},"labels":[],"label_agreement":null},{"id":"W2767359803","doi":"10.3138/seminar.53.4.04","title":"“Berliner Sonderschule”: History, Space, and Humour in Jan Ole Gerster’s <i>Oh Boy</i> (<i>A Coffee in Berlin</i>)","year":2017,"lang":"en","type":"article","venue":"Seminar A Journal of Germanic Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; German; Movie theater; Art history; Art; Space (punctuation); Visual arts; History; Literature; Philosophy; Archaeology","score_opus":0.07275559182053984,"score_gpt":0.27945420730698317,"score_spread":0.20669861548644333,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2767359803","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7161897,0.011365017,0.0024030472,0.022064505,0.00070308143,0.000026303707,0.00014628725,0.00006093201,0.24704117],"genre_scores_gemma":[0.9834089,0.00081869256,0.00020828773,0.00045154692,0.00007481771,0.0000067167643,0.000018335413,0.000029930608,0.014982721],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925035,0.0004521388,0.000012512809,0.00007218762,0.000089506284,0.00012328965],"domain_scores_gemma":[0.9994985,0.00024874083,0.00008891145,0.000023770886,0.000030251495,0.00010985478],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007175738,0.0002974609,0.0001766508,0.00088565255,0.004244714,0.004507781,0.0003684967,0.0008674093,0.003834858],"category_scores_gemma":[0.0014886078,0.00023018147,0.000102005084,0.0006324596,0.009789583,0.002500776,0.0025125232,0.0013071358,0.00036771485],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000091049405,0.000037986763,0.0039019291,0.00013584759,0.00001502379,0.0017005419,0.7415451,0.00017480728,0.00094833144,0.20852067,0.022875741,0.02005302],"study_design_scores_gemma":[0.000011554167,0.000037563677,0.012965408,0.00023544497,0.000015440144,0.0010941196,0.3304167,0.0001806907,0.00096714514,0.009622599,0.6444128,0.000040504692],"about_ca_topic_score_codex":0.009267488,"about_ca_topic_score_gemma":0.027714757,"teacher_disagreement_score":0.009267488,"about_ca_system_score_codex":0.003072685,"about_ca_system_score_gemma":0.00056486286,"threshold_uncertainty_score":0.022293925},"labels":[],"label_agreement":null},{"id":"W2767821872","doi":"10.1007/978-3-319-65894-0_3","title":"!Que Viva México!: Reygadas as Documentarian","year":2017,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Human sexuality; Narrative; Creatures; Gender studies; Interpretation (philosophy); Sociology; Aesthetics; Psychology; History; Art; Literature; Natural (archaeology); Philosophy","score_opus":0.03794417148799724,"score_gpt":0.23698931949934546,"score_spread":0.1990451480113482,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2767821872","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011335601,0.049050737,0.0025921206,0.1009984,0.014073909,0.00007269733,0.0019687316,0.0007126792,0.8191952],"genre_scores_gemma":[0.059379026,0.025101304,0.0016154875,0.005148014,0.0032751756,0.00010057318,0.000929565,0.00062509277,0.9038257],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99975425,0.00007126287,0.000006976277,0.00005304213,0.000057179423,0.000057197365],"domain_scores_gemma":[0.9995459,0.000106461164,0.00005459359,0.00004522667,0.00016756424,0.000080316975],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006171721,0.00065811543,0.00037305942,0.0010525645,0.0037607874,0.0052498966,0.00056228234,0.0015291738,0.06286588],"category_scores_gemma":[0.0022393079,0.00028509225,0.00022346024,0.0013160482,0.0011973566,0.0037581227,0.001592873,0.0035654944,0.009658163],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005489959,0.000027600085,0.0012911564,0.00024569934,0.000008782005,0.00021454366,0.0067645367,0.000058559974,0.00037999102,0.1206072,0.7853968,0.08495033],"study_design_scores_gemma":[0.0000020220405,0.0000031077695,0.0011958289,0.00014065806,0.000004481227,0.000055784796,0.0018575251,0.000025449062,0.00007753598,0.0013760284,0.9952573,0.0000043411837],"about_ca_topic_score_codex":0.063337676,"about_ca_topic_score_gemma":0.1134314,"teacher_disagreement_score":0.063337676,"about_ca_system_score_codex":0.0039905454,"about_ca_system_score_gemma":0.0027516952,"threshold_uncertainty_score":0.21030736},"labels":[],"label_agreement":null},{"id":"W2768410869","doi":"10.1515/ejss-2017-0024","title":"The Dark Continent of Modernity: Black Lingerie in Norwegian Comedies in the 1950s","year":2017,"lang":"en","type":"article","venue":"European Journal of Scandinavian Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Norwegian; Modernity; Art; History; Philosophy; Linguistics","score_opus":0.080751685861639,"score_gpt":0.2840769633041389,"score_spread":0.2033252774424999,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2768410869","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.923951,0.0048428252,0.00015856707,0.008622574,0.000628008,0.000014064517,0.00032778777,0.000007975927,0.06144716],"genre_scores_gemma":[0.9889781,0.0012554297,0.000053834134,0.00045474025,0.00010036729,0.0000062700374,0.00008123868,0.00002351256,0.009046587],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989484,0.00034824284,0.0000290404,0.00014250551,0.00018751548,0.00034421534],"domain_scores_gemma":[0.997551,0.0009235142,0.00045988164,0.00007215199,0.0003151752,0.0006783804],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020745185,0.0003730975,0.0004263895,0.0013994398,0.0068608206,0.004248178,0.00047683757,0.0012457982,0.008118685],"category_scores_gemma":[0.003902956,0.0003087375,0.00015763124,0.0013427634,0.009459469,0.0027775813,0.003220835,0.0024533651,0.00038134804],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017941951,0.000037580015,0.026673548,0.00015147953,0.000018123701,0.0012944567,0.93571246,0.000052820622,0.0005809795,0.016926596,0.010809893,0.007562696],"study_design_scores_gemma":[0.000008760706,0.000044785076,0.09733922,0.00050542894,0.000015862592,0.00024201076,0.7854236,0.00004133565,0.00021238816,0.0012544097,0.11487483,0.000037462894],"about_ca_topic_score_codex":0.18117046,"about_ca_topic_score_gemma":0.37687308,"teacher_disagreement_score":0.18117046,"about_ca_system_score_codex":0.0073541063,"about_ca_system_score_gemma":0.0022148676,"threshold_uncertainty_score":0.36023188},"labels":[],"label_agreement":null},{"id":"W2768674984","doi":"10.1111/jpcu.13013","title":"“Does Anybody Have A Map?”: The Impact of “Virtual Broadway” on Musical Theater Composition","year":2021,"lang":"en","type":"article","venue":"The Journal of Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; New Interfaces for Musical Expression; Popularity; Musical composition; Art; Visual arts; Mediation; Composition (language); Aesthetics; Literature; Sociology; Psychology","score_opus":0.02216360094811078,"score_gpt":0.2542592963196255,"score_spread":0.23209569537151473,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2768674984","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63300115,0.0027375077,0.0014533283,0.027741127,0.0004491705,0.000030267338,0.00015785225,0.000048108715,0.33438146],"genre_scores_gemma":[0.9931757,0.0009068421,0.00021134605,0.00081878394,0.00009049988,0.00001178923,0.000028723183,0.000029188532,0.004727221],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99733007,0.0019510251,0.000032440905,0.0001394023,0.00026567985,0.00028128957],"domain_scores_gemma":[0.9946635,0.0033543054,0.0005040403,0.00024474468,0.00057584565,0.0006576608],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025856947,0.00023674288,0.0001996088,0.0008300446,0.004175253,0.008010739,0.00090365426,0.0011065919,0.016964758],"category_scores_gemma":[0.012461642,0.00016289942,0.00026007261,0.0011856023,0.0061352537,0.0072256937,0.0048189,0.0018340712,0.0011001612],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00087064394,0.0010639778,0.09720694,0.00063298363,0.00016237183,0.0017403275,0.2973597,0.0010545327,0.00082542497,0.2810665,0.0833974,0.23461913],"study_design_scores_gemma":[0.000071254435,0.00027911505,0.119745255,0.0006939168,0.0001225666,0.00056704285,0.59067565,0.0020739883,0.00096185604,0.036836546,0.24790119,0.00007160464],"about_ca_topic_score_codex":0.012945522,"about_ca_topic_score_gemma":0.022337476,"teacher_disagreement_score":0.016964758,"about_ca_system_score_codex":0.0028461423,"about_ca_system_score_gemma":0.0013415125,"threshold_uncertainty_score":0.0567528},"labels":[],"label_agreement":null},{"id":"W2769440296","doi":"","title":"La Donation : Cinéma charitable / La Donation — Canada [Québec], 2009, 96 minutes","year":2010,"lang":"fr","type":"article","venue":"S&#233;quences : La revue de cin&#233;ma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Donation; Medicine; Business; Political science; Law","score_opus":0.012601472109578984,"score_gpt":0.20134061332876885,"score_spread":0.18873914121918986,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2769440296","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0043721916,0.06984681,0.00066293735,0.08481282,0.049981996,0.00085424184,0.050222695,0.001409645,0.73783666],"genre_scores_gemma":[0.006186446,0.0059071863,0.00022220776,0.004120346,0.0018019937,0.00014075197,0.00296291,0.00016354724,0.97849464],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989434,0.00005773076,0.000047346035,0.000108481014,0.0005174693,0.00032561456],"domain_scores_gemma":[0.99783295,0.00017026885,0.00008521057,0.000059752547,0.0012405156,0.0006113498],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013257868,0.0015050282,0.00084333593,0.0018100974,0.00859452,0.0074404664,0.0015764559,0.0059830095,0.19622244],"category_scores_gemma":[0.003967085,0.00082280184,0.00062960404,0.003413908,0.0011220563,0.0019016656,0.0017123406,0.0036197347,0.06274337],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010055396,0.000005617386,0.000120049124,0.00002686338,0.0000014547945,0.000017460608,0.00003305689,0.000027799235,0.000021219454,0.0003804455,0.9957722,0.0035839041],"study_design_scores_gemma":[0.000010910274,0.0000043782393,0.0032169952,0.00010562138,0.0000034035056,0.000012194062,0.00020149341,0.00004511349,0.000030478514,0.00010430099,0.9962529,0.000012093941],"about_ca_topic_score_codex":0.92789215,"about_ca_topic_score_gemma":0.98246497,"teacher_disagreement_score":0.19622244,"about_ca_system_score_codex":0.02905473,"about_ca_system_score_gemma":0.040250152,"threshold_uncertainty_score":0.6564294},"labels":[],"label_agreement":null},{"id":"W2770379412","doi":"10.3138/utq.86.4.78","title":"Time Wasting and the Contemporary Television-Viewing Experience","year":2017,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Advertising; Multimedia; Sociology; Aesthetics; Computer science; Business; Art","score_opus":0.027668320169395536,"score_gpt":0.2081626897508671,"score_spread":0.18049436958147158,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2770379412","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.853685,0.0065012686,0.0009027598,0.0076008216,0.00033417981,0.000009512845,0.00015286842,0.00003646903,0.130777],"genre_scores_gemma":[0.9947455,0.0012104242,0.0000440885,0.00020056308,0.00013197526,0.0000026864038,0.00003100851,0.000018092453,0.0036157293],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991008,0.00041546815,0.000024124753,0.00010502206,0.0001648975,0.00018956633],"domain_scores_gemma":[0.99845207,0.0007297728,0.00030034233,0.00007802068,0.000116821495,0.0003230184],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000827104,0.00018522081,0.00022890311,0.0011131151,0.0037436166,0.0058774594,0.0005863603,0.0008700324,0.008198899],"category_scores_gemma":[0.0034631307,0.00019291423,0.0001651281,0.001760428,0.011096837,0.0036594328,0.002866867,0.0020510636,0.00028673213],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024497206,0.000059589667,0.015382788,0.00015998432,0.000034634395,0.002080343,0.8251767,0.00018767099,0.001509864,0.12349428,0.0060342713,0.02563498],"study_design_scores_gemma":[0.00003676459,0.00016570682,0.06358064,0.00029639935,0.000049035327,0.0021698372,0.60426015,0.00021862371,0.0005945728,0.01550122,0.31304738,0.00007967816],"about_ca_topic_score_codex":0.026187215,"about_ca_topic_score_gemma":0.024264432,"teacher_disagreement_score":0.026187215,"about_ca_system_score_codex":0.0035579724,"about_ca_system_score_gemma":0.0007186603,"threshold_uncertainty_score":0.052069545},"labels":[],"label_agreement":null},{"id":"W2772496724","doi":"10.5149/northcarolina/9781469631677.003.0003","title":"The Double Dealers in Bohemian New Orleans","year":2017,"lang":"en","type":"book-chapter","venue":"University of North Carolina Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); History; Art history; Art; Genealogy; Archaeology","score_opus":0.055453768359469274,"score_gpt":0.20014121988857966,"score_spread":0.1446874515291104,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2772496724","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.48818326,0.016380789,0.0017748398,0.022757605,0.0018166691,0.000049541908,0.000083398314,0.00007354668,0.46888033],"genre_scores_gemma":[0.8579532,0.002638676,0.00048663726,0.0017087674,0.00020722674,0.0000432717,0.000038823662,0.000050922765,0.13687249],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910754,0.00022511109,0.000028449367,0.00015920532,0.00025355676,0.0002260719],"domain_scores_gemma":[0.9996088,0.00012233533,0.000054001466,0.000022537002,0.000060512295,0.00013186104],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011505646,0.00023479397,0.0002159144,0.0010177653,0.016898025,0.0083340565,0.0006152537,0.00103469,0.0076636695],"category_scores_gemma":[0.0013984725,0.00030039746,0.0001321745,0.0010719931,0.008360936,0.003980778,0.00655421,0.0024620933,0.0005622831],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006807959,0.000034751432,0.0032429872,0.000117939446,0.000008248885,0.0015779114,0.36805347,0.00017950975,0.0015368926,0.5713295,0.019048862,0.03480183],"study_design_scores_gemma":[0.00000843092,0.000024499732,0.008340135,0.00021810191,0.0000059429685,0.00035159118,0.12660447,0.00014196493,0.0007320623,0.016286068,0.8472452,0.000041540097],"about_ca_topic_score_codex":0.080466196,"about_ca_topic_score_gemma":0.1770656,"teacher_disagreement_score":0.080466196,"about_ca_system_score_codex":0.007547755,"about_ca_system_score_gemma":0.008002824,"threshold_uncertainty_score":0.15999568},"labels":[],"label_agreement":null},{"id":"W2772698427","doi":"10.3366/film.2006.0011","title":"On Carrie Tarr <i>Reframing Difference:</i> Beur <i>and</i> Banlieue <i>Filmmaking in France</i>(Manchester University Press, 2005)","year":2006,"lang":"en","type":"article","venue":"Film-Philosophy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Filmmaking; Cognitive reframing; Art; Media studies; Sociology; Art history; Psychology; Social psychology; Movie theater","score_opus":0.017622899721622013,"score_gpt":0.18511744882850964,"score_spread":0.16749454910688763,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2772698427","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011493041,0.1223414,0.00096016325,0.7486776,0.036874108,0.000027961949,0.00022448535,0.000085718086,0.08965921],"genre_scores_gemma":[0.033878304,0.06013123,0.0012669942,0.4117076,0.037761543,0.00015824812,0.00019394881,0.00058476004,0.4543174],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985442,0.0006568511,0.00004904814,0.00023896282,0.0003257515,0.00018514988],"domain_scores_gemma":[0.99761766,0.001520583,0.00008799528,0.00008361768,0.00043445837,0.00025565247],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017691583,0.0013866237,0.000934074,0.002279555,0.009900199,0.013034377,0.0018095579,0.012595862,0.03327322],"category_scores_gemma":[0.0073557007,0.0004669498,0.0005469246,0.0027493106,0.007947323,0.017294997,0.0048341104,0.011099448,0.008097141],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008441208,0.0000077176255,0.00006896932,0.000047037658,0.0000027390222,0.000034336088,0.0027247178,0.000016683765,0.000025449654,0.043773897,0.9445367,0.008753306],"study_design_scores_gemma":[0.0000054582647,0.000004007758,0.0003353337,0.00028993827,0.0000032614241,0.000042972635,0.0035144866,0.000028773087,0.000031777305,0.009980458,0.9857497,0.000013689816],"about_ca_topic_score_codex":0.077696465,"about_ca_topic_score_gemma":0.16294158,"teacher_disagreement_score":0.077696465,"about_ca_system_score_codex":0.0056708273,"about_ca_system_score_gemma":0.0026511992,"threshold_uncertainty_score":0.15448844},"labels":[],"label_agreement":null},{"id":"W2772894323","doi":"","title":"Office national du film du Canada : né de la guerre","year":2010,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.0042599346835554735,"score_gpt":0.14185079381484308,"score_spread":0.1375908591312876,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2772894323","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017858235,0.06869251,0.002435435,0.09949448,0.009331393,0.00020122925,0.024445895,0.0008680892,0.7766727],"genre_scores_gemma":[0.07345234,0.014828049,0.0016371359,0.0023244328,0.00054775976,0.00006874717,0.00313646,0.00026290727,0.9037422],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99762493,0.00013999834,0.000061845116,0.00034273523,0.0010855963,0.000744931],"domain_scores_gemma":[0.995265,0.0002991847,0.00018988395,0.00012957744,0.003060048,0.0010563339],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012295282,0.00092806784,0.00070586754,0.0021720375,0.00625201,0.0076745674,0.0009865228,0.0018651037,0.11413251],"category_scores_gemma":[0.004333263,0.00055696676,0.00039534408,0.0033053947,0.0013827262,0.0025645932,0.0015324228,0.0032094305,0.012211417],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012991077,0.000035862857,0.0048199743,0.00023540025,0.000023905266,0.00031923823,0.0014224118,0.0001845862,0.0006787682,0.076478764,0.8402691,0.075402096],"study_design_scores_gemma":[0.000006109184,0.00000283981,0.0064494014,0.00008658835,0.000005372335,0.00004947587,0.00043988708,0.00005546063,0.00018857486,0.00035404233,0.9923495,0.00001281342],"about_ca_topic_score_codex":0.9749196,"about_ca_topic_score_gemma":0.9824631,"teacher_disagreement_score":0.9576527,"about_ca_system_score_codex":0.042347297,"about_ca_system_score_gemma":0.09381054,"threshold_uncertainty_score":0.38181126},"labels":[],"label_agreement":null},{"id":"W2773422109","doi":"","title":"Animating the Document, Performing the Spectator: “Tim Clark. Reading the Limits” 2008 / Quand le document s’anime et que le spectateur performe : tim Clark. Reading the Limits (2008)","year":2010,"lang":"fr","type":"article","venue":"Ciel variable : art, photo, médias, culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Reading (process); Anime; Humanities; Art; Literature; Philosophy; Linguistics","score_opus":0.027433747906774046,"score_gpt":0.24647203094888337,"score_spread":0.21903828304210932,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2773422109","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0021483968,0.099184066,0.0021098629,0.58600944,0.01810728,0.000038027403,0.0006492694,0.0003876086,0.29136595],"genre_scores_gemma":[0.08733752,0.04700034,0.0018410416,0.05139837,0.0125749335,0.000107137974,0.0005619389,0.0011464964,0.7980323],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989195,0.0003640028,0.00004846668,0.0001395708,0.0004272019,0.00010126123],"domain_scores_gemma":[0.9971534,0.00093979225,0.00026776822,0.000113271475,0.0011992027,0.00032659277],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011564377,0.0008262927,0.0003014067,0.001739814,0.003428985,0.006663813,0.0008594577,0.0038992965,0.087072484],"category_scores_gemma":[0.008727941,0.0003670382,0.00018648394,0.0015506091,0.003188634,0.008298549,0.002163567,0.0034052313,0.023483867],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000067029905,0.0000035518638,0.0000897349,0.000036109108,0.0000010109844,0.000024216351,0.00081495964,0.000006647511,0.000049934704,0.008313079,0.9804848,0.010169373],"study_design_scores_gemma":[0.0000029835808,0.0000043381374,0.00044871433,0.0002448719,0.0000018217177,0.00006867192,0.0020368437,0.00002170977,0.00016301159,0.0032531798,0.99374545,0.0000082977285],"about_ca_topic_score_codex":0.044621404,"about_ca_topic_score_gemma":0.07613169,"teacher_disagreement_score":0.087072484,"about_ca_system_score_codex":0.0032440927,"about_ca_system_score_gemma":0.0017410922,"threshold_uncertainty_score":0.29128653},"labels":[],"label_agreement":null},{"id":"W2775047002","doi":"10.18192/rceh.v41i2.2156","title":"ELENA LAHR-VIVAZ. Mexican Melodrama: Film and Nation from the Golden Age to the New Wave. Tucson: University of Arizona Press, 2016. 219 pp.","year":2017,"lang":"en","type":"article","venue":"Revista Canadiense de Estudios Hispánicos","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"History; Art history; Art","score_opus":0.02936363726129978,"score_gpt":0.20317250920098912,"score_spread":0.17380887193968933,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2775047002","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011452449,0.9075213,0.00042585048,0.05024636,0.0052866754,0.000013496032,0.0007079972,0.00009899031,0.03455394],"genre_scores_gemma":[0.029362224,0.86417854,0.0008813493,0.0055566574,0.0069362377,0.00004440703,0.0007694167,0.0001449352,0.092126146],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998055,0.00005075709,0.000013414601,0.000034190176,0.00006598272,0.000030011213],"domain_scores_gemma":[0.9991665,0.00032415002,0.00009239588,0.000033073422,0.00026661716,0.00011736824],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00069202314,0.00156653,0.0005933521,0.0048242793,0.0016937371,0.0028665604,0.0011936807,0.0018142504,0.04156099],"category_scores_gemma":[0.0017447552,0.0006389746,0.0003229469,0.0045359703,0.001044684,0.0052805627,0.0013960992,0.0020933822,0.0101993065],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045853103,0.000024461682,0.00055033877,0.0005287421,0.0000097264365,0.00008098662,0.0016990772,0.000058524038,0.00008700883,0.007842417,0.90825367,0.08081919],"study_design_scores_gemma":[0.000012291669,0.000011119009,0.0068031563,0.0019371788,0.000027080372,0.00020237734,0.004531069,0.00010650297,0.00024827357,0.0049302843,0.98117685,0.0000137938105],"about_ca_topic_score_codex":0.0396127,"about_ca_topic_score_gemma":0.0849373,"teacher_disagreement_score":0.04156099,"about_ca_system_score_codex":0.0024210645,"about_ca_system_score_gemma":0.0014036368,"threshold_uncertainty_score":0.13903534},"labels":[],"label_agreement":null},{"id":"W2775911154","doi":"","title":"Les Rendez-vous du cinéma québécois : vastes horizons","year":2017,"lang":"fr","type":"article","venue":"S&#233;quences : la revue de cin&#233;ma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science; Medicine","score_opus":0.031221742389444224,"score_gpt":0.2400248315910631,"score_spread":0.20880308920161889,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2775911154","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29973173,0.15475684,0.003952216,0.084870204,0.0026077053,0.000066271634,0.005189871,0.00014526417,0.44867992],"genre_scores_gemma":[0.88169706,0.030545782,0.0010119879,0.0012768514,0.00067403197,0.00003513247,0.00075679336,0.000059100243,0.08394325],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986979,0.00032920946,0.000027614124,0.00016744989,0.00050380116,0.00027398198],"domain_scores_gemma":[0.9968292,0.0010818918,0.00024272535,0.000112774265,0.0010260666,0.0007072187],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018515931,0.0005924682,0.0003815155,0.0032512688,0.003956373,0.010134735,0.00075328647,0.001566694,0.028152669],"category_scores_gemma":[0.0072130724,0.00032008367,0.00028351796,0.0035697236,0.0033459186,0.0043912022,0.0012248982,0.0030032692,0.00097559905],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000374267,0.00018338638,0.04620857,0.0006635709,0.00020233775,0.0010858669,0.050011322,0.0022558556,0.0021148133,0.37677628,0.14432167,0.37580204],"study_design_scores_gemma":[0.000013701747,0.000044150052,0.14736421,0.0015186673,0.00006501884,0.00035870244,0.040351413,0.0026051127,0.0006166381,0.010364686,0.7965882,0.00010953995],"about_ca_topic_score_codex":0.90883213,"about_ca_topic_score_gemma":0.93388927,"teacher_disagreement_score":0.09116787,"about_ca_system_score_codex":0.03295928,"about_ca_system_score_gemma":0.0141663775,"threshold_uncertainty_score":0.23913747},"labels":[],"label_agreement":null},{"id":"W2777600826","doi":"","title":"Shooting From the East: Filmmaking on the Canadian Atlantic by Darrell Varga (review)","year":2016,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Hollywood; Filmmaking; Media studies; Politics; Sociology; Film theory; Nationalism; Praxis; Art history; Aesthetics; History; Art; Law; Political science","score_opus":0.07458696235938247,"score_gpt":0.23325713804298145,"score_spread":0.15867017568359898,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2777600826","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00012962744,0.9938286,0.000010711667,0.0032860222,0.0009834798,0.000007514623,0.000063992455,0.000003482926,0.0016866387],"genre_scores_gemma":[0.0014982972,0.99409866,0.000050295985,0.0020208897,0.0005310664,0.000010720384,0.00010059509,0.000005149827,0.0016842828],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989172,0.0001317849,0.00008394383,0.00012054756,0.00057412323,0.000172398],"domain_scores_gemma":[0.99583566,0.000659007,0.00037997897,0.000055649678,0.0023760998,0.00069346133],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015086102,0.001312072,0.0013078338,0.004389554,0.0028445767,0.0059598396,0.002080737,0.0016687266,0.010621759],"category_scores_gemma":[0.0049577216,0.00054573396,0.00050983496,0.011155859,0.002444626,0.0026068275,0.0013809503,0.00360254,0.002082379],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005246738,0.00002041431,0.0005804534,0.017971413,0.000101596575,0.00009363041,0.0014575358,0.00006929685,0.00015931262,0.0013987507,0.76021683,0.21787837],"study_design_scores_gemma":[0.000015004705,0.0000184235,0.006018875,0.026910637,0.00012178508,0.00027277097,0.002232882,0.000017026638,0.00005040436,0.0001291744,0.96417433,0.0000385672],"about_ca_topic_score_codex":0.83388454,"about_ca_topic_score_gemma":0.9144379,"teacher_disagreement_score":0.16611546,"about_ca_system_score_codex":0.018504852,"about_ca_system_score_gemma":0.04885748,"threshold_uncertainty_score":0.33418745},"labels":[],"label_agreement":null},{"id":"W2777789598","doi":"10.29173/comp38","title":"Get that camera outta my face: ethics in documentary media","year":2012,"lang":"en","type":"article","venue":"COMPASS","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Face (sociological concept); Documentary film; Art; Visual arts; Media studies; Sociology; Social science","score_opus":0.10287647228483686,"score_gpt":0.28769417920153306,"score_spread":0.1848177069166962,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2777789598","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03308572,0.010715396,0.0047396477,0.29716244,0.003236879,0.00005331456,0.00008308478,0.000044028428,0.6508794],"genre_scores_gemma":[0.8110776,0.0058313236,0.002296576,0.04135858,0.0028820822,0.00020097767,0.000051552317,0.00016654041,0.13613477],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99208367,0.005698874,0.00023714609,0.000422625,0.001115098,0.00044264641],"domain_scores_gemma":[0.97109807,0.019777965,0.0016843397,0.0017735709,0.0038841858,0.0017818919],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006457643,0.00023963592,0.00021335736,0.0006429563,0.007902587,0.010968202,0.00068579,0.006182973,0.017826809],"category_scores_gemma":[0.044906422,0.00025752521,0.00012224416,0.000683448,0.012601307,0.0068109343,0.0023579686,0.005187776,0.0033307248],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009381594,0.000071489594,0.0026984988,0.00018089137,0.0000088875895,0.0004668561,0.031592928,0.00010354534,0.00060267345,0.6595127,0.24785784,0.056809872],"study_design_scores_gemma":[0.000016795182,0.00003318913,0.0043024686,0.0013812449,0.000009541083,0.00095604075,0.0363759,0.00038149126,0.0010156344,0.15142496,0.80405664,0.000046061457],"about_ca_topic_score_codex":0.009598929,"about_ca_topic_score_gemma":0.013047014,"teacher_disagreement_score":0.017826809,"about_ca_system_score_codex":0.0036194872,"about_ca_system_score_gemma":0.0036410203,"threshold_uncertainty_score":0.059636593},"labels":[],"label_agreement":null},{"id":"W2778632194","doi":"","title":"Restitution d’images sur grand écran - Formats cinématographiques spéciaux","year":2003,"lang":"fr","type":"article","venue":"Ref : TIP520WEB - \"Optique Photonique\"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Movie theater; Art history","score_opus":0.034009091593448774,"score_gpt":0.24731724648167336,"score_spread":0.21330815488822458,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2778632194","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4503621,0.0022373663,0.19044863,0.0013656297,0.0009842798,0.0006129516,0.00069303636,0.002735742,0.3505603],"genre_scores_gemma":[0.7300826,0.0015156583,0.14053509,0.0004493652,0.00022355824,0.000321262,0.00059324474,0.0011824032,0.12509674],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937207,0.00015693475,0.000022882165,0.00013823078,0.00022443726,0.00008545896],"domain_scores_gemma":[0.99863094,0.0004501411,0.000087068656,0.000318768,0.00040387097,0.00010918825],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010019959,0.0005741595,0.0002134479,0.0009629261,0.0008383404,0.002160448,0.0005912193,0.00062227296,0.020824054],"category_scores_gemma":[0.0034805886,0.0002416755,0.0003458437,0.00053129846,0.000800619,0.0018461962,0.0015583631,0.0010094922,0.0025509307],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000837495,0.00020714932,0.0045533343,0.0014189283,0.00005977786,0.0021910535,0.029223947,0.004489242,0.31212184,0.07430982,0.020803478,0.5497839],"study_design_scores_gemma":[0.000070786824,0.0008188264,0.026546257,0.00095323013,0.00012570362,0.0041610734,0.011672645,0.011920725,0.15613717,0.0061889044,0.7812229,0.00018182724],"about_ca_topic_score_codex":0.0019118531,"about_ca_topic_score_gemma":0.0036887254,"teacher_disagreement_score":0.020824054,"about_ca_system_score_codex":0.0005920096,"about_ca_system_score_gemma":0.0005015411,"threshold_uncertainty_score":0.069663346},"labels":[],"label_agreement":null},{"id":"W2778683892","doi":"10.3138/cjfs.25.2.39","title":"Self-Exculpatory Imaginings: Reenactment and Observation in <i>The Act of Killing</i>","year":2016,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Fantasy; Element (criminal law); Realism; Observational study; Aesthetics; Criticism; Literature; Sociology; Art; Law; Political science","score_opus":0.04911376716674707,"score_gpt":0.232978144063258,"score_spread":0.18386437689651094,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2778683892","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5812147,0.006176928,0.043275222,0.029492978,0.0009579087,0.000073716365,0.00016684942,0.00015457015,0.3384871],"genre_scores_gemma":[0.9917384,0.0006675181,0.0016210654,0.00040321294,0.00008763576,0.000011371,0.000025754009,0.00003364409,0.0054113124],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978629,0.0014599145,0.000039889714,0.00020860569,0.00028983364,0.0001388518],"domain_scores_gemma":[0.9955147,0.002988058,0.00052263506,0.00040762837,0.00037337368,0.00019366122],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003146872,0.00031526134,0.0002143234,0.0009181962,0.002882484,0.006242516,0.0010005091,0.0016764292,0.0024102116],"category_scores_gemma":[0.010505242,0.00025066474,0.00020844399,0.0005109822,0.026271794,0.0062916363,0.0033063074,0.0034231872,0.00025190148],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000854811,0.00002843719,0.0021718144,0.00009852317,0.000009320386,0.00049667596,0.56865203,0.00021382436,0.0020784778,0.40661493,0.004610856,0.014939595],"study_design_scores_gemma":[0.00003877216,0.000121140765,0.01213768,0.0005360093,0.00003457609,0.001408438,0.42786393,0.0019748493,0.0034177604,0.14114265,0.4112323,0.00009186315],"about_ca_topic_score_codex":0.010709867,"about_ca_topic_score_gemma":0.010875857,"teacher_disagreement_score":0.010709867,"about_ca_system_score_codex":0.0030645092,"about_ca_system_score_gemma":0.0010489284,"threshold_uncertainty_score":0.022234678},"labels":[],"label_agreement":null},{"id":"W2778993717","doi":"","title":"Réinventer le film noir : Le cinéma des frères Coen & de Quentin Tarantino, Helen Faradji, Montréal : Le Quartanier, 2009, 247 pages","year":2010,"lang":"fr","type":"article","venue":"S&#233;quences : La revue de cin&#233;ma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.015046568134785733,"score_gpt":0.20524164981113507,"score_spread":0.19019508167634935,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2778993717","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004556586,0.6927435,0.0012331109,0.1568707,0.018871635,0.000028958146,0.0004055199,0.00014968266,0.1251403],"genre_scores_gemma":[0.10506567,0.39261708,0.002595586,0.013297398,0.016709499,0.00007269812,0.0006612971,0.00035331442,0.4686275],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961,0.00013311482,0.0000117118325,0.00005662913,0.00011956851,0.000069085225],"domain_scores_gemma":[0.99919456,0.00034056118,0.000049442013,0.000032478158,0.00024050393,0.00014244384],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00094843464,0.0010703437,0.00043154327,0.0016458045,0.0027642287,0.0077757263,0.00084863894,0.002395467,0.02918177],"category_scores_gemma":[0.0026506607,0.00040475168,0.00023472615,0.001875731,0.0018093506,0.007416151,0.0015631438,0.0023002897,0.0041132816],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021537153,0.000019593052,0.00040813335,0.00023550811,0.0000072857056,0.000065215885,0.0037708203,0.000057803634,0.00017872671,0.022109915,0.86962277,0.10350279],"study_design_scores_gemma":[0.000003886996,0.0000061621126,0.0025356095,0.0006378909,0.000009769391,0.00013748588,0.0047555496,0.00009704331,0.00013410367,0.0023142735,0.9893573,0.000010927727],"about_ca_topic_score_codex":0.090719074,"about_ca_topic_score_gemma":0.1972768,"teacher_disagreement_score":0.090719074,"about_ca_system_score_codex":0.004317151,"about_ca_system_score_gemma":0.0027939607,"threshold_uncertainty_score":0.18038207},"labels":[],"label_agreement":null},{"id":"W2779208000","doi":"","title":"Self Portraits: The Cinemas of Canada since Telefilm.","year":2006,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Portrait; Art; Art history","score_opus":0.009412790891424688,"score_gpt":0.16790548890530146,"score_spread":0.15849269801387678,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2779208000","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31753436,0.032669168,0.0009825004,0.07564246,0.00395337,0.00006872744,0.007705291,0.00019614995,0.56124806],"genre_scores_gemma":[0.8981356,0.0060931407,0.00028817673,0.0015021134,0.0004814275,0.000009955584,0.00071965187,0.000075312884,0.09269464],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9994361,0.000069176036,0.0000066682674,0.00006316289,0.00023083587,0.00019416964],"domain_scores_gemma":[0.99755704,0.00030128923,0.00017113361,0.00007049211,0.0011533307,0.000746638],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047561916,0.0003183496,0.00014688088,0.0018122974,0.0069141765,0.0047407337,0.00061773823,0.0007623404,0.020835258],"category_scores_gemma":[0.0036475912,0.00012511446,0.0001179364,0.0026861504,0.0029982491,0.0014039074,0.0011049991,0.0014569799,0.00061110116],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003997878,0.000052488478,0.028504454,0.00037488935,0.000059167105,0.0011369686,0.14567012,0.0003023319,0.0015087466,0.073354505,0.598379,0.15025753],"study_design_scores_gemma":[0.000005863522,0.000013807316,0.09212835,0.00025143387,0.000021400247,0.00021496497,0.06591461,0.00014352155,0.00039825204,0.00102849,0.83984965,0.000029643827],"about_ca_topic_score_codex":0.9514187,"about_ca_topic_score_gemma":0.98713374,"teacher_disagreement_score":0.97263277,"about_ca_system_score_codex":0.027367247,"about_ca_system_score_gemma":0.01845568,"threshold_uncertainty_score":0.19856423},"labels":[],"label_agreement":null},{"id":"W277954969","doi":"","title":"Hollywood North: The Feature Film Industry in British Columbia","year":2004,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Movie theater; Film industry; Context (archaeology); Film studies; Narrative; Film genre; Sociology; Filmmaking; Media studies; History; Literature; Art history; Art; Archaeology","score_opus":0.029959847272359178,"score_gpt":0.21064078348623239,"score_spread":0.1806809362138732,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W277954969","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22375374,0.08943805,0.0006725972,0.039517004,0.0010234105,0.0000852696,0.0018339652,0.00017260158,0.6435034],"genre_scores_gemma":[0.54021233,0.029864931,0.00043318915,0.0026402997,0.00009060226,0.000046532532,0.0006673648,0.000090975955,0.4259537],"study_design_codex":"not_applicable","study_design_gemma":"observational","domain_scores_codex":[0.99966466,0.00002794399,0.0000061488913,0.000033737113,0.00010998165,0.00015744353],"domain_scores_gemma":[0.9994647,0.000075315365,0.000032095046,0.0000118926655,0.00021577749,0.00020033802],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015130342,0.000260689,0.00016188627,0.0013843351,0.0070296596,0.005415664,0.0009630325,0.0010085256,0.02299489],"category_scores_gemma":[0.00055469666,0.0002929586,0.00007965888,0.0052723563,0.001633291,0.0015963492,0.0011239868,0.0011197473,0.0015278079],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008424928,0.000105954314,0.015349216,0.00080424733,0.000016492902,0.0025782923,0.08392973,0.0003774167,0.002530481,0.040209025,0.65534556,0.19866943],"study_design_scores_gemma":[0.0000039722927,0.000011232145,0.055582203,0.00040720348,0.000009791322,0.00032886554,0.0878945,0.00013202537,0.00028744488,0.0011198797,0.8541973,0.000025584035],"about_ca_topic_score_codex":0.9772997,"about_ca_topic_score_gemma":0.99318117,"teacher_disagreement_score":0.036274776,"about_ca_system_score_codex":0.036274776,"about_ca_system_score_gemma":0.030585395,"threshold_uncertainty_score":0.26319313},"labels":[],"label_agreement":null},{"id":"W2779660000","doi":"10.18352/erlacs.10307","title":"Film Review of When Two Worlds Collide, directed by Heidi Brandenburg and Mathew Orzel","year":2017,"lang":"en","type":"article","venue":"European Review of Latin American and Caribbean Studies | Revista Europea de Estudios Latinoamericanos y del Caribe","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Manitoba","funders":"","keywords":"Latin Americans; Political science; Humanities; Power (physics); Sociology; Art; Law","score_opus":0.02938492905973733,"score_gpt":0.2736755319687912,"score_spread":0.24429060290905386,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2779660000","genre_codex":"review","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00091389695,0.702807,0.00017515088,0.1793903,0.061731987,0.000042067895,0.0013382958,0.00007049502,0.05353084],"genre_scores_gemma":[0.014757456,0.7273466,0.0004971445,0.052853648,0.05441482,0.00010851102,0.001916269,0.00023276907,0.14787294],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998769,0.000331483,0.00010454437,0.0001712948,0.00046134397,0.000162356],"domain_scores_gemma":[0.99285734,0.0023602822,0.0007934124,0.00017081438,0.0030148132,0.0008032278],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023070911,0.00067470473,0.0007400827,0.0039095706,0.0021377718,0.0054588914,0.0011871883,0.0023744814,0.049583],"category_scores_gemma":[0.012841031,0.0004503463,0.0004451009,0.0035825793,0.0012655068,0.0071943565,0.0025126666,0.003959935,0.012567131],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001925234,0.0000043363952,0.00009582974,0.00045721888,0.0000062327604,0.000034681852,0.00023994854,0.0000073947,0.000038737217,0.0010608883,0.977504,0.020531595],"study_design_scores_gemma":[0.0000050043045,0.000008476405,0.0009570619,0.0021802224,0.000013481362,0.00009032071,0.0011038667,0.000008624378,0.000045389523,0.00035024266,0.9952312,0.000006132987],"about_ca_topic_score_codex":0.018844036,"about_ca_topic_score_gemma":0.04368906,"teacher_disagreement_score":0.049583,"about_ca_system_score_codex":0.002871608,"about_ca_system_score_gemma":0.0034406537,"threshold_uncertainty_score":0.16587168},"labels":[],"label_agreement":null},{"id":"W2779726075","doi":"10.26686/jnzs.v0i25.4101","title":"To Dance the Native Dance: Vernacular Modernism in an “Australian-New Zealand Comedy Romance”","year":2017,"lang":"en","type":"article","venue":"Journal of New Zealand studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Romance; Comedy; Vernacular; Hollywood; Literature; Modernism (music); Movie theater; Adventure; Narrative; Art; Colonialism; Art history; History; Archaeology","score_opus":0.11674569605930687,"score_gpt":0.3372479205846927,"score_spread":0.22050222452538584,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2779726075","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6434331,0.0054697595,0.002286514,0.02235073,0.0006851814,0.00004432869,0.0000578789,0.000041371368,0.3256312],"genre_scores_gemma":[0.97519886,0.0019258345,0.0005492536,0.000654749,0.00015520833,0.000013458183,0.000016595595,0.000028799723,0.021457236],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99907553,0.00052182475,0.000022477727,0.000093946495,0.00017631154,0.000109958884],"domain_scores_gemma":[0.99897975,0.0004746017,0.00014305656,0.00009689813,0.000114112714,0.00019158423],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017764397,0.0002797508,0.00022903935,0.00080416567,0.00347658,0.005900658,0.0005226653,0.0007338305,0.0044428883],"category_scores_gemma":[0.0036943832,0.00021849731,0.00015775092,0.0008342134,0.0105637135,0.0039060088,0.0024397366,0.0022243073,0.00022329626],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009502714,0.000055341843,0.0046160207,0.0002186828,0.000018770148,0.00078602554,0.7592297,0.00010185516,0.0012714836,0.18024722,0.013245519,0.040114343],"study_design_scores_gemma":[0.000019047395,0.00016041129,0.0419607,0.0004676075,0.000032422533,0.0007904423,0.39453307,0.0006633327,0.00063669984,0.0144695155,0.5462152,0.000051559182],"about_ca_topic_score_codex":0.03432054,"about_ca_topic_score_gemma":0.08433287,"teacher_disagreement_score":0.03432054,"about_ca_system_score_codex":0.0038350332,"about_ca_system_score_gemma":0.001371204,"threshold_uncertainty_score":0.06824154},"labels":[],"label_agreement":null},{"id":"W2780098532","doi":"","title":"Balade cool / Broken Flowers de Jim Jarmusch","year":2005,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.01808359492903916,"score_gpt":0.21984520437368635,"score_spread":0.2017616094446472,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2780098532","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020325322,0.17690082,0.0052407538,0.19873329,0.05786911,0.00010919918,0.0012333308,0.0009986245,0.5385895],"genre_scores_gemma":[0.04837483,0.024354158,0.0011102884,0.012185094,0.0088516325,0.000034314973,0.00022914019,0.00041560084,0.90444493],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997328,0.00006846213,0.000006544534,0.000063337764,0.000089692054,0.00003914363],"domain_scores_gemma":[0.9991798,0.00021969242,0.00006063903,0.000039241997,0.00026849055,0.0002321211],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006782609,0.00059465476,0.0003265497,0.0012816845,0.0018653681,0.0029068233,0.00033536807,0.0014501453,0.12165756],"category_scores_gemma":[0.0028208443,0.00027201374,0.00012177681,0.0003668243,0.00061019615,0.0021899836,0.0012512757,0.0023154633,0.037283603],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007870292,0.000030908133,0.0004323644,0.00013445664,0.000005636272,0.000118399854,0.00056668645,0.000046545036,0.0006974382,0.012539793,0.915516,0.06983309],"study_design_scores_gemma":[0.000005100831,0.000010398047,0.0012647256,0.00016691783,0.0000039917245,0.00017764361,0.0007693488,0.000052622898,0.00030251674,0.0018454627,0.9953927,0.0000086415275],"about_ca_topic_score_codex":0.0048649646,"about_ca_topic_score_gemma":0.013080871,"teacher_disagreement_score":0.12165756,"about_ca_system_score_codex":0.00069899805,"about_ca_system_score_gemma":0.00034248343,"threshold_uncertainty_score":0.40698504},"labels":[],"label_agreement":null},{"id":"W2780909159","doi":"","title":"Les Rendez-vous du cinéma québécois : le calme plat","year":2010,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.008302051478387093,"score_gpt":0.1499039050885014,"score_spread":0.14160185361011432,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2780909159","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2922503,0.07588828,0.009542828,0.075466044,0.0048237606,0.00016020119,0.0061076665,0.00037521386,0.5353857],"genre_scores_gemma":[0.7250134,0.010963641,0.0022047854,0.001311461,0.00071425916,0.00007983425,0.00073629216,0.00014358533,0.25883278],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99821883,0.00054141803,0.000036529673,0.00026533246,0.0005931808,0.0003447045],"domain_scores_gemma":[0.9980867,0.0006045263,0.00014115548,0.00010241182,0.0006597216,0.00040555408],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015322391,0.0012108467,0.00050863676,0.0022326463,0.0063295937,0.008208082,0.0007667255,0.00207364,0.035618734],"category_scores_gemma":[0.0052101216,0.0005686553,0.00057389005,0.002750528,0.0035241018,0.0031433455,0.0011043913,0.005567345,0.0018304548],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00082571944,0.00028526006,0.03562591,0.000560006,0.00033121387,0.002273822,0.039692532,0.0043170345,0.005091585,0.413076,0.24959075,0.24833015],"study_design_scores_gemma":[0.000042252694,0.000041309664,0.07311949,0.0004346473,0.000044856402,0.00044895025,0.011327196,0.001590943,0.00116208,0.003601695,0.90806824,0.00011832873],"about_ca_topic_score_codex":0.9572097,"about_ca_topic_score_gemma":0.96155953,"teacher_disagreement_score":0.047007143,"about_ca_system_score_codex":0.047007143,"about_ca_system_score_gemma":0.016308818,"threshold_uncertainty_score":0.3410623},"labels":[],"label_agreement":null},{"id":"W2781768656","doi":"10.3138/cjfs.25.2.82","title":"Balabanov’s Bandits: The Bandit Film Cycle in Post-Soviet Cinema","year":2016,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Lawlessness; Politics; Context (archaeology); Simulacrum; Sociology; Literature; Art history; Art; Aesthetics; History; Law; Political science","score_opus":0.02918210777335868,"score_gpt":0.2250363996742273,"score_spread":0.19585429190086862,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2781768656","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7083496,0.013616941,0.0034561462,0.010938807,0.0005709915,0.00003743416,0.00019996433,0.00007346727,0.26275674],"genre_scores_gemma":[0.99348927,0.0011142596,0.0001843249,0.00014678448,0.000053414235,0.0000058568608,0.000025186093,0.000023667502,0.0049572964],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991204,0.0005996468,0.000022506794,0.000067013185,0.000092161936,0.000098241435],"domain_scores_gemma":[0.99909735,0.0005067151,0.00014157764,0.00008068312,0.00007984762,0.00009390143],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012269561,0.00027317158,0.00017105894,0.0012644798,0.0047492706,0.008335317,0.0003374609,0.00089365547,0.0029590786],"category_scores_gemma":[0.0029558814,0.00021700497,0.000129344,0.0012815857,0.005773537,0.0035535155,0.0023661577,0.0016486634,0.00033866015],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021790202,0.000059243943,0.0078567965,0.00019710783,0.000023421391,0.0010199003,0.50117975,0.00033968984,0.0013596615,0.4269053,0.01790899,0.04293216],"study_design_scores_gemma":[0.000032876276,0.00010028768,0.039545637,0.0009935007,0.000038536644,0.001166591,0.2502967,0.0011690278,0.001835398,0.056652922,0.6481041,0.00006448499],"about_ca_topic_score_codex":0.007880333,"about_ca_topic_score_gemma":0.009844839,"teacher_disagreement_score":0.008335317,"about_ca_system_score_codex":0.0025703788,"about_ca_system_score_gemma":0.0008353892,"threshold_uncertainty_score":0.018649459},"labels":[],"label_agreement":null},{"id":"W2782056382","doi":"","title":"Betty Broadbent: \"The Lady Who's Different\"","year":2017,"lang":"en","type":"article","venue":"The Graduate History Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Popularity; Narrative; Objectification; Context (archaeology); Subculture (biology); Sociology; History; Art history; Gender studies; Art; Psychology; Literature; Social psychology; Law; Political science","score_opus":0.21089881686596623,"score_gpt":0.26882360912790126,"score_spread":0.05792479226193503,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2782056382","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.068679124,0.5698396,0.0013101172,0.16090932,0.008186445,0.000034836015,0.000121586505,0.000053741544,0.19086522],"genre_scores_gemma":[0.56046873,0.26457003,0.0010074418,0.04825874,0.0038544075,0.000051704286,0.00011520322,0.00009468093,0.12157914],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994912,0.00021425493,0.000011231937,0.00007684008,0.00013269344,0.000073713665],"domain_scores_gemma":[0.9994228,0.0002737508,0.00009291952,0.00001925573,0.0000845966,0.00010665801],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00075689104,0.00033362082,0.00026824436,0.0011927277,0.003213008,0.0033155645,0.00043660754,0.0015588617,0.0043279296],"category_scores_gemma":[0.0019225532,0.00015644531,0.00010913538,0.0012600295,0.004309717,0.003062444,0.0021790327,0.0019740288,0.0008018383],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012465086,0.00004094637,0.004218029,0.0027218931,0.00004063834,0.0017052863,0.14714597,0.00008605172,0.0018238955,0.19966634,0.40751672,0.23490961],"study_design_scores_gemma":[0.0000055704186,0.00002154239,0.004850654,0.0017304441,0.000019433939,0.0007945155,0.03484528,0.000024103816,0.00035410572,0.0032488417,0.9540941,0.000011454702],"about_ca_topic_score_codex":0.020171134,"about_ca_topic_score_gemma":0.054085806,"teacher_disagreement_score":0.020171134,"about_ca_system_score_codex":0.0022104976,"about_ca_system_score_gemma":0.002403548,"threshold_uncertainty_score":0.04010743},"labels":[],"label_agreement":null},{"id":"W2782428817","doi":"10.1080/01439685.2017.1418776","title":"Canada Before Television: Radio, Taste, and the Struggle for Cultural Democracy","year":2018,"lang":"en","type":"article","venue":"Historical Journal Of Film Radio and Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Taste; Democracy; Political science; Commercial broadcasting; Advertising; Media studies; Sociology; Public broadcasting; Psychology; Politics; Law; Business","score_opus":0.01772701422653515,"score_gpt":0.22020317902271613,"score_spread":0.20247616479618097,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2782428817","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44782937,0.0062023588,0.00047935813,0.06646438,0.0002472656,0.00003158304,0.0006280355,0.00003522251,0.47808242],"genre_scores_gemma":[0.97612464,0.0014317347,0.00009063908,0.0019425119,0.00007821569,0.000004804039,0.00006102742,0.000021862064,0.020244585],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986041,0.00019547521,0.000017651371,0.00010936185,0.00040332146,0.0006701257],"domain_scores_gemma":[0.99558395,0.0012874709,0.00040067043,0.0001298694,0.00132724,0.0012708027],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011315165,0.00017639899,0.00028036305,0.0011716182,0.008750764,0.010933444,0.0008660297,0.0019077057,0.022199169],"category_scores_gemma":[0.007365875,0.00018195964,0.00015778223,0.0035569156,0.010078201,0.0023849064,0.0017528257,0.0029433419,0.00055383105],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005404458,0.0002040842,0.07773804,0.00022906273,0.00006332757,0.0010369411,0.051700763,0.00086316175,0.0008940116,0.6829977,0.087304674,0.09642771],"study_design_scores_gemma":[0.00014245063,0.0000861347,0.24173197,0.0006518623,0.00015309025,0.00028131486,0.21226478,0.00081809465,0.0007371241,0.056908004,0.48606467,0.0001605053],"about_ca_topic_score_codex":0.96678126,"about_ca_topic_score_gemma":0.9841374,"teacher_disagreement_score":0.042635452,"about_ca_system_score_codex":0.042635452,"about_ca_system_score_gemma":0.053384148,"threshold_uncertainty_score":0.30934334},"labels":[],"label_agreement":null},{"id":"W2782499045","doi":"10.3138/cjfs.25.2.6","title":"Cinema, Realism, and <i>The World</i> According to Jia Zhangke","year":2016,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Realism; Exhibition; Aesthetics; Reading (process); Phenomenon; China; Globalization; National cinema; Sociology; Literature; Art; Media studies; Visual arts; Epistemology; History; Philosophy; Political science; Law; Linguistics","score_opus":0.04139881740277351,"score_gpt":0.24373967697661117,"score_spread":0.20234085957383766,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2782499045","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10764058,0.07602451,0.009908763,0.2048605,0.0025449758,0.00006491561,0.00013427668,0.00011855594,0.59870297],"genre_scores_gemma":[0.91953146,0.014324266,0.0015771841,0.00520304,0.0010728205,0.00005666478,0.00003931412,0.00004853655,0.05814669],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925905,0.00044536943,0.00002198145,0.000104292565,0.00008204798,0.000087205546],"domain_scores_gemma":[0.99916065,0.0004389224,0.00012688583,0.000054363212,0.0001005102,0.00011866275],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010742715,0.00027416254,0.00015515108,0.0006212152,0.0035721394,0.006554229,0.00030815674,0.0009156631,0.002350087],"category_scores_gemma":[0.0018551633,0.00014759775,0.00010613,0.00078322453,0.008900129,0.0037173124,0.0014000295,0.002085081,0.00023191715],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029889885,0.000012716486,0.0010786704,0.000159352,0.0000047323892,0.00012585252,0.061759498,0.000121262725,0.00043084248,0.9070198,0.02027852,0.008978746],"study_design_scores_gemma":[0.000011312242,0.000023870014,0.004308759,0.00034914297,0.000013873934,0.00021085504,0.029678809,0.00037066435,0.0004525546,0.05984639,0.90470475,0.0000289428],"about_ca_topic_score_codex":0.00973999,"about_ca_topic_score_gemma":0.008658896,"teacher_disagreement_score":0.00973999,"about_ca_system_score_codex":0.0026430453,"about_ca_system_score_gemma":0.0012074319,"threshold_uncertainty_score":0.019366622},"labels":[],"label_agreement":null},{"id":"W2782725499","doi":"10.3138/ctr.173.011","title":"Origin Story: SKAMpede","year":2018,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Aesthetics; History","score_opus":0.045472904232452586,"score_gpt":0.24841331381186132,"score_spread":0.20294040957940873,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2782725499","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014177363,0.042131297,0.00077950966,0.03804665,0.022882845,0.00006612437,0.0040613944,0.00026362337,0.8775911],"genre_scores_gemma":[0.1323223,0.039793618,0.00072909414,0.011053519,0.0038476684,0.00007902427,0.003807167,0.00068585784,0.8076817],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990018,0.00013934929,0.000027033677,0.00012949794,0.00040785762,0.00029442148],"domain_scores_gemma":[0.99891734,0.00033201923,0.000048638365,0.000064812964,0.0003658399,0.00027143594],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011630428,0.0006840605,0.00047350215,0.0015346871,0.004736704,0.0073000686,0.0007435406,0.0016537769,0.06105869],"category_scores_gemma":[0.0033390187,0.00029438006,0.000487736,0.0016068736,0.0018044595,0.002293735,0.0031145138,0.0033883872,0.009310857],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000121320285,0.00001637452,0.00041949964,0.00036032707,0.0000102627655,0.00073671155,0.0042106123,0.000066948895,0.0002262294,0.025313271,0.94512284,0.023395637],"study_design_scores_gemma":[0.000002708219,0.0000076922015,0.0006314183,0.00017929144,0.0000023384055,0.00018124611,0.0018281151,0.000009995763,0.000094433555,0.00020845808,0.99684864,0.000005719652],"about_ca_topic_score_codex":0.08968571,"about_ca_topic_score_gemma":0.2249614,"teacher_disagreement_score":0.9103143,"about_ca_system_score_codex":0.004954326,"about_ca_system_score_gemma":0.004047026,"threshold_uncertainty_score":0.20426166},"labels":[],"label_agreement":null},{"id":"W2783703167","doi":"","title":"Laura Horak, Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema. New Brunswick: Rutgers University Press, 2016, 256 pages","year":2017,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Patriarchy; Human sexuality; Art; Art history; Gender studies; Sociology; Media studies; Visual arts","score_opus":0.033217987677741166,"score_gpt":0.23837187486275013,"score_spread":0.20515388718500896,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2783703167","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006831634,0.6483798,0.00046653138,0.2452542,0.0080452915,0.000031909633,0.00021402929,0.00016114509,0.090615466],"genre_scores_gemma":[0.16542497,0.5410195,0.00096730475,0.04230914,0.012598614,0.00012457796,0.00017424725,0.0002647501,0.23711689],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99952126,0.00026042617,0.00001773646,0.00003884465,0.000093721945,0.00006800571],"domain_scores_gemma":[0.9976744,0.0013806211,0.0002528977,0.000056412155,0.00023320034,0.00040250696],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015284248,0.0009806779,0.00035187477,0.0017936529,0.0035958332,0.00578872,0.0008847282,0.0031872822,0.01448798],"category_scores_gemma":[0.0029682824,0.0008295944,0.00018424075,0.0014896019,0.0030688492,0.008601036,0.0021587866,0.0029284982,0.004358786],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026516947,0.0000257685,0.00073855463,0.00039298233,0.0000071985974,0.0002491209,0.031589247,0.000023817243,0.00021657751,0.012433531,0.8977057,0.056591034],"study_design_scores_gemma":[0.000007710359,0.000017371402,0.004410465,0.0015898803,0.000012583748,0.00051676977,0.05119882,0.000044758708,0.00018070714,0.0026983458,0.9393052,0.000017449272],"about_ca_topic_score_codex":0.021459974,"about_ca_topic_score_gemma":0.07081786,"teacher_disagreement_score":0.021459974,"about_ca_system_score_codex":0.0018972016,"about_ca_system_score_gemma":0.0016840597,"threshold_uncertainty_score":0.0484671},"labels":[],"label_agreement":null},{"id":"W2783992045","doi":"10.3138/ctr.173.019","title":"Raising the Tent on Circus Research: A Review of <i>Cirque Global: Quebec’s Expanding Circus Boundaries</i>","year":2018,"lang":"en","type":"review","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cirque; Raising (metalworking); Art; Visual arts; Geography; Engineering","score_opus":0.22850930801494743,"score_gpt":0.36457207295752053,"score_spread":0.1360627649425731,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2783992045","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014077903,0.9579364,0.00028271278,0.021012746,0.002045663,0.000019012765,0.00031221073,0.000024591867,0.016958926],"genre_scores_gemma":[0.029938487,0.94931644,0.0007977263,0.008571255,0.0012558581,0.000033315904,0.00036169123,0.000038164573,0.009687071],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99765646,0.00048352993,0.0001241749,0.00017853868,0.0012925834,0.00026472964],"domain_scores_gemma":[0.9823299,0.005204737,0.0008361077,0.00032500632,0.010012137,0.0012920763],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0053223916,0.00055060245,0.0008729821,0.0064689578,0.0037323143,0.0072703687,0.0012909214,0.0016358441,0.010060781],"category_scores_gemma":[0.013130235,0.00035923475,0.00047219638,0.014191053,0.004297404,0.0029320787,0.0011192216,0.002282901,0.0012617236],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000075683805,0.000030369945,0.002785139,0.016777245,0.00013410012,0.00020123881,0.005622228,0.0003489995,0.00063058775,0.062360004,0.52503705,0.38599733],"study_design_scores_gemma":[0.0000047599647,0.000010490759,0.0042659873,0.008363687,0.000051108844,0.00006474666,0.0015043723,0.00004159441,0.00009854644,0.0012019145,0.9843685,0.000024285484],"about_ca_topic_score_codex":0.8698405,"about_ca_topic_score_gemma":0.9540887,"teacher_disagreement_score":0.1301595,"about_ca_system_score_codex":0.039049402,"about_ca_system_score_gemma":0.113454014,"threshold_uncertainty_score":0.28332454},"labels":[],"label_agreement":null},{"id":"W2784278847","doi":"","title":"Identification of Self: The Oppositional Gaze and Black Female Spectatorship in 12 Years a Slave","year":2018,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Gaze; White (mutation); Privilege (computing); Subversion; Identity (music); Film theory; Aesthetics; Pleasure; Power (physics); Self identification; White privilege; Identification (biology); Male gaze; Art; Movie theater; Sociology; Visual arts; Gender studies; Psychology; Race (biology); Psychoanalysis; Law; Political science","score_opus":0.08460538101299822,"score_gpt":0.2766577728245862,"score_spread":0.19205239181158798,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2784278847","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87460876,0.0012435847,0.00056594616,0.013242619,0.00032217117,0.0000138514415,0.000023724351,0.000012021287,0.10996729],"genre_scores_gemma":[0.9869834,0.00036455452,0.00008216487,0.0005842116,0.0000915732,0.0000098662895,0.0000073266488,0.000016616235,0.011860205],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99884284,0.0007263551,0.000016689024,0.000092783186,0.00013519549,0.00018621958],"domain_scores_gemma":[0.99867034,0.0006772672,0.00026424008,0.00005567381,0.000106229134,0.00022630036],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00144129,0.00032721818,0.00029038725,0.0007810151,0.008947079,0.0041485815,0.00046878966,0.001639796,0.005841168],"category_scores_gemma":[0.0043552653,0.000226413,0.0002448864,0.00035653703,0.010570384,0.0029935874,0.00538561,0.0032883864,0.00036318283],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053781285,0.00003740251,0.0033283334,0.000036573554,0.000007336417,0.0009303072,0.9617095,0.000014709605,0.0012077962,0.026375715,0.003069847,0.0032287089],"study_design_scores_gemma":[0.000018430128,0.00008199088,0.014199421,0.00019738758,0.000015771117,0.00088226644,0.900269,0.00013847917,0.00075177423,0.005927359,0.07749236,0.000025717725],"about_ca_topic_score_codex":0.009057806,"about_ca_topic_score_gemma":0.014097758,"teacher_disagreement_score":0.009057806,"about_ca_system_score_codex":0.0015463901,"about_ca_system_score_gemma":0.00061808043,"threshold_uncertainty_score":0.019540668},"labels":[],"label_agreement":null},{"id":"W2784904012","doi":"10.22215/etd/2014-10077","title":"'Are You There God?': Secularization of Religious Narratives in Contemporary Cinema","year":2014,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Movie theater; Secularization; Narrative; Sensibility; Possession (linguistics); Religious studies; Art; Aesthetics; Literature; Art history; Sociology; Philosophy","score_opus":0.031616430583481916,"score_gpt":0.24599438792826908,"score_spread":0.21437795734478715,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2784904012","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.88507414,0.0040597045,0.0015865674,0.012664753,0.00018580853,0.000034402143,0.00016291271,0.00002154057,0.09621022],"genre_scores_gemma":[0.99719244,0.0006708586,0.00022592496,0.00023679576,0.000047186124,0.000011810748,0.000036181824,0.000009971099,0.0015687961],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981111,0.0014583586,0.00004203833,0.00013212749,0.0001295362,0.00012675485],"domain_scores_gemma":[0.9937186,0.004277102,0.00089296506,0.00028318097,0.00043573175,0.00039245505],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003433547,0.00022174617,0.00016924914,0.0015555301,0.0036815458,0.0063829445,0.00054588716,0.0009157643,0.0026822507],"category_scores_gemma":[0.010434135,0.0002293315,0.00012744052,0.0011446757,0.0063320957,0.0054667075,0.0028873247,0.0014251093,0.00017606477],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050312934,0.000023487963,0.0074235043,0.000078335186,0.000008315504,0.0003011771,0.93563366,0.000029901934,0.00046925398,0.040677946,0.0032059602,0.0120980535],"study_design_scores_gemma":[0.000008162776,0.000029958022,0.027006166,0.00037548022,0.000014229564,0.00039372192,0.88420624,0.00029665377,0.00036725245,0.005732957,0.08155376,0.000015304944],"about_ca_topic_score_codex":0.005810424,"about_ca_topic_score_gemma":0.009174684,"teacher_disagreement_score":0.0063829445,"about_ca_system_score_codex":0.0024805064,"about_ca_system_score_gemma":0.0009541729,"threshold_uncertainty_score":0.018158495},"labels":[],"label_agreement":null},{"id":"W2785576701","doi":"10.1509/jmr.14.0632","title":"An Empirical Study of Uniform and Differential Pricing in the Movie Theatrical Market","year":2018,"lang":"en","type":"article","venue":"Journal of Marketing Research","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":27,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia; Simon Fraser University","funders":"","keywords":"Pricing strategies; Economics; Differential (mechanical device); Advertising; Ticket; Microeconomics; Empirical research; Econometrics; Business; Computer science; Mathematics; Statistics","score_opus":0.10128624904807275,"score_gpt":0.37969701096695935,"score_spread":0.2784107619188866,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2785576701","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99404657,0.00045727266,0.00054970826,0.00047051912,0.000021408823,0.00003913064,0.0001405601,0.000011273687,0.004263441],"genre_scores_gemma":[0.9985489,0.00016211925,0.00018001477,0.00008767633,0.000033962184,0.00001201471,0.0002156968,0.0000041433436,0.0007555559],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99837923,0.0007226566,0.000098662334,0.00022422861,0.00022349528,0.00035174293],"domain_scores_gemma":[0.9489251,0.035374086,0.008828827,0.0020865481,0.001559889,0.0032255186],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004172548,0.00034373015,0.0007696317,0.0008849916,0.001094202,0.0030644785,0.0012061369,0.0013808216,0.010777839],"category_scores_gemma":[0.027311975,0.00031792105,0.00074812316,0.0015530118,0.0017473708,0.0051314253,0.0011650498,0.0036445132,0.0011354868],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.003105569,0.0075970404,0.8849868,0.00027330362,0.0004984751,0.0009568732,0.0023679214,0.008186381,0.0012337595,0.035967078,0.007856115,0.046970606],"study_design_scores_gemma":[0.0004265316,0.0011662254,0.9057442,0.000094787094,0.00029286637,0.00033616097,0.0064869095,0.070945725,0.00058583723,0.0088712955,0.004937996,0.00011133895],"about_ca_topic_score_codex":0.013375364,"about_ca_topic_score_gemma":0.008304787,"teacher_disagreement_score":0.013375364,"about_ca_system_score_codex":0.00159718,"about_ca_system_score_gemma":0.00069023983,"threshold_uncertainty_score":0.036055446},"labels":[],"label_agreement":null},{"id":"W2786093129","doi":"10.22215/etd/2016-11603","title":"The Intensity of Recollection-Images in Suspicious River and The Law of Enclosures","year":2016,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Narrative; Movie theater; Temporality; Representation (politics); Scholarship; Aesthetics; Realism; Construct (python library); Ambivalence; Art; History; Epistemology; Literature; Philosophy; Law; Psychology; Psychoanalysis; Computer science; Political science","score_opus":0.01155552581394446,"score_gpt":0.2125068234472245,"score_spread":0.20095129763328004,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2786093129","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.762213,0.0017651248,0.0011984837,0.0044616,0.00015875368,0.000031829106,0.00039726763,0.00004037514,0.22973366],"genre_scores_gemma":[0.9817649,0.0005380337,0.00034992478,0.00018997207,0.00012823752,0.000013647069,0.00015011239,0.000030970652,0.016834028],"study_design_codex":"observational","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99937016,0.00021959015,0.000030290708,0.00008991341,0.00022095325,0.0000690807],"domain_scores_gemma":[0.99391526,0.0028088053,0.0017348136,0.0002307495,0.00083655264,0.00047383425],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006712865,0.000105872445,0.000116875206,0.00081155763,0.0007512906,0.0033800015,0.00040443212,0.00070552493,0.014980823],"category_scores_gemma":[0.009060871,0.00011719371,0.00013949795,0.0010260654,0.0011249969,0.002064243,0.0010375397,0.0012171193,0.00077459816],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00064222835,0.00033705778,0.36123267,0.00046681994,0.00010584178,0.0010105023,0.27863565,0.00080463797,0.0072083636,0.11219336,0.051877968,0.18548493],"study_design_scores_gemma":[0.0000070175274,0.000063605345,0.8740676,0.00014115285,0.000023987826,0.0004148169,0.06435391,0.00042594562,0.001028968,0.005189845,0.054243185,0.000039915878],"about_ca_topic_score_codex":0.0064130602,"about_ca_topic_score_gemma":0.011304579,"teacher_disagreement_score":0.014980823,"about_ca_system_score_codex":0.0012532246,"about_ca_system_score_gemma":0.00029533813,"threshold_uncertainty_score":0.050115824},"labels":[],"label_agreement":null},{"id":"W2786272687","doi":"","title":"Motív cudzinca vo filmovej tvorbe Atoma Egoyana","year":2010,"lang":"en","type":"dissertation","venue":"Digital Repository (National Repository of Grey Literature)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Alienation; Narrative; Subject matter; Dysfunctional family; Filmography; Archetype; Subject (documents); Style (visual arts); Ethnic group; Identity (music); Sociology; Movie theater; Psychoanalysis; Gender studies; Media studies; Visual arts; Aesthetics; Psychology; Art; Political science; Literature; Anthropology; Pedagogy; Library science; Law; Computer science","score_opus":0.009416580930061664,"score_gpt":0.21751728058498493,"score_spread":0.20810069965492325,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2786272687","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18733148,0.015453289,0.0033688894,0.010522963,0.0020358344,0.00019864843,0.0021097036,0.00030508713,0.7786741],"genre_scores_gemma":[0.66096705,0.014383736,0.0038305419,0.00072501175,0.00034284726,0.00007596786,0.0010008073,0.0002616442,0.31841242],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996476,0.000057283076,0.000013293633,0.00005876108,0.000110233785,0.000112777656],"domain_scores_gemma":[0.9997373,0.000031259427,0.000026399806,0.000016385822,0.00009588794,0.00009258666],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00041621603,0.0002719642,0.00031665238,0.0010550623,0.0039177365,0.0049166162,0.0003175975,0.00037643831,0.02491376],"category_scores_gemma":[0.00073711947,0.0001959542,0.00019339932,0.0013263487,0.0011871571,0.0013207796,0.0013343538,0.001357874,0.0029746224],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00043172826,0.00021990304,0.017871507,0.0017600592,0.00008749074,0.00220063,0.060420018,0.00070035894,0.013685127,0.3747735,0.23019576,0.2976539],"study_design_scores_gemma":[0.000008363922,0.00003044679,0.019251138,0.0002700758,0.000020740623,0.0004868519,0.01470422,0.0001662534,0.0012776891,0.0020189576,0.96174246,0.000022871805],"about_ca_topic_score_codex":0.08657324,"about_ca_topic_score_gemma":0.17053482,"teacher_disagreement_score":0.08657324,"about_ca_system_score_codex":0.004381893,"about_ca_system_score_gemma":0.004756748,"threshold_uncertainty_score":0.17213869},"labels":[],"label_agreement":null},{"id":"W2786438539","doi":"","title":"Queer Film Classics Series: Book Review","year":2012,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Queer theory; Series (stratigraphy); Art; Art history; Literature; History; Sociology; Gender studies; Geology","score_opus":0.05643195067244246,"score_gpt":0.25338161404032167,"score_spread":0.19694966336787922,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2786438539","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00079686276,0.68487495,0.0006894201,0.02887759,0.023842143,0.000058477355,0.0015870973,0.00023203177,0.25904143],"genre_scores_gemma":[0.008848199,0.39150622,0.0005965049,0.0030576936,0.012466405,0.000039407656,0.0009427193,0.00024647103,0.58229643],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99957937,0.000038179336,0.000017041977,0.000045691417,0.0002661422,0.00005353138],"domain_scores_gemma":[0.9971571,0.00061290094,0.00018651992,0.000113382244,0.0015397127,0.00039034907],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007200042,0.0007054301,0.000656152,0.007989892,0.0013635682,0.0037862542,0.001023584,0.0013086475,0.13362195],"category_scores_gemma":[0.004921065,0.00030984005,0.00029243372,0.011164978,0.0008547641,0.0028960193,0.00083123945,0.0014453462,0.026702063],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008195994,0.000008770315,0.000047264428,0.00024393732,0.0000032931741,0.000019844176,0.00005576482,0.000055003406,0.00004201577,0.0035247058,0.92836547,0.06762577],"study_design_scores_gemma":[0.000002133452,0.000002920341,0.0002611715,0.00028395437,0.0000038812327,0.000035647205,0.000055546465,0.000022479195,0.00002977166,0.00049062376,0.9988092,0.0000026238301],"about_ca_topic_score_codex":0.0859799,"about_ca_topic_score_gemma":0.16721901,"teacher_disagreement_score":0.13362195,"about_ca_system_score_codex":0.0047903885,"about_ca_system_score_gemma":0.0064822747,"threshold_uncertainty_score":0.44700992},"labels":[],"label_agreement":null},{"id":"W2787174442","doi":"10.22215/etd/2016-11550","title":"Female Transcendence: Approaching the \"Experiénce Extrême\" in Contemporary French Horror Cinema","year":2016,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Torture; Movie theater; Narrative; Representation (politics); Transcendence (philosophy); Art; Literature; Gender studies; Aesthetics; Sociology; Politics; Philosophy; Political science","score_opus":0.07293223385043711,"score_gpt":0.26900260497263045,"score_spread":0.19607037112219333,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2787174442","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.75951326,0.007449934,0.0037257127,0.014447032,0.00034684993,0.000020912661,0.00006274956,0.00004838231,0.21438524],"genre_scores_gemma":[0.9917253,0.00072308077,0.00018583394,0.0003115601,0.00010295359,0.0000049705754,0.000008169928,0.000009469296,0.006928539],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99855715,0.00097018556,0.000011760799,0.000086608656,0.00017727676,0.00019699473],"domain_scores_gemma":[0.9990553,0.00054872886,0.0001496041,0.0000273476,0.00008573762,0.00013327463],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012269971,0.0004926475,0.00022045139,0.0009852435,0.004347535,0.0078011486,0.0003689716,0.0015101525,0.0042883097],"category_scores_gemma":[0.0020281621,0.00012850264,0.00019727398,0.00062567636,0.006323347,0.0020258394,0.0017400549,0.0015004099,0.00020693899],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014043634,0.000050617527,0.0065004895,0.00013219725,0.000018107612,0.0027720835,0.747571,0.00029085545,0.0021031497,0.20448482,0.0075054946,0.028430756],"study_design_scores_gemma":[0.000011664186,0.00013753505,0.03214325,0.00034834485,0.000017142644,0.0029410163,0.5518273,0.0006198591,0.0009374556,0.008639307,0.4023294,0.000047662616],"about_ca_topic_score_codex":0.021934526,"about_ca_topic_score_gemma":0.022097178,"teacher_disagreement_score":0.021934526,"about_ca_system_score_codex":0.005265126,"about_ca_system_score_gemma":0.0007539708,"threshold_uncertainty_score":0.04361373},"labels":[],"label_agreement":null},{"id":"W2789356770","doi":"10.22230/cjc.2018v43n1a3281","title":"Animating Film Theory","year":2018,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Computer graphics (images); Computer science; Sociology","score_opus":0.037618126134878103,"score_gpt":0.23036507760128805,"score_spread":0.19274695146640994,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2789356770","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025797132,0.0037688983,0.04685759,0.015861938,0.0013939049,0.000047903213,0.00019542433,0.00015627193,0.905921],"genre_scores_gemma":[0.8317626,0.0028190068,0.021834465,0.0014081785,0.0007075872,0.00007278079,0.0002298647,0.00021982382,0.14094572],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9996309,0.00021643193,0.00000694377,0.00005789061,0.00005295169,0.00003490696],"domain_scores_gemma":[0.99901557,0.00061229186,0.00003655841,0.0001447599,0.00011374359,0.000077014236],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005999045,0.00036704712,0.00020645042,0.0010548929,0.0018441877,0.0028967108,0.0005851265,0.0011869988,0.029614948],"category_scores_gemma":[0.002993872,0.00022517597,0.00023829551,0.00050388905,0.0034792803,0.0028466037,0.0012952307,0.0014594787,0.0017211033],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011490888,0.000013303236,0.000119894125,0.000029328772,0.000004033112,0.000039301332,0.0013262397,0.0005772538,0.00022738652,0.98137647,0.00730294,0.008972213],"study_design_scores_gemma":[0.000015074216,0.000018577726,0.00033618158,0.000095545576,0.000011919387,0.00008737671,0.0014157506,0.005432406,0.00041291377,0.79049796,0.20166713,0.000009175108],"about_ca_topic_score_codex":0.0042122523,"about_ca_topic_score_gemma":0.004596053,"teacher_disagreement_score":0.029614948,"about_ca_system_score_codex":0.001582458,"about_ca_system_score_gemma":0.00048697364,"threshold_uncertainty_score":0.09907192},"labels":[],"label_agreement":null},{"id":"W2790215015","doi":"10.5038/1911-9933.11.3.1538","title":"Film Review: The Cut","year":2018,"lang":"en","type":"article","venue":"Genocide Studies and Prevention","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Genocide; Political science; Law","score_opus":0.05661305382949569,"score_gpt":0.2925927706149914,"score_spread":0.2359797167854957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2790215015","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000307367,0.48110133,0.00022991665,0.38677472,0.12160537,0.000034391283,0.00029801633,0.00004433571,0.009604533],"genre_scores_gemma":[0.009540045,0.35117882,0.00060047116,0.37323436,0.2474276,0.00014396623,0.00049763574,0.00016356522,0.0172135],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9860721,0.0041403244,0.0021091292,0.0017413888,0.0050095636,0.0009274555],"domain_scores_gemma":[0.8618719,0.06878276,0.010909355,0.0067211613,0.04346346,0.008251365],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.017574798,0.0011116825,0.0023345884,0.011455382,0.0025711027,0.012696178,0.0025461477,0.014747287,0.021932675],"category_scores_gemma":[0.12164191,0.0009863019,0.0011354099,0.006455371,0.0064465385,0.013958959,0.004629975,0.011914377,0.008892431],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004748264,0.00001309404,0.00014177768,0.0017002388,0.000043571024,0.00005950968,0.000105012135,0.000015936015,0.000057645382,0.006164185,0.94489896,0.04675264],"study_design_scores_gemma":[0.000022253531,0.000015629746,0.00058639026,0.007826896,0.000053183336,0.00016541482,0.00033024413,0.000025407013,0.000039426766,0.0052131456,0.9857056,0.000016429614],"about_ca_topic_score_codex":0.006050386,"about_ca_topic_score_gemma":0.017152624,"teacher_disagreement_score":0.021932675,"about_ca_system_score_codex":0.0075842002,"about_ca_system_score_gemma":0.010477808,"threshold_uncertainty_score":0.092945576},"labels":[],"label_agreement":null},{"id":"W2790398471","doi":"10.17742/image.scandal.4-1.9","title":"HORROR AND THE BODY: UNDERSTANDING THE REWORKING OF THE GENRE IN MARINA DE VAN’S DANS MA PEAU/IN MY SKIN (2001)","year":2013,"lang":"en","type":"article","venue":"Imaginations Journal of Cross-Cultural Image Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Art history","score_opus":0.045967831414659634,"score_gpt":0.3230174504046955,"score_spread":0.27704961899003583,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2790398471","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4287823,0.015189616,0.009211342,0.035509594,0.001562001,0.00005097687,0.00008332621,0.000044741297,0.5095661],"genre_scores_gemma":[0.9748332,0.0014584092,0.0006588176,0.00076047285,0.00020056733,0.00001869116,0.00001654641,0.00006032429,0.021992916],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998741,0.0008502933,0.000018434543,0.00012584851,0.0001331646,0.00013138683],"domain_scores_gemma":[0.9985903,0.0009532472,0.00014341994,0.00007797955,0.00009194189,0.00014306598],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013238896,0.0003733239,0.00027709152,0.0011368727,0.0043147374,0.008177964,0.0007189185,0.0014740083,0.003441327],"category_scores_gemma":[0.003954074,0.00023811609,0.00021071926,0.00059936446,0.019403184,0.005002019,0.0031875945,0.0025493552,0.00026285584],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007152427,0.000018697338,0.0010818945,0.00012663401,0.000008412085,0.000743487,0.5755848,0.00013824977,0.0009110778,0.40563855,0.005179588,0.010497178],"study_design_scores_gemma":[0.000024603582,0.00006503177,0.0065057734,0.000804944,0.000014290598,0.0011869206,0.41571626,0.0005532056,0.0010248664,0.04994167,0.5241232,0.000039246137],"about_ca_topic_score_codex":0.009878325,"about_ca_topic_score_gemma":0.012228937,"teacher_disagreement_score":0.009878325,"about_ca_system_score_codex":0.0036761295,"about_ca_system_score_gemma":0.00080377643,"threshold_uncertainty_score":0.026672304},"labels":[],"label_agreement":null},{"id":"W2791150084","doi":"10.3138/utq.87.1.136","title":"The Community of Those Who Do Not Exist: Communication among Monsters in the Films and Novels of Jean Rollin","year":2018,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Eroticism; Taste; Style (visual arts); Praxis; Art; Aesthetics; Art history; Literature; Sociology; Philosophy; Psychology; Gender studies; Epistemology; Human sexuality; Neuroscience","score_opus":0.026256767844704876,"score_gpt":0.21675893277000738,"score_spread":0.1905021649253025,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2791150084","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8093773,0.008945747,0.00064759684,0.07316498,0.0011064346,0.000035099732,0.00009916355,0.00007784543,0.10654581],"genre_scores_gemma":[0.98245335,0.00145715,0.00010949703,0.0024531707,0.0003643669,0.000012194587,0.000016163647,0.00005525145,0.013078841],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99566585,0.0029389048,0.000047755933,0.00025103922,0.00035731145,0.00073927443],"domain_scores_gemma":[0.9951315,0.0025439258,0.00067004666,0.00016776714,0.00026677636,0.0012200241],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029469877,0.00056987745,0.0005269158,0.0011309879,0.025707956,0.012093018,0.0009828686,0.0026152248,0.0031547877],"category_scores_gemma":[0.0070982534,0.00047703783,0.00020369327,0.0009632706,0.020604974,0.004863296,0.0059468145,0.0044297553,0.00035776786],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047256035,0.000024669116,0.0012793058,0.000042154832,0.00000797165,0.0010781997,0.9654208,0.000028899958,0.00028108407,0.016897596,0.011050766,0.0038413317],"study_design_scores_gemma":[0.000006737008,0.000034578043,0.0032014889,0.00014440298,0.000008263413,0.0006789184,0.8018703,0.00005283031,0.00022259878,0.0013546866,0.19239764,0.000027541373],"about_ca_topic_score_codex":0.037296955,"about_ca_topic_score_gemma":0.06333136,"teacher_disagreement_score":0.037296955,"about_ca_system_score_codex":0.0074149864,"about_ca_system_score_gemma":0.0026835024,"threshold_uncertainty_score":0.07415974},"labels":[],"label_agreement":null},{"id":"W2791256430","doi":"10.1353/cj.2018.0016","title":"The Persistence of the Sad Young Man","year":2018,"lang":"en","type":"article","venue":"Cinema Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sadness; Queer; Psychology; Stereotype (UML); Beauty; Aesthetics; Femininity; Gender studies; Psychoanalysis; Social psychology; Art; Sociology","score_opus":0.036982745255548954,"score_gpt":0.21691845098460827,"score_spread":0.17993570572905931,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2791256430","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.64816976,0.053513892,0.0015885172,0.1998998,0.0043500075,0.00004982625,0.00013757496,0.00008398135,0.092206575],"genre_scores_gemma":[0.95894593,0.009093332,0.00027098772,0.019666582,0.00071270985,0.000024587398,0.000025082625,0.00003830075,0.011222481],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901116,0.00041081462,0.000033414904,0.00011783682,0.00019698772,0.00022973931],"domain_scores_gemma":[0.9987978,0.00023458016,0.0002375806,0.00003943205,0.00020441876,0.00048624453],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012290084,0.00019507168,0.00033507688,0.0005944153,0.008485773,0.0036517943,0.00037574422,0.0011838361,0.0025786012],"category_scores_gemma":[0.0036956894,0.00027511147,0.00018498201,0.00037389807,0.0066043064,0.0025704328,0.0036841615,0.0036360575,0.0003949994],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008666229,0.000052347725,0.029748462,0.00021828178,0.000033677738,0.011753268,0.74699956,0.00003861978,0.0017906328,0.03596606,0.084110044,0.08920231],"study_design_scores_gemma":[0.000012977562,0.00011296634,0.02072327,0.00068488414,0.000031709984,0.026093876,0.6160141,0.00008072677,0.0003998328,0.0062548034,0.32952628,0.00006463965],"about_ca_topic_score_codex":0.017639438,"about_ca_topic_score_gemma":0.02872178,"teacher_disagreement_score":0.017639438,"about_ca_system_score_codex":0.0019262433,"about_ca_system_score_gemma":0.0026353549,"threshold_uncertainty_score":0.03507352},"labels":[],"label_agreement":null},{"id":"W2791578482","doi":"10.1515/ausfm-2017-0006","title":"The Great War: Cinema, Propaganda, and The Emancipation of Film Language","year":2017,"lang":"en","type":"article","venue":"Acta Universitatis Sapientiae Film and Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Regina","funders":"","keywords":"Movie theater; Battle; Emancipation; Hollywood; German; Humanity; Art; Art history; History; Spanish Civil War; Literature; Politics; Law; Ancient history; Political science; Archaeology","score_opus":0.021314487556663136,"score_gpt":0.23500357674524278,"score_spread":0.21368908918857965,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2791578482","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.337605,0.015920488,0.004384218,0.02853837,0.0007829096,0.00004540468,0.00009456255,0.00006161106,0.6125674],"genre_scores_gemma":[0.990742,0.0013511397,0.0002854301,0.00039853703,0.00021901117,0.000015805632,0.000011069544,0.00001800363,0.0069589894],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9972263,0.0022155032,0.00005074085,0.00014815413,0.00019173756,0.00016748115],"domain_scores_gemma":[0.99153274,0.006683514,0.00071699364,0.00031103982,0.00043663938,0.00031905153],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029293909,0.00028319645,0.00015549187,0.0012185503,0.0034977414,0.008369971,0.00056172337,0.0010514054,0.004599117],"category_scores_gemma":[0.0068889824,0.0001702163,0.000112598245,0.00091755955,0.013907014,0.004053206,0.0029563776,0.001982999,0.00030331907],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000941084,0.00006751317,0.0028601082,0.00022645878,0.000014015512,0.00053921086,0.38077196,0.000120389894,0.0013838628,0.5685028,0.010432643,0.034986995],"study_design_scores_gemma":[0.000045440356,0.00016981267,0.013097766,0.0013480241,0.000026996746,0.0010400033,0.25796524,0.0007824312,0.0035833812,0.096302554,0.62557834,0.000059965423],"about_ca_topic_score_codex":0.0016667062,"about_ca_topic_score_gemma":0.0021361725,"teacher_disagreement_score":0.008369971,"about_ca_system_score_codex":0.0022419335,"about_ca_system_score_gemma":0.00077907386,"threshold_uncertainty_score":0.016266465},"labels":[],"label_agreement":null},{"id":"W2791581648","doi":"10.30553/sociologiaonline.2017.15.6","title":"Reverse shots: indigenous film and media in an international context: Pearson, W. G., &amp; Knabe, S. (Eds.), 2014, Waterloo, Canada, Wilfrid Laurier University Press","year":2017,"lang":"en","type":"article","venue":"SOCIOLOGIA ON LINE","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Indigenous; Context (archaeology); Humanities; Analytical Chemistry (journal); History; Philosophy; Chemistry; Environmental chemistry; Archaeology","score_opus":0.04048689799072634,"score_gpt":0.24345754173402154,"score_spread":0.2029706437432952,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2791581648","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018849002,0.6918323,0.008242566,0.040709864,0.008613386,0.00009640865,0.0005255345,0.00020239664,0.23092844],"genre_scores_gemma":[0.1929826,0.6245552,0.0096964445,0.0065887603,0.007671466,0.00016716367,0.0009971214,0.00033012126,0.15701118],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.999311,0.00029322456,0.000039992963,0.0000777187,0.00020556018,0.00007250525],"domain_scores_gemma":[0.99846005,0.00095072936,0.000106743726,0.000108434106,0.0001878918,0.00018610648],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010111926,0.0010561604,0.0005627485,0.0041532684,0.002709849,0.009312348,0.0011528296,0.0019763326,0.014502074],"category_scores_gemma":[0.0025221007,0.0004449736,0.00044079995,0.005656515,0.0054720715,0.011682506,0.0034661088,0.0030809243,0.0016942638],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007082788,0.000081863545,0.002129885,0.0017126263,0.000040380954,0.0010674235,0.08953545,0.00021039392,0.0017738459,0.18137981,0.30830267,0.4136949],"study_design_scores_gemma":[0.0000038684097,0.000023627605,0.0051878514,0.001863196,0.000032800865,0.00086107105,0.0628522,0.00021772884,0.0007035109,0.023212187,0.905017,0.00002495701],"about_ca_topic_score_codex":0.026648296,"about_ca_topic_score_gemma":0.048212912,"teacher_disagreement_score":0.9733517,"about_ca_system_score_codex":0.0025646836,"about_ca_system_score_gemma":0.002985601,"threshold_uncertainty_score":0.052986324},"labels":[],"label_agreement":null},{"id":"W2792441889","doi":"10.1177/1329878x0310900121","title":"Review: Hollywood North: The Feature Film Industry in British Columbia","year":2003,"lang":"en","type":"article","venue":"Media International Australia","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Feature (linguistics); Film industry; Feature film; Media studies; Engineering; Advertising; Art; Visual arts; Art history; Sociology; Business; Movie theater","score_opus":0.04756751756236978,"score_gpt":0.2546086689739044,"score_spread":0.20704115141153462,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2792441889","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003516136,0.9824907,0.000021748616,0.011930432,0.0028300125,0.00002471662,0.00037609806,0.000007541811,0.0019671083],"genre_scores_gemma":[0.0032076952,0.9861195,0.00004383956,0.004080191,0.0015530392,0.000022112092,0.00019791827,0.0000052411797,0.0047704745],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991013,0.00011456695,0.0001015156,0.00012388232,0.0003845343,0.00017423603],"domain_scores_gemma":[0.9900232,0.0018133476,0.0008874099,0.00015943525,0.005862692,0.001254004],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020364416,0.0012379758,0.0024692488,0.0074197818,0.001615062,0.00517177,0.001815853,0.0041358275,0.010076055],"category_scores_gemma":[0.0077613555,0.0006914858,0.0007135774,0.021258937,0.0013917576,0.0021057995,0.0015085902,0.002553928,0.0025316097],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009826712,0.000021555563,0.00083138986,0.016592195,0.00013076885,0.00014172586,0.00020183805,0.00013668666,0.00013064445,0.0007527536,0.8646923,0.11626992],"study_design_scores_gemma":[0.00004133694,0.000030004767,0.019148989,0.026394708,0.00050815125,0.00018915012,0.00086707034,0.000047181173,0.00010393484,0.0004503607,0.9521758,0.000043235224],"about_ca_topic_score_codex":0.4971945,"about_ca_topic_score_gemma":0.7520944,"teacher_disagreement_score":0.5028055,"about_ca_system_score_codex":0.012370961,"about_ca_system_score_gemma":0.033793777,"threshold_uncertainty_score":0.988601},"labels":[],"label_agreement":null},{"id":"W2792492373","doi":"10.3366/edinburgh/9781474402217.003.0012","title":"The Grierson Testament, 1969–71","year":2016,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"New Testament; Art; History; Literature","score_opus":0.035587002883939685,"score_gpt":0.18606998673660366,"score_spread":0.15048298385266398,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2792492373","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025681464,0.03247804,0.0007468385,0.21211866,0.008508354,0.00009089075,0.00045986162,0.00009968193,0.71981615],"genre_scores_gemma":[0.37235355,0.01476807,0.000940017,0.03132007,0.002164068,0.00012196884,0.00021574026,0.00025061847,0.5778658],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99713945,0.00083804945,0.000062152074,0.00042014834,0.0008302021,0.00071007427],"domain_scores_gemma":[0.9969222,0.0012037067,0.00021502384,0.000110412366,0.00067935465,0.00086935714],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032576742,0.00048750223,0.00026548354,0.001413661,0.01338766,0.009070496,0.0009564443,0.003557411,0.014906574],"category_scores_gemma":[0.0087141935,0.00046338342,0.0001651725,0.0010308488,0.015264068,0.0038200119,0.0033742595,0.006913542,0.0034476845],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006972606,0.00004127785,0.00063917297,0.00006213683,0.0000041814656,0.0006072117,0.025558181,0.000043656306,0.00024130085,0.39167616,0.55473065,0.026326323],"study_design_scores_gemma":[0.0000026051978,0.00000703657,0.00064599444,0.00007371679,8.246005e-7,0.0000802135,0.0022438483,0.000011002864,0.000117181706,0.0022544097,0.99455774,0.0000054355114],"about_ca_topic_score_codex":0.15811343,"about_ca_topic_score_gemma":0.22061096,"teacher_disagreement_score":0.15811343,"about_ca_system_score_codex":0.019359248,"about_ca_system_score_gemma":0.007355847,"threshold_uncertainty_score":0.3143862},"labels":[],"label_agreement":null},{"id":"W2792891434","doi":"10.17742/image.vos.7-2.9","title":"Toronto’s Nuit Blanche: Site-Specificity, Spectacle, And Spectatorship","year":2017,"lang":"en","type":"article","venue":"Imaginations Journal of Cross-Cultural Image Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art history; Visual arts; Archaeology; History","score_opus":0.06448523719950759,"score_gpt":0.3772636410392733,"score_spread":0.3127784038397657,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2792891434","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76478076,0.0020664847,0.0009898007,0.0046420787,0.00024258388,0.000025442423,0.00049978466,0.000062616804,0.22669035],"genre_scores_gemma":[0.98970187,0.00023827243,0.00009352585,0.00009209844,0.000019350355,0.000005572652,0.00004965998,0.00002338512,0.009776188],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990312,0.00029306614,0.000017128707,0.000119457116,0.00024291009,0.0002962002],"domain_scores_gemma":[0.99788743,0.0006182898,0.0002789962,0.00023745622,0.00035903577,0.0006188293],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008719737,0.00035835637,0.00029084604,0.001235685,0.012828155,0.0062088193,0.0008447382,0.0008449297,0.01510673],"category_scores_gemma":[0.002411754,0.00025352254,0.00024102704,0.0018352903,0.009783085,0.0015271214,0.0043578013,0.0014035967,0.00051152724],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001405822,0.000022705675,0.041901443,0.00025456995,0.000034755805,0.0016643845,0.8827683,0.00029975083,0.0022399786,0.030322397,0.01984672,0.020504417],"study_design_scores_gemma":[0.0000066722755,0.0000655238,0.11237468,0.0003073582,0.000033178432,0.0005027931,0.6852026,0.00019944874,0.0007008434,0.0008863387,0.19967234,0.000048275757],"about_ca_topic_score_codex":0.6638164,"about_ca_topic_score_gemma":0.913615,"teacher_disagreement_score":0.3361836,"about_ca_system_score_codex":0.016256897,"about_ca_system_score_gemma":0.006940074,"threshold_uncertainty_score":0.6763269},"labels":[],"label_agreement":null},{"id":"W2793314174","doi":"10.26522/ssj.v11i2.1400","title":"The Funeral Director and His Film (Dispatch)","year":2018,"lang":"en","type":"article","venue":"Studies in Social Justice","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Political science; Economics; Business","score_opus":0.06576398820175464,"score_gpt":0.3111689289398713,"score_spread":0.24540494073811667,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2793314174","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0066647665,0.0052547907,0.00048125224,0.08209442,0.13867076,0.00016720756,0.0013880415,0.00031944687,0.7649593],"genre_scores_gemma":[0.0179888,0.0009700208,0.00018220328,0.0068085887,0.0075470586,0.00003585979,0.0002446525,0.00012693954,0.9660959],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961346,0.000053908123,0.000012385407,0.00007277087,0.000115068826,0.00013236285],"domain_scores_gemma":[0.9992849,0.00010824997,0.00003150888,0.000033226,0.0002592674,0.00028282043],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005977044,0.00048443608,0.00036582552,0.0006030032,0.0052729687,0.004385781,0.00052453484,0.0027229516,0.18501267],"category_scores_gemma":[0.0026649437,0.00022755394,0.00029248165,0.0003473531,0.00061178737,0.0015444594,0.0014956703,0.0034666623,0.040479798],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006876276,0.000010959419,0.00011223826,0.000040784904,0.0000026154753,0.000160039,0.00016402134,0.00001390124,0.0002552187,0.0032127898,0.98952127,0.0064375307],"study_design_scores_gemma":[0.0000066376047,0.000013123357,0.00060792605,0.000063459534,0.0000022475067,0.00005779032,0.00055077946,0.000020582382,0.00014859307,0.0003366854,0.9981875,0.0000047390563],"about_ca_topic_score_codex":0.011003478,"about_ca_topic_score_gemma":0.03416919,"teacher_disagreement_score":0.18501267,"about_ca_system_score_codex":0.0016488787,"about_ca_system_score_gemma":0.000808854,"threshold_uncertainty_score":0.618929},"labels":[],"label_agreement":null},{"id":"W2793323179","doi":"10.22215/etd/2014-10347","title":"Women in Slashers Then and Now: Survival, Trauma, and the Diminishing Power of the Close-Up","year":2014,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Narrative; Girl; Character (mathematics); Power (physics); Movie theater; Aesthetics; Psychoanalysis; Relation (database); Feminist theory; Psychology; Gender studies; History; Sociology; Literature; Art; Feminism; Developmental psychology; Computer science","score_opus":0.018558729766446836,"score_gpt":0.21952426827773394,"score_spread":0.2009655385112871,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2793323179","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7179442,0.011663339,0.0013678597,0.095205754,0.001614728,0.000038713522,0.00013240345,0.00005533353,0.1719777],"genre_scores_gemma":[0.97912586,0.0021349564,0.00012087832,0.0025726948,0.00027083195,0.000013559082,0.000023976754,0.000041496445,0.015695821],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9970277,0.0015998175,0.00004272609,0.00025325204,0.00027605868,0.00080045714],"domain_scores_gemma":[0.9955108,0.0017813339,0.0007676521,0.00025135872,0.00039912126,0.0012897326],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003430424,0.00046463785,0.00050705334,0.001224445,0.0127786035,0.00985288,0.0008564555,0.00235655,0.012065471],"category_scores_gemma":[0.011191689,0.0004020904,0.00019303252,0.0008592764,0.020679269,0.008131236,0.008030817,0.006746009,0.0010716777],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000984281,0.00006079428,0.005981487,0.00009207035,0.000014643487,0.001179076,0.8519479,0.00002952736,0.00039470903,0.099891685,0.018947069,0.021362651],"study_design_scores_gemma":[0.000012214615,0.000070863716,0.0060340865,0.00049526454,0.000011161601,0.00086968066,0.7836587,0.000046155805,0.00020869158,0.01132998,0.19723618,0.000027033382],"about_ca_topic_score_codex":0.0086841015,"about_ca_topic_score_gemma":0.015340127,"teacher_disagreement_score":0.0127786035,"about_ca_system_score_codex":0.0028960896,"about_ca_system_score_gemma":0.0024709746,"threshold_uncertainty_score":0.040363014},"labels":[],"label_agreement":null},{"id":"W2795159586","doi":"10.22215/etd/2016-11326","title":"The Spell of Live Performance: HD Opera and Liveness Today","year":2016,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Liveness; Opera; Spell; Art; Popularity; Context (archaeology); Aesthetics; History; Computer science; Media studies; Visual arts; Sociology; Psychology; Social psychology","score_opus":0.016597288255084785,"score_gpt":0.2171121213158298,"score_spread":0.20051483306074502,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2795159586","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.37915698,0.014817545,0.004192637,0.030846706,0.0009199953,0.00002423348,0.00028474166,0.000020596819,0.5697366],"genre_scores_gemma":[0.9836623,0.0025443097,0.0003616205,0.0007028625,0.0005854773,0.000010897428,0.000077903176,0.000016240807,0.012038435],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9993223,0.00030914613,0.000020429521,0.00008187855,0.00013285258,0.00013348747],"domain_scores_gemma":[0.9974732,0.0011369738,0.000550446,0.00010704467,0.00020013649,0.00053218217],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010053655,0.00017764501,0.00018330156,0.0007668513,0.0015248213,0.005093916,0.00036039314,0.0007431992,0.012433155],"category_scores_gemma":[0.0041026305,0.00008561779,0.00012995992,0.001213122,0.0064863362,0.0046998505,0.0019295932,0.0021611627,0.000532124],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026945802,0.00018565218,0.030494658,0.00016549866,0.000026444073,0.0003792587,0.03693421,0.00030069274,0.00040364778,0.8489377,0.018544335,0.06335852],"study_design_scores_gemma":[0.000037260135,0.00030321657,0.24655236,0.0012634373,0.000045389865,0.000687031,0.1405207,0.0010814836,0.00076010934,0.2805483,0.32810166,0.000099036915],"about_ca_topic_score_codex":0.0047514867,"about_ca_topic_score_gemma":0.005516118,"teacher_disagreement_score":0.012433155,"about_ca_system_score_codex":0.0018854244,"about_ca_system_score_gemma":0.0006065787,"threshold_uncertainty_score":0.041593015},"labels":[],"label_agreement":null},{"id":"W2795442618","doi":"10.20287/doc.d23.en01","title":"The documentary as a democratic practice: an interview with the canadian director Katerina Cizek","year":2018,"lang":"en","type":"article","venue":"DOC online - Revista Digital de Cinema Documentário","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Democracy; Sociology; Political science; Management; Media studies; Art; Law; Politics","score_opus":0.019808661510687848,"score_gpt":0.27238665809178964,"score_spread":0.2525779965811018,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2795442618","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3344647,0.0084578395,0.0015293563,0.42421663,0.0014913111,0.00027142378,0.00022019203,0.0000662729,0.22928226],"genre_scores_gemma":[0.928217,0.0036021865,0.0007806766,0.02048237,0.00017961394,0.00010189802,0.000049265636,0.00009128488,0.04649577],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.97962934,0.009510221,0.00038558274,0.0011960801,0.004719699,0.0045590494],"domain_scores_gemma":[0.97200507,0.009570777,0.0014612012,0.00067253504,0.0069420463,0.00934845],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.013063829,0.0003970997,0.0007112158,0.0019640892,0.073988065,0.015794544,0.0028813633,0.006436507,0.0076995594],"category_scores_gemma":[0.02311918,0.0007927714,0.00032355584,0.0035648833,0.033920065,0.006331531,0.0056618624,0.01765321,0.00056454743],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002925152,0.00006875141,0.0018838301,0.00007342563,0.0000043298846,0.00089392654,0.8998101,0.00007644209,0.0004362234,0.038784366,0.049435183,0.00850416],"study_design_scores_gemma":[0.0000061282217,0.0000142009,0.001773638,0.00014480941,0.0000037042862,0.00018082352,0.71523345,0.00007833972,0.00008734752,0.0008042214,0.2816314,0.000041932508],"about_ca_topic_score_codex":0.9337554,"about_ca_topic_score_gemma":0.95945126,"teacher_disagreement_score":0.11799788,"about_ca_system_score_codex":0.11799788,"about_ca_system_score_gemma":0.113244355,"threshold_uncertainty_score":0.8561385},"labels":[],"label_agreement":null},{"id":"W2795775223","doi":"","title":"Selfie Seduction:Understanding the Power of the Image","year":2017,"lang":"en","type":"article","venue":"L'Atelier","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Selfie; Power (physics); Aesthetics; Computer science; Art; Computer vision; Visual arts","score_opus":0.05485244552562027,"score_gpt":0.24387891126599173,"score_spread":0.18902646574037146,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2795775223","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29302508,0.0027565688,0.015286662,0.019003151,0.00023645195,0.000028017908,0.00012756915,0.000059910664,0.66947657],"genre_scores_gemma":[0.98922193,0.00044556454,0.00078019267,0.00037732688,0.00013784607,0.000008902605,0.000021184545,0.000036012494,0.008971035],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9991314,0.0004537895,0.000014586022,0.00013544154,0.00015165379,0.000113226975],"domain_scores_gemma":[0.9935457,0.003970216,0.0008721378,0.0005564679,0.0005659181,0.0004894335],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018639332,0.0003031196,0.00019436987,0.0018793028,0.0016603399,0.0091366265,0.0009334067,0.0016774309,0.013090299],"category_scores_gemma":[0.010834683,0.0002424475,0.00018483936,0.0011145613,0.01317477,0.009659254,0.002077577,0.0019851292,0.00057934603],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007229759,0.00004828935,0.005313146,0.000065666805,0.000014010729,0.0001589947,0.038217492,0.00026659024,0.0008919081,0.9261725,0.0035276017,0.025251586],"study_design_scores_gemma":[0.000054156968,0.0001127748,0.0316542,0.00042108865,0.000046592017,0.0005841876,0.060649406,0.0051191216,0.0020108758,0.7527856,0.14650314,0.000058771864],"about_ca_topic_score_codex":0.0033152401,"about_ca_topic_score_gemma":0.0024125092,"teacher_disagreement_score":0.013090299,"about_ca_system_score_codex":0.0016751919,"about_ca_system_score_gemma":0.0006577389,"threshold_uncertainty_score":0.043791473},"labels":[],"label_agreement":null},{"id":"W2796065449","doi":"10.22215/etd/2015-10997","title":"Making Motoring American: The Integration of the Working Class in Automobile Film Advertising of the 1930s","year":2015,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"Ford Motor Company","keywords":"Narrative; Semiotics; Advertising; Automotive industry; Capitalism; Movie theater; Engineering; Political science; Business; Art; Law; Visual arts","score_opus":0.05426282927905478,"score_gpt":0.2864769306496968,"score_spread":0.23221410137064202,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2796065449","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7708979,0.0066064587,0.00039094235,0.009588124,0.0005357939,0.000021529326,0.00014341561,0.000016660406,0.21179917],"genre_scores_gemma":[0.98290294,0.0034677458,0.00011433056,0.0006660012,0.00025744402,0.000007836335,0.000031256477,0.000022040136,0.012530331],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.999527,0.00017904188,0.000011754586,0.00005356381,0.000107491374,0.00012116729],"domain_scores_gemma":[0.9990188,0.00052615773,0.00015343264,0.00004123779,0.000126139,0.00013424995],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013000321,0.0002849784,0.00015684022,0.001424939,0.005556216,0.005608991,0.00030256927,0.0008033641,0.0031962607],"category_scores_gemma":[0.0026977884,0.00024154487,0.00010517473,0.0011030025,0.004014173,0.0028348404,0.0012551675,0.0019629372,0.0003246707],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018395227,0.00009990263,0.022178434,0.00016903011,0.00002117307,0.0013306931,0.8209183,0.000067595116,0.0023410697,0.07333804,0.01738048,0.061971392],"study_design_scores_gemma":[0.000010734005,0.00007202818,0.104345314,0.00043767452,0.0000275349,0.00051862176,0.3184934,0.00009451633,0.0012673358,0.0024823719,0.5722154,0.000035161025],"about_ca_topic_score_codex":0.029188816,"about_ca_topic_score_gemma":0.0596478,"teacher_disagreement_score":0.029188816,"about_ca_system_score_codex":0.0037406923,"about_ca_system_score_gemma":0.0008593602,"threshold_uncertainty_score":0.058037817},"labels":[],"label_agreement":null},{"id":"W2796068964","doi":"","title":"Cinephemera: Archives, Ephemeral Cinema, and New Screen Histories in Canada ed. by Zoë Druick and Gerda Cammaer (review)","year":2017,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ephemeral key; Movie theater; History; Art history; Media studies; Visual arts; Art; Sociology; Computer science","score_opus":0.03457924040712739,"score_gpt":0.2260218658989323,"score_spread":0.1914426254918049,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2796068964","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003785593,0.9908381,0.000048797294,0.0037706366,0.00041347265,0.0000066094453,0.0001472931,0.0000106805965,0.004385872],"genre_scores_gemma":[0.0045385975,0.99067456,0.00012750631,0.0007356908,0.0003699016,0.000008916281,0.0001533029,0.000011982285,0.0033795657],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99908245,0.00012329468,0.000053479518,0.000080148,0.0004992263,0.0001614181],"domain_scores_gemma":[0.99683374,0.00063224003,0.00030051742,0.00006696509,0.0015560114,0.0006105944],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015873694,0.00081398495,0.0011577934,0.0063841483,0.002761504,0.008977886,0.0014091757,0.0018178879,0.014270668],"category_scores_gemma":[0.004929523,0.0005919314,0.00042053513,0.012930968,0.004365685,0.003893761,0.0018772465,0.0024830797,0.0023149224],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000723412,0.000038147755,0.0013503882,0.0070275567,0.00006326059,0.00014672463,0.0033776388,0.00019688999,0.00023175096,0.01163237,0.39585787,0.580005],"study_design_scores_gemma":[0.000008387847,0.000012775164,0.008731848,0.008080273,0.000048702957,0.00029690785,0.0022614608,0.000029301209,0.000090073336,0.0008653854,0.97954386,0.000030950396],"about_ca_topic_score_codex":0.87170506,"about_ca_topic_score_gemma":0.9337934,"teacher_disagreement_score":0.12829494,"about_ca_system_score_codex":0.02240988,"about_ca_system_score_gemma":0.055907402,"threshold_uncertainty_score":0.25810093},"labels":[],"label_agreement":null},{"id":"W279653944","doi":"","title":"Random Thoughts on and around the Toronto Film Festival","year":2007,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Decadence; Glory; Barbarism; History; Civilization; Kitsch; Movie theater; Art history; Art; Period (music); Gold rush; Literature; Aesthetics; Archaeology","score_opus":0.02728808648659597,"score_gpt":0.24158839400830248,"score_spread":0.2143003075217065,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W279653944","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016479494,0.04183135,0.0007710466,0.13786928,0.05636147,0.00023432952,0.004266062,0.0008242592,0.74136275],"genre_scores_gemma":[0.1066139,0.016136276,0.0004314492,0.017179364,0.00693333,0.000110829,0.0015673375,0.00081225793,0.85021526],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99836284,0.00025680536,0.00003612645,0.00023212448,0.0006183119,0.000493714],"domain_scores_gemma":[0.99767715,0.0001511641,0.00009448914,0.000094067735,0.00055408216,0.0014291212],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010818199,0.0015125053,0.00051554275,0.002064016,0.02174908,0.014053007,0.0011621586,0.0021021774,0.080164835],"category_scores_gemma":[0.0029819228,0.0005588985,0.00038072275,0.0025681441,0.0060277944,0.0022202546,0.0046106596,0.004964454,0.012255957],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038871694,0.0000122856845,0.0005994175,0.00008680469,0.000005998097,0.00018729598,0.0113935005,0.0000430458,0.00025405752,0.010303005,0.9666805,0.010395087],"study_design_scores_gemma":[0.0000030979675,0.0000074853974,0.0014200292,0.00012290518,0.0000028638458,0.0000235249,0.013436606,0.000012830118,0.00005791821,0.00019391096,0.9847055,0.000013384221],"about_ca_topic_score_codex":0.73008543,"about_ca_topic_score_gemma":0.91146696,"teacher_disagreement_score":0.26991457,"about_ca_system_score_codex":0.03770542,"about_ca_system_score_gemma":0.013815159,"threshold_uncertainty_score":0.54300827},"labels":[],"label_agreement":null},{"id":"W2796571319","doi":"","title":"25e Festival international du film de Toronto : chercher le film","year":2001,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Humanities; Art","score_opus":0.012619540261202062,"score_gpt":0.17142452552373433,"score_spread":0.15880498526253226,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2796571319","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.034396444,0.07713458,0.0011512337,0.06968537,0.010031365,0.00016645402,0.019924665,0.000506026,0.78700393],"genre_scores_gemma":[0.21671705,0.015059648,0.00073693966,0.0015184778,0.001387768,0.000081702296,0.0041428413,0.00024715997,0.76010835],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99885404,0.00016436151,0.000032008975,0.000116841446,0.0003805035,0.0004521746],"domain_scores_gemma":[0.99875844,0.00017893646,0.00008443997,0.00008110327,0.00046502263,0.00043200972],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00072467834,0.0013177338,0.0004034171,0.0030536666,0.008315668,0.008839388,0.00080154376,0.002299096,0.14211968],"category_scores_gemma":[0.002596859,0.00041893582,0.0003860137,0.0037715952,0.0018839166,0.0021593827,0.0020163907,0.0020725145,0.009173973],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000103101775,0.000039965176,0.0028760224,0.00026060993,0.000023108572,0.0005785165,0.009080621,0.00015661585,0.0005243145,0.04669216,0.90007895,0.03958606],"study_design_scores_gemma":[0.00000661137,0.000008300618,0.011745239,0.00009002132,0.000009056799,0.0000686361,0.0033371786,0.00003120503,0.00024055051,0.00036765792,0.9840816,0.000013919133],"about_ca_topic_score_codex":0.78425914,"about_ca_topic_score_gemma":0.88633436,"teacher_disagreement_score":0.78425914,"about_ca_system_score_codex":0.02731779,"about_ca_system_score_gemma":0.012492863,"threshold_uncertainty_score":0.4754377},"labels":[],"label_agreement":null},{"id":"W2796703421","doi":"","title":"Review Article: The End of Extreme Cinema Studies","year":2017,"lang":"en","type":"article","venue":"Canadian review of comparative literature","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Movie theater; Transgressive; Rhetoric; Art; Art history; Media studies; Literature; Sociology; History; Philosophy; Linguistics","score_opus":0.1293163620892426,"score_gpt":0.32788231093968256,"score_spread":0.19856594885043996,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2796703421","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00010219778,0.97394955,0.000077806566,0.0076434356,0.014492703,0.0000050746557,0.000055076805,0.000005836589,0.0036682787],"genre_scores_gemma":[0.0021637697,0.9603595,0.00014300471,0.0064781187,0.027253658,0.00001441914,0.00012027767,0.000011821811,0.0034553588],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988667,0.00034684865,0.00013796838,0.00020673046,0.00033480773,0.00010687023],"domain_scores_gemma":[0.994364,0.0027144318,0.0003991237,0.00017889556,0.0017240575,0.000619488],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015607517,0.00089246756,0.0016768218,0.003398639,0.0008200001,0.0047064107,0.0012450604,0.0035059282,0.0173023],"category_scores_gemma":[0.0068347966,0.0003445512,0.000575659,0.005038879,0.0015369457,0.004030502,0.0017306316,0.003576348,0.006424096],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007492214,0.000040041177,0.00020758998,0.011605607,0.00006551099,0.00017458171,0.00030051413,0.00012226768,0.00028878628,0.0074137533,0.7524553,0.22725116],"study_design_scores_gemma":[0.0000067585684,0.000015224586,0.00045577376,0.00508954,0.000033057127,0.00024702883,0.00018446457,0.000018482422,0.000045648823,0.001416908,0.99247813,0.0000090305275],"about_ca_topic_score_codex":0.0021103043,"about_ca_topic_score_gemma":0.0032222406,"teacher_disagreement_score":0.0173023,"about_ca_system_score_codex":0.0015838991,"about_ca_system_score_gemma":0.0032131104,"threshold_uncertainty_score":0.05788195},"labels":[],"label_agreement":null},{"id":"W2796881827","doi":"","title":"Donigan Cumming, Moving Pictures, April 9-May 22, 2005, Museum of Contemporary Canadian Art","year":2005,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Art history; Computer graphics (images); Computer science","score_opus":0.010402016926616894,"score_gpt":0.15948076651785656,"score_spread":0.14907874959123968,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2796881827","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005352892,0.08788015,0.001134217,0.055585183,0.03742797,0.0003595071,0.011118811,0.00081250543,0.8003289],"genre_scores_gemma":[0.010733478,0.008166889,0.000541147,0.0014980098,0.0010524488,0.000026344198,0.0009564441,0.00012642513,0.97689885],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99894637,0.00006829107,0.000027424034,0.00013494579,0.0005512621,0.00027183656],"domain_scores_gemma":[0.9990114,0.00006115984,0.000028719325,0.00004406186,0.000616017,0.00023864386],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012566424,0.0012424085,0.00046009728,0.003979606,0.018507767,0.007105536,0.0019341755,0.0024858604,0.20364071],"category_scores_gemma":[0.0025835459,0.00061090256,0.00064145616,0.00330934,0.0013993025,0.0021029357,0.0022982496,0.0024188072,0.027272556],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023257277,0.000007811966,0.0003137027,0.000057743044,0.0000035091643,0.00006058099,0.00050493557,0.000026176907,0.00006945738,0.0025661725,0.98314303,0.013223603],"study_design_scores_gemma":[0.0000017199183,0.0000028614215,0.0014347265,0.000058963968,0.000005244887,0.000019751247,0.00058668875,0.000012340934,0.00007178731,0.00011777177,0.9976821,0.000006086932],"about_ca_topic_score_codex":0.8488724,"about_ca_topic_score_gemma":0.98433554,"teacher_disagreement_score":0.20364071,"about_ca_system_score_codex":0.024965221,"about_ca_system_score_gemma":0.017179752,"threshold_uncertainty_score":0.68124604},"labels":[],"label_agreement":null},{"id":"W2798080223","doi":"10.3138/topia.11.141","title":"Inscription/Counter-inscription: On Harun Farocki","year":2004,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Politics; Discipline; Action (physics); German; Situated; Political action; Prison; Constellation; Frame (networking); Period (music); Political science; Sociology; History; Law; Aesthetics; Art; Archaeology; Engineering","score_opus":0.07622709580322337,"score_gpt":0.2553152869077719,"score_spread":0.17908819110454852,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2798080223","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.053654924,0.03744297,0.0016417227,0.17215554,0.06403425,0.00011000876,0.00029966774,0.00017901897,0.67048186],"genre_scores_gemma":[0.41916212,0.010167297,0.0011048061,0.0677057,0.010776419,0.00014831127,0.00014745492,0.00030227017,0.49048564],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987764,0.0003800746,0.00004726599,0.00020747907,0.0003230207,0.00026574684],"domain_scores_gemma":[0.99907637,0.00046340795,0.00011274471,0.0000804362,0.00017858557,0.000088436456],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013429174,0.00072665367,0.0004984586,0.0010554533,0.008564482,0.004701446,0.0009069912,0.0037638277,0.009439446],"category_scores_gemma":[0.0049173534,0.00032833344,0.00019367984,0.0006428736,0.005229834,0.0035935903,0.003211159,0.0068689645,0.0027224685],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014374213,0.000053329288,0.0006926844,0.0001951174,0.000014277096,0.0015460369,0.051457018,0.0000486531,0.0010836183,0.335872,0.5742762,0.034617316],"study_design_scores_gemma":[0.0000040214964,0.000011677396,0.000599229,0.00013943003,0.000005916321,0.00027482375,0.007400796,0.00004687264,0.0003283665,0.0025647325,0.9886064,0.000017644925],"about_ca_topic_score_codex":0.014450393,"about_ca_topic_score_gemma":0.025048887,"teacher_disagreement_score":0.014450393,"about_ca_system_score_codex":0.002794269,"about_ca_system_score_gemma":0.0014241427,"threshold_uncertainty_score":0.031578064},"labels":[],"label_agreement":null},{"id":"W2799553131","doi":"10.3138/cjfs.18.2.66","title":"Time Sickness in Andrey Tarkovsky’s <i>The Sacrifice</i>","year":2009,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Sacrifice; Philosophy; Theology","score_opus":0.027412654148787734,"score_gpt":0.2289579435816212,"score_spread":0.20154528943283345,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2799553131","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84781826,0.01237067,0.0017806384,0.05724952,0.00072814187,0.000025953837,0.00019115134,0.000020015634,0.079815656],"genre_scores_gemma":[0.99013305,0.0016599261,0.00012951989,0.0010834421,0.00014022467,0.0000053881304,0.000023831339,0.00000969919,0.006815004],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9998491,0.00006312435,0.0000061259734,0.000020699861,0.000022228749,0.000038813094],"domain_scores_gemma":[0.9992787,0.00032737595,0.0001975485,0.000032901775,0.000047414083,0.00011606989],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000468613,0.00011634148,0.00013149166,0.0003291957,0.0011690402,0.0017094705,0.00018890838,0.00090582704,0.0043006414],"category_scores_gemma":[0.0026100508,0.00013030066,0.00016715965,0.0003150222,0.0020009086,0.0015548385,0.0012572209,0.0015225398,0.0002456335],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00083812163,0.00015060171,0.039473068,0.00052653113,0.000080217185,0.009681573,0.33949143,0.00093776506,0.005823954,0.44780597,0.09051946,0.0646713],"study_design_scores_gemma":[0.00010107955,0.00028495616,0.18904944,0.0006858454,0.00008116797,0.010082736,0.14395249,0.0016312915,0.0014613951,0.088273965,0.5642873,0.00010835166],"about_ca_topic_score_codex":0.0078086667,"about_ca_topic_score_gemma":0.008951803,"teacher_disagreement_score":0.0078086667,"about_ca_system_score_codex":0.0016795085,"about_ca_system_score_gemma":0.00051599357,"threshold_uncertainty_score":0.015526414},"labels":[],"label_agreement":null},{"id":"W2799945880","doi":"10.3138/cjfs.11.1.40","title":"Grierson’s Machines: <i>Drifters</i>, the Documentary Film Movement and the Negotiation of Modernity","year":2002,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Modernity; Art; Humanities; Art history; Philosophy","score_opus":0.029736804885066963,"score_gpt":0.2120668066356655,"score_spread":0.18233000175059852,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2799945880","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13608654,0.049347274,0.005722679,0.2175885,0.0018079308,0.000046591096,0.00030228586,0.000105668885,0.5889926],"genre_scores_gemma":[0.86448836,0.013848819,0.0014916296,0.0052626436,0.00077998516,0.000030917778,0.00007428718,0.00007513956,0.113948144],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99887663,0.00059980276,0.000024255549,0.00012795748,0.0002148475,0.00015651387],"domain_scores_gemma":[0.9972812,0.0015220917,0.00038824146,0.00017591046,0.0003083997,0.0003240831],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018541771,0.00033047647,0.00022272088,0.0019335911,0.0041956743,0.007838481,0.00081205857,0.0021250916,0.0142770605],"category_scores_gemma":[0.0063612703,0.0002845261,0.00016954246,0.0023266189,0.011190946,0.005925404,0.0020007286,0.0023767506,0.001218462],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000072573195,0.000022490382,0.0021721716,0.00011227457,0.000009927183,0.00022231361,0.03733328,0.00020784965,0.00027653898,0.8869513,0.05102785,0.021591365],"study_design_scores_gemma":[0.000025447494,0.000031616084,0.011264751,0.0005191091,0.00002321108,0.00035197326,0.033355437,0.0006733604,0.0006652972,0.13598679,0.81703484,0.00006810688],"about_ca_topic_score_codex":0.04608802,"about_ca_topic_score_gemma":0.0535871,"teacher_disagreement_score":0.04608802,"about_ca_system_score_codex":0.00497279,"about_ca_system_score_gemma":0.0024505742,"threshold_uncertainty_score":0.09163952},"labels":[],"label_agreement":null},{"id":"W2800013390","doi":"10.3138/cjfs.10.1.70","title":"Carrying on: Leslie Thornton, Su Friedrich, Abigail Child and American Avant-Garde Film of the Eighties","year":2001,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":21,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Avant garde; Ethnology; Art history; Sociology","score_opus":0.03299621699005101,"score_gpt":0.23010008096913875,"score_spread":0.19710386397908775,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2800013390","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.046815358,0.042831432,0.00047610298,0.5203748,0.011789317,0.00011254905,0.00079006323,0.0001330383,0.37667724],"genre_scores_gemma":[0.20009428,0.022455351,0.000706474,0.04354199,0.0032868574,0.00013770524,0.00020938153,0.00016626637,0.72940177],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99977237,0.0000831636,0.0000073242577,0.000037492748,0.00005000103,0.00004966953],"domain_scores_gemma":[0.99905103,0.0004069951,0.0000883639,0.000025239877,0.00021931306,0.00020909922],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00050865446,0.00043898047,0.00027409068,0.001042659,0.0066682966,0.003483191,0.00040936176,0.001647747,0.038902495],"category_scores_gemma":[0.0027486468,0.0002210559,0.00013462552,0.00078487647,0.0017518904,0.002968457,0.0015658156,0.00290796,0.0031014094],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023162494,0.000017308246,0.0012106121,0.00009067558,0.000004454198,0.00034337313,0.02966713,0.000013396784,0.00023692667,0.019481858,0.9338637,0.015047413],"study_design_scores_gemma":[0.00000430303,0.0000082055685,0.0033221305,0.00021022095,0.0000051760358,0.00011712795,0.024845365,0.000018052293,0.00010514973,0.0013377459,0.9700171,0.000009515232],"about_ca_topic_score_codex":0.08386025,"about_ca_topic_score_gemma":0.2913682,"teacher_disagreement_score":0.08386025,"about_ca_system_score_codex":0.0033881278,"about_ca_system_score_gemma":0.0018948131,"threshold_uncertainty_score":0.16674423},"labels":[],"label_agreement":null},{"id":"W2800563034","doi":"10.3138/cjfs.18.2.104","title":"Ciné-Document: Fifteen Years of French Cinema","year":2009,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; History; Literature; Visual arts","score_opus":0.032087618991019334,"score_gpt":0.2368099988143355,"score_spread":0.20472237982331618,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2800563034","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.37851977,0.10647505,0.0032015042,0.028380424,0.009262643,0.0005121679,0.05004541,0.0017541876,0.42184886],"genre_scores_gemma":[0.7682791,0.019013228,0.002117379,0.0023034578,0.004620067,0.00017172376,0.018557185,0.00081211963,0.18412581],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991528,0.00022863351,0.000036723726,0.000121600744,0.0002812098,0.00017907814],"domain_scores_gemma":[0.9970157,0.000686728,0.00016728362,0.00019445588,0.0011897857,0.00074608304],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016994817,0.0006115646,0.00037630447,0.0050043543,0.0032750412,0.0052705053,0.00045897084,0.0014314232,0.042813115],"category_scores_gemma":[0.005157142,0.00018989331,0.0003376768,0.0033998678,0.0009468934,0.0017722228,0.0013509021,0.00096128526,0.005485262],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007905931,0.00029996855,0.021743955,0.0016117519,0.000091366564,0.0014077296,0.04509944,0.0004930542,0.005766524,0.017602835,0.55792505,0.34716782],"study_design_scores_gemma":[0.00001481546,0.00010827398,0.06317642,0.00042894515,0.000023175908,0.000402372,0.01149975,0.0001130791,0.0006819656,0.00039185694,0.92312735,0.000032051175],"about_ca_topic_score_codex":0.0895162,"about_ca_topic_score_gemma":0.13200964,"teacher_disagreement_score":0.0895162,"about_ca_system_score_codex":0.0046786726,"about_ca_system_score_gemma":0.0019125838,"threshold_uncertainty_score":0.17799032},"labels":[],"label_agreement":null},{"id":"W2800941313","doi":"10.1177/1357034x18767098","title":"Skin and Scars","year":2018,"lang":"en","type":"article","venue":"Body & Society","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Addiction; CLARITY; Argument (complex analysis); Psychology; Aesthetics; Skin color; Psychoanalysis; Medicine; Art; Psychiatry; Computer science","score_opus":0.0201219348516727,"score_gpt":0.22180370245445233,"score_spread":0.20168176760277962,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2800941313","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11215151,0.03824147,0.006541889,0.22487968,0.0037347812,0.000030984014,0.00019656388,0.00007512193,0.614148],"genre_scores_gemma":[0.93194187,0.0092121735,0.000731239,0.017323883,0.0014932967,0.000018866853,0.00004219549,0.000086609754,0.039149985],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979845,0.0011998063,0.000045031094,0.00019910152,0.0003359811,0.00023550993],"domain_scores_gemma":[0.99633825,0.0020807425,0.0004320466,0.0003161184,0.00036421008,0.00046862292],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023745943,0.00036674947,0.00031261166,0.0012182293,0.0035358442,0.0070109223,0.0004659147,0.0022761803,0.016986998],"category_scores_gemma":[0.0072793337,0.00017097204,0.00029125786,0.00076085114,0.026655443,0.00629543,0.0038500582,0.0035707175,0.0011857988],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036506368,0.000017888333,0.0012355734,0.00014016159,0.00001246564,0.00032616308,0.028750734,0.0000790934,0.0003106209,0.92842203,0.020559436,0.020109303],"study_design_scores_gemma":[0.000013417137,0.00006222984,0.0038307537,0.0010443554,0.000018865665,0.0012029076,0.059894443,0.00021061601,0.0004827271,0.2863815,0.64682955,0.00002859774],"about_ca_topic_score_codex":0.0028486305,"about_ca_topic_score_gemma":0.002670993,"teacher_disagreement_score":0.016986998,"about_ca_system_score_codex":0.0020051876,"about_ca_system_score_gemma":0.0009589923,"threshold_uncertainty_score":0.056827188},"labels":[],"label_agreement":null},{"id":"W2801081315","doi":"10.3138/cjfs.9.1.101","title":"Ciné-Documents: “Let’s set the Record Straight”: The International Experimental Film Congress, Toronto 1989","year":2000,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":19,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Set (abstract data type); Library science; Media studies; Information retrieval; Political science; History; Computer science; Sociology; Programming language","score_opus":0.03979626529857704,"score_gpt":0.26745396201582133,"score_spread":0.22765769671724428,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2801081315","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22073069,0.13716157,0.0020829113,0.09553191,0.0027604187,0.0002399873,0.012267966,0.00014650206,0.52907807],"genre_scores_gemma":[0.75567263,0.031683337,0.00076328806,0.0013172886,0.0007376209,0.00009804679,0.0028735811,0.00010647548,0.20674774],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99906534,0.00019536584,0.00004251517,0.00009153339,0.00035417266,0.0002510433],"domain_scores_gemma":[0.99769515,0.00086588995,0.00033002163,0.00014782991,0.00054985407,0.000411272],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011824691,0.00042474284,0.00021226145,0.002200941,0.0065700323,0.007520131,0.0006852392,0.0011978266,0.023197541],"category_scores_gemma":[0.0047087637,0.00038551158,0.00017466437,0.0072283377,0.0042487807,0.002144206,0.001596096,0.001903455,0.001219565],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024291026,0.00005821024,0.016658992,0.0010138205,0.000040643263,0.00057399995,0.16530146,0.00036055892,0.0008321022,0.18635984,0.54265165,0.08590591],"study_design_scores_gemma":[0.00001082265,0.000019800082,0.094274655,0.00038499368,0.000026925673,0.00008048746,0.042137746,0.000075551005,0.00060073915,0.0010750501,0.8612914,0.000021636004],"about_ca_topic_score_codex":0.81491345,"about_ca_topic_score_gemma":0.9328053,"teacher_disagreement_score":0.18508655,"about_ca_system_score_codex":0.033477746,"about_ca_system_score_gemma":0.014202337,"threshold_uncertainty_score":0.37235308},"labels":[],"label_agreement":null},{"id":"W2801151659","doi":"10.3138/cjfs.9.1.30","title":"A National “As Distinct from Departmental” Film Board, and the case of <i>Heritage</i>","year":2000,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Film industry; Art; Political science; Art history; Movie theater","score_opus":0.02445783503074394,"score_gpt":0.23382634392150106,"score_spread":0.20936850889075712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2801151659","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.073417515,0.002076098,0.0016728707,0.035600714,0.00032595743,0.000045972563,0.00020140383,0.000031433552,0.8866281],"genre_scores_gemma":[0.80547535,0.0009475565,0.0006650931,0.0049547255,0.00013013,0.000052617455,0.000113560316,0.00004582409,0.18761517],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9968796,0.00062053837,0.000044069002,0.00034946736,0.00056450866,0.0015419009],"domain_scores_gemma":[0.9973948,0.00049363525,0.00024223069,0.00019144159,0.00073768786,0.0009402125],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014228027,0.00021197245,0.00019587687,0.0012232711,0.017222991,0.010241644,0.0011443577,0.0026372157,0.017073384],"category_scores_gemma":[0.0043755095,0.00031005073,0.00022743357,0.0020005961,0.009155423,0.0033707926,0.0028377345,0.0030797878,0.000721271],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022073351,0.000017664794,0.004899649,0.000025698742,0.000006126614,0.0005733522,0.018103298,0.00010590703,0.0001643864,0.92215073,0.045086186,0.008844916],"study_design_scores_gemma":[0.000012368073,0.000014361219,0.017549511,0.00012742345,0.00002122568,0.00034741426,0.03444913,0.0003606967,0.00030237928,0.015803114,0.930984,0.000028499582],"about_ca_topic_score_codex":0.80934715,"about_ca_topic_score_gemma":0.9220433,"teacher_disagreement_score":0.19065285,"about_ca_system_score_codex":0.034288287,"about_ca_system_score_gemma":0.025570933,"threshold_uncertainty_score":0.38355124},"labels":[],"label_agreement":null},{"id":"W2801250472","doi":"10.32873/uno.dc.jrf.22.01.03","title":"Women are Speaking Up at Sundance","year":2018,"lang":"en","type":"article","venue":"Journal of Religion & Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cape Breton University","funders":"","keywords":"Psychology; Art","score_opus":0.03014043687980394,"score_gpt":0.23431408413284052,"score_spread":0.20417364725303658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2801250472","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11832729,0.0104696825,0.0017555522,0.11192712,0.022276202,0.0002817104,0.0032563363,0.0008879011,0.73081815],"genre_scores_gemma":[0.1666152,0.00650882,0.0015414254,0.013209548,0.002741195,0.00014084415,0.00086416415,0.00028343595,0.80809534],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995459,0.000108440385,0.000016211041,0.000068485504,0.00010455926,0.00015640036],"domain_scores_gemma":[0.99863523,0.00009022432,0.0001229255,0.000056009696,0.00021874251,0.00087689306],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007943306,0.00039290212,0.00032843897,0.0003173723,0.0057739937,0.0033584244,0.0003249051,0.001103062,0.11566703],"category_scores_gemma":[0.0019712294,0.0003428194,0.0003176747,0.0004691113,0.00072596053,0.0020923803,0.0020521502,0.0019814388,0.027625194],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019654013,0.000103735234,0.007676514,0.00027750692,0.000020777557,0.000504586,0.017933756,0.000016946396,0.0027652418,0.0046684355,0.849047,0.11678897],"study_design_scores_gemma":[0.0000032331955,0.00003435536,0.0065929866,0.000059028003,0.000003889036,0.000121206926,0.009673131,0.0000046541677,0.00015715571,0.000117483716,0.98322487,0.000007820413],"about_ca_topic_score_codex":0.009082904,"about_ca_topic_score_gemma":0.041442256,"teacher_disagreement_score":0.11566703,"about_ca_system_score_codex":0.00087086356,"about_ca_system_score_gemma":0.0008933967,"threshold_uncertainty_score":0.38694477},"labels":[],"label_agreement":null},{"id":"W2801260284","doi":"10.3138/cjfs.9.1.5","title":"“Some Kind of Racket”: The Museum of Modern Art’s Film Library, Hollywood and the Problem of Film Art, 1935","year":2000,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Hollywood; Art history","score_opus":0.022988911857694933,"score_gpt":0.20162656295340167,"score_spread":0.17863765109570673,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2801260284","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04534636,0.056464616,0.0014229775,0.12472382,0.0022845147,0.000054068652,0.000127706,0.00012616572,0.7694497],"genre_scores_gemma":[0.705529,0.014406545,0.00095307315,0.008178676,0.0011631012,0.000065468164,0.000062577485,0.00015527727,0.26948634],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99792707,0.0011332461,0.00006554945,0.00018272075,0.00028258836,0.00040889587],"domain_scores_gemma":[0.9983089,0.0008786608,0.00013503521,0.00015808715,0.00019673065,0.00032257623],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027438188,0.00032844773,0.00025885153,0.0029556241,0.022973998,0.014497113,0.0010859718,0.0030546116,0.018226653],"category_scores_gemma":[0.004587749,0.0005135341,0.00024003883,0.0025904484,0.019470006,0.0121945515,0.0044250535,0.0038578038,0.0012370881],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060695675,0.000037961992,0.001071118,0.00011385367,0.000008451866,0.00032605178,0.10464903,0.00007155477,0.00015592539,0.73227215,0.12762438,0.03360885],"study_design_scores_gemma":[0.000012033847,0.000016931663,0.0014975659,0.00029256337,0.0000083313425,0.00016259133,0.036403764,0.000054404845,0.00021932954,0.014768688,0.9465483,0.0000155189],"about_ca_topic_score_codex":0.103750646,"about_ca_topic_score_gemma":0.22865911,"teacher_disagreement_score":0.103750646,"about_ca_system_score_codex":0.018088132,"about_ca_system_score_gemma":0.008015762,"threshold_uncertainty_score":0.20629352},"labels":[],"label_agreement":null},{"id":"W2801366063","doi":"10.3138/cjfs.21.2.49","title":"La Campagne d’Éducation Civique de l’Office National du Film Pendant la Seconde Guerre Mondiale","year":2012,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science; Movie theater; Humanities; Art; Media studies; Art history; Sociology","score_opus":0.048076975132352616,"score_gpt":0.262202579039906,"score_spread":0.2141256039075534,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2801366063","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12969878,0.043411303,0.005523113,0.1366741,0.006335134,0.00015843018,0.0008517805,0.00024037088,0.677107],"genre_scores_gemma":[0.5950674,0.0061332155,0.0031273784,0.0028587172,0.00068210805,0.000085998654,0.00019014622,0.00010901324,0.39174598],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983015,0.00040284987,0.000021545597,0.0002234363,0.00041985026,0.00063074194],"domain_scores_gemma":[0.99854904,0.00033245276,0.00008225369,0.00006700692,0.00032476542,0.00064445985],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019354074,0.00046497345,0.00029281926,0.00065952097,0.007678145,0.004601899,0.0004938069,0.0016694481,0.019367106],"category_scores_gemma":[0.0039424244,0.0003347793,0.0002683761,0.00060388807,0.002913019,0.0017900177,0.0014116365,0.0046783173,0.0014981377],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031487513,0.00013126049,0.008214268,0.00036393924,0.000027533537,0.0009327041,0.024190905,0.00051125174,0.002300283,0.54375756,0.23547384,0.18378161],"study_design_scores_gemma":[0.000011517028,0.000014597216,0.011139891,0.00009692914,0.0000020690998,0.00010516202,0.0018658369,0.00010179374,0.00033243714,0.0009947268,0.9853232,0.000011898164],"about_ca_topic_score_codex":0.7330901,"about_ca_topic_score_gemma":0.80152106,"teacher_disagreement_score":0.2669099,"about_ca_system_score_codex":0.024675678,"about_ca_system_score_gemma":0.020410541,"threshold_uncertainty_score":0.5369636},"labels":[],"label_agreement":null},{"id":"W2801514656","doi":"10.3138/cjfs.21.1.81","title":"The Other Small Screen: Moving Images at New York’s World Fair, 1939","year":2012,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.08105280205277678,"score_gpt":0.23864646289446803,"score_spread":0.15759366084169124,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2801514656","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76118463,0.0015962828,0.0012001186,0.0049900063,0.00040723165,0.000055073408,0.0025188392,0.000058479705,0.2279893],"genre_scores_gemma":[0.9389698,0.0006533168,0.00047578017,0.00013203663,0.00007606662,0.00001545679,0.00041095275,0.000044278637,0.05922228],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9998832,0.000027463211,0.000002230516,0.00003002468,0.000024969173,0.00003211828],"domain_scores_gemma":[0.99977165,0.00010397505,0.000024683995,0.000017222446,0.00003441631,0.000048064805],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002702021,0.0001983135,0.000092235714,0.0009036534,0.0026463582,0.0022336831,0.00025488538,0.00045092532,0.022157816],"category_scores_gemma":[0.0013895399,0.00013569754,0.00010169119,0.0009473717,0.0013403887,0.0018384168,0.000816691,0.00077356445,0.0007667175],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008335675,0.00020023248,0.06283566,0.00043927264,0.00007078347,0.0037875886,0.45039946,0.0015956216,0.0071057533,0.110958174,0.16212668,0.19964717],"study_design_scores_gemma":[0.000026113357,0.00012370177,0.34907117,0.0004381591,0.00004737306,0.00042866767,0.15730454,0.0013026706,0.0023000652,0.0045358962,0.48434144,0.00008003126],"about_ca_topic_score_codex":0.2604625,"about_ca_topic_score_gemma":0.51915026,"teacher_disagreement_score":0.2604625,"about_ca_system_score_codex":0.0034123866,"about_ca_system_score_gemma":0.00058536616,"threshold_uncertainty_score":0.51789284},"labels":[],"label_agreement":null},{"id":"W2801620148","doi":"10.2307/2700342","title":"Kon Ichikawa. Edited by James Quandt. Toronto: Ontario Cinémathèque, 2001. 445 pp. $29.95 (paper).","year":2002,"lang":"en","type":"article","venue":"The Journal of Asian Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Mathematics education; Mathematics","score_opus":0.04161012076322761,"score_gpt":0.24053796792507937,"score_spread":0.19892784716185175,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2801620148","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012250638,0.8062915,0.0051502082,0.005830385,0.0098473495,0.00007225254,0.0027383976,0.0008042862,0.16804047],"genre_scores_gemma":[0.006887395,0.48174003,0.005967331,0.0007027896,0.0019611495,0.000094174226,0.0014925017,0.0005924392,0.5005622],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99981076,0.000024206794,0.000017538981,0.000039056293,0.000080984035,0.00002751756],"domain_scores_gemma":[0.99961025,0.00006229313,0.000044672084,0.000028567973,0.00017502175,0.00007920902],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00065237185,0.002031134,0.0014629762,0.002973596,0.0013572734,0.0029063136,0.001042545,0.00089828164,0.121288896],"category_scores_gemma":[0.0009997012,0.0014898202,0.0005213254,0.003931271,0.0006861414,0.0032844516,0.0013042358,0.0015161054,0.06873239],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044192857,0.000014570117,0.0001865192,0.0010938119,0.000010756402,0.0000886696,0.0007903273,0.00020167745,0.00081795524,0.0040355865,0.82925504,0.16346082],"study_design_scores_gemma":[0.0000029142225,0.0000043822192,0.00074103934,0.0002651563,0.0000060188095,0.00012629245,0.00022674224,0.000063877014,0.00011992233,0.0008962447,0.99754,0.0000073508354],"about_ca_topic_score_codex":0.06644429,"about_ca_topic_score_gemma":0.20115218,"teacher_disagreement_score":0.121288896,"about_ca_system_score_codex":0.002734001,"about_ca_system_score_gemma":0.0035120675,"threshold_uncertainty_score":0.40575176},"labels":[],"label_agreement":null},{"id":"W2801644770","doi":"10.1177/1357034x18766285","title":"The Skinscape","year":2018,"lang":"en","type":"article","venue":"Body & Society","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":53,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Performative utterance; Sensory system; Perspective (graphical); Perception; Aesthetics; Object (grammar); Psychology; Visitor pattern; Cognition; Sociology; Cognitive science; Communication; Cognitive psychology; Visual arts; Art; Computer science; Neuroscience; Philosophy; Linguistics","score_opus":0.02128983066032738,"score_gpt":0.2250989344512616,"score_spread":0.20380910379093423,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2801644770","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012552289,0.0060538193,0.0054458915,0.03307405,0.0030145177,0.000025748697,0.000109095025,0.00009936456,0.93962526],"genre_scores_gemma":[0.47881073,0.008499828,0.003196021,0.009901001,0.0023290175,0.000055863296,0.00012379709,0.00033512095,0.49674863],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993268,0.00023809259,0.000016511965,0.000120937206,0.00018974941,0.00010783431],"domain_scores_gemma":[0.99898976,0.0003540277,0.00008184842,0.00015919551,0.000160782,0.00025439129],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006323077,0.0003313238,0.00019889371,0.0010691885,0.004296949,0.009530985,0.00076249044,0.0022881397,0.04726956],"category_scores_gemma":[0.002536122,0.00019086174,0.0003203569,0.00071593793,0.0078037144,0.0071846494,0.004717962,0.0027145413,0.0060796686],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022483306,0.000016234724,0.00042478187,0.00006947267,0.000004118772,0.00033897988,0.0072748093,0.000080326296,0.0001783829,0.9027481,0.06349414,0.025348151],"study_design_scores_gemma":[0.0000041976573,0.000017687991,0.0005649277,0.00020110469,0.000003814706,0.00047835294,0.0057923314,0.00012542131,0.00017249362,0.06266862,0.9299622,0.000008881307],"about_ca_topic_score_codex":0.002682729,"about_ca_topic_score_gemma":0.004408449,"teacher_disagreement_score":0.04726956,"about_ca_system_score_codex":0.0018657588,"about_ca_system_score_gemma":0.0014087579,"threshold_uncertainty_score":0.15813243},"labels":[],"label_agreement":null},{"id":"W2801660977","doi":"10.3138/cjfs.10.1.110","title":"American Movie Audiences: From the Turn of the Century to the Early Sound ERA Edited by Melvyn Stokes and Richard Maltby","year":2001,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Sound (geography); Art; Art history; History; Humanities; Acoustics; Physics","score_opus":0.025455401638526977,"score_gpt":0.21898846686220239,"score_spread":0.19353306522367542,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2801660977","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01449321,0.6451779,0.00040591514,0.14115499,0.020256646,0.000017383381,0.0006681507,0.00006840461,0.1777574],"genre_scores_gemma":[0.2196981,0.573022,0.0006214701,0.009752023,0.029183833,0.000060767474,0.0005551626,0.00019291652,0.16691373],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99963963,0.00011155486,0.000014658456,0.000045306937,0.00012113866,0.0000677023],"domain_scores_gemma":[0.9987343,0.0004952556,0.000087228604,0.000030361352,0.00031396595,0.00033886643],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00080820796,0.0007557286,0.0005109396,0.0030364462,0.0042982125,0.008379054,0.00058220816,0.0020557705,0.014475621],"category_scores_gemma":[0.0018522781,0.00048147736,0.00023400238,0.0045336583,0.0024491034,0.0056510973,0.0022016629,0.0029463575,0.0016541485],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005423631,0.000055840344,0.0014935667,0.00048317888,0.000014732029,0.00016163089,0.0316122,0.000051491526,0.0003795804,0.049397536,0.8205098,0.095786184],"study_design_scores_gemma":[0.0000041238336,0.000009302149,0.00788441,0.0009968075,0.000011519993,0.000081253296,0.017524263,0.000028867478,0.00007639909,0.0033064375,0.97006655,0.0000101345495],"about_ca_topic_score_codex":0.037110273,"about_ca_topic_score_gemma":0.09653288,"teacher_disagreement_score":0.037110273,"about_ca_system_score_codex":0.0027247379,"about_ca_system_score_gemma":0.0029834246,"threshold_uncertainty_score":0.07378852},"labels":[],"label_agreement":null},{"id":"W2801685507","doi":"10.3138/cjfs.18.1.114","title":"The Horse Who Drank the Sky: Film Experience Beyond Narrative and Theory Murray Pomerance","year":2009,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Lethbridge","funders":"","keywords":"Narrative; Sky; Art; Art history; Visual arts; History; Sociology; Literature; Astronomy; Physics","score_opus":0.023122989445189458,"score_gpt":0.24182947214117176,"score_spread":0.2187064826959823,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2801685507","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.177463,0.066833384,0.0020891954,0.29891282,0.0042776647,0.000044426342,0.00022576471,0.000055383727,0.4500983],"genre_scores_gemma":[0.85487413,0.030641636,0.0007087414,0.01495647,0.0013708123,0.000035528028,0.00007791797,0.0001977262,0.09713713],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99815744,0.0011619856,0.00003883736,0.00017300296,0.00030943874,0.00015929576],"domain_scores_gemma":[0.99473405,0.0034683435,0.00026058982,0.00013397919,0.0005572897,0.00084561645],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00229031,0.00034685078,0.00048950355,0.0010162286,0.010284409,0.012433688,0.00087373646,0.0029528013,0.009668672],"category_scores_gemma":[0.010029835,0.00041580325,0.00017505852,0.0013211143,0.009991005,0.010560634,0.0033667118,0.0053117773,0.00093505747],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049392416,0.00005589826,0.0012303895,0.00018321781,0.000014804066,0.0009525646,0.7327012,0.000054109103,0.00048664075,0.08615521,0.15880159,0.019314984],"study_design_scores_gemma":[0.000007724261,0.00002008539,0.0017302895,0.00043069222,0.0000082052,0.0006212309,0.40795213,0.00007415443,0.00017003671,0.008852722,0.58010703,0.000025692152],"about_ca_topic_score_codex":0.023547668,"about_ca_topic_score_gemma":0.044284835,"teacher_disagreement_score":0.023547668,"about_ca_system_score_codex":0.0030990795,"about_ca_system_score_gemma":0.002087105,"threshold_uncertainty_score":0.046821237},"labels":[],"label_agreement":null},{"id":"W2801704771","doi":"","title":"Biennial of Moving Image. Geneva. 2016","year":2016,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art history; Visual arts; Movie theater; Humanities","score_opus":0.02215483190998859,"score_gpt":0.21305623708011598,"score_spread":0.19090140517012738,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2801704771","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005356607,0.01099085,0.001583808,0.0023761878,0.005873221,0.00011794957,0.013770261,0.0024646148,0.9622874],"genre_scores_gemma":[0.0033998438,0.0033559368,0.00083394063,0.00033459245,0.00052980846,0.000102371756,0.0054821423,0.0015516103,0.9844097],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990363,0.00010553454,0.00006282996,0.0002052334,0.00042759266,0.00016254897],"domain_scores_gemma":[0.9990589,0.00010843852,0.00007883272,0.00018564041,0.0002189683,0.0003491247],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010162059,0.0017290835,0.0006600844,0.0021392808,0.001362038,0.007725289,0.0011770962,0.0019179628,0.7148201],"category_scores_gemma":[0.0018036453,0.00080555957,0.00053078163,0.0027853358,0.0008941832,0.005478056,0.0052558687,0.0018682132,0.5642536],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005992481,0.000019552142,0.00015990024,0.0002328979,0.0000025860113,0.00006971934,0.0001586795,0.00006121607,0.0003880825,0.007010234,0.8584972,0.13333996],"study_design_scores_gemma":[0.0000027278288,0.000005286173,0.00040451417,0.00009198116,6.4661174e-7,0.000045015375,0.00007322008,0.000021956514,0.000058480167,0.00037334653,0.99891865,0.000004208601],"about_ca_topic_score_codex":0.007451045,"about_ca_topic_score_gemma":0.012818715,"teacher_disagreement_score":0.7148201,"about_ca_system_score_codex":0.0013167635,"about_ca_system_score_gemma":0.0012159379,"threshold_uncertainty_score":0.40677452},"labels":[],"label_agreement":null},{"id":"W2802312415","doi":"10.3138/cjfs.10.1.2","title":"Patterns of Cultural Authority: The National Film Society of Canada and the Institutionalization of Film Education, 1938-1941","year":2001,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":31,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Institutionalisation; Political science; Ethnology; Sociology; Art; Law","score_opus":0.03926575240105138,"score_gpt":0.2514027998398318,"score_spread":0.21213704743878045,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2802312415","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.82819897,0.004603308,0.00027827767,0.013732956,0.00007341858,0.000070887516,0.0015069012,0.000020473432,0.15151466],"genre_scores_gemma":[0.9898958,0.00082550914,0.000070231275,0.00012480083,0.000011023065,0.000008917952,0.00015669229,0.000009120158,0.008897929],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99771655,0.0002031953,0.00005830149,0.00021163917,0.0007176659,0.0010926876],"domain_scores_gemma":[0.9945015,0.00062293175,0.00068692287,0.00018074315,0.0025754855,0.0014324745],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015152076,0.00019043022,0.0003451752,0.0036826602,0.010546139,0.0066208853,0.0012684339,0.0006575446,0.0077638896],"category_scores_gemma":[0.007910401,0.00023460128,0.00016036344,0.006911018,0.0073378785,0.0015291469,0.002361663,0.0014541113,0.00022540752],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003034303,0.00015075022,0.25610444,0.00021653382,0.00008559453,0.0007495387,0.29669228,0.001168524,0.0007809113,0.2938605,0.03616528,0.11372223],"study_design_scores_gemma":[0.00001571834,0.000021359558,0.71093714,0.00030332038,0.000029826917,0.000097853735,0.096138686,0.0004401514,0.00035011405,0.0030726292,0.18853644,0.000056768586],"about_ca_topic_score_codex":0.99458367,"about_ca_topic_score_gemma":0.9979177,"teacher_disagreement_score":0.15089287,"about_ca_system_score_codex":0.15089287,"about_ca_system_score_gemma":0.09787344,"threshold_uncertainty_score":0.9848439},"labels":[],"label_agreement":null},{"id":"W2802663118","doi":"10.1080/02560046.2017.1422169","title":"Between Political Film and Militant Video: An Analysis of the Discussions at the<i>Rencontres Internationales pour un Nouveau Cinéma</i>, Montreal, 1974","year":2017,"lang":"en","type":"article","venue":"Critical Arts","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Militant; Movie theater; Politics; Media studies; Latin Americans; Sociology; Film director; Political science; Art history; Law; History","score_opus":0.03808037449509965,"score_gpt":0.28578011757519906,"score_spread":0.2476997430800994,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2802663118","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.855012,0.0086941905,0.0016596151,0.014038029,0.00059000566,0.00034895478,0.0012192002,0.000048461872,0.11838955],"genre_scores_gemma":[0.97700727,0.0038485867,0.00046580072,0.0014557287,0.00026833088,0.00018287568,0.0005330078,0.00010221755,0.016136106],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9916619,0.0043415055,0.00015146147,0.00048667972,0.0017043098,0.0016541446],"domain_scores_gemma":[0.98530895,0.009620157,0.0012853766,0.00024438335,0.0018160326,0.0017251058],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004920771,0.00067484623,0.0004459273,0.005818906,0.01922802,0.013034978,0.0021352628,0.0021307527,0.0056708194],"category_scores_gemma":[0.017137542,0.0005356207,0.00026026682,0.010086258,0.013787402,0.0039544962,0.0047884653,0.0036375625,0.00047186995],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038549362,0.000023791557,0.0035535719,0.00012948693,0.000008407024,0.0006797972,0.97973514,0.00002002726,0.0003583872,0.004589078,0.0041300002,0.00673371],"study_design_scores_gemma":[0.0000044680683,0.000016032416,0.021488385,0.00023852797,0.000007821105,0.00011432219,0.9058572,0.00003153186,0.00021520043,0.00018149591,0.07182932,0.000015677673],"about_ca_topic_score_codex":0.52691436,"about_ca_topic_score_gemma":0.7082718,"teacher_disagreement_score":0.47308564,"about_ca_system_score_codex":0.03254526,"about_ca_system_score_gemma":0.01612821,"threshold_uncertainty_score":0.9517435},"labels":[],"label_agreement":null},{"id":"W2802740054","doi":"10.7202/1044441ar","title":"Le(s) numéro(s) à instruments du film musical hollywoodien","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Jazz; Art history","score_opus":0.025712663540493428,"score_gpt":0.20931698629223897,"score_spread":0.18360432275174554,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2802740054","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24131992,0.004867415,0.02330386,0.005457613,0.00070622994,0.00007158568,0.0005553117,0.00008847857,0.72362965],"genre_scores_gemma":[0.90158117,0.002465401,0.006392606,0.00030983207,0.00035111854,0.00006858186,0.00016808078,0.00005270473,0.088610426],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994985,0.00013860101,0.000024130351,0.00012544266,0.00015476577,0.000058551286],"domain_scores_gemma":[0.9990814,0.00044652386,0.00019027316,0.00006613619,0.00012104757,0.000094642084],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006672226,0.0002353812,0.00020733163,0.0010329295,0.0012270298,0.0052907714,0.00035140628,0.00063303736,0.022162652],"category_scores_gemma":[0.003669279,0.00013214577,0.00016520133,0.0010684076,0.0020256098,0.002892033,0.001033052,0.0008685684,0.0013654402],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002012466,0.00004990703,0.02019422,0.00042334368,0.000030487547,0.00035305702,0.01654168,0.0005726595,0.0039734715,0.78530675,0.013976486,0.15837672],"study_design_scores_gemma":[0.00006328316,0.00017649762,0.16186833,0.00091841386,0.00005556186,0.0016864729,0.024102882,0.0028472536,0.0028434559,0.09807433,0.70727,0.000093446826],"about_ca_topic_score_codex":0.0060592536,"about_ca_topic_score_gemma":0.0072488366,"teacher_disagreement_score":0.022162652,"about_ca_system_score_codex":0.0011102066,"about_ca_system_score_gemma":0.00059214194,"threshold_uncertainty_score":0.07414144},"labels":[],"label_agreement":null},{"id":"W2802786065","doi":"","title":"Bad Girl, Canada [Québec] 2001, 58 minutes","year":2001,"lang":"fr","type":"article","venue":"Séquences : la revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Girl; Psychology","score_opus":0.019774881329284417,"score_gpt":0.21232706789321523,"score_spread":0.1925521865639308,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2802786065","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0037350121,0.08188002,0.0007023236,0.029957741,0.047847066,0.00048260056,0.10243943,0.0014136195,0.7315423],"genre_scores_gemma":[0.0059828553,0.009130816,0.0002583972,0.0013161429,0.0017112216,0.000119693854,0.008380634,0.00029092334,0.97280926],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993425,0.00004452913,0.000029984387,0.00011122514,0.00030633318,0.00016543664],"domain_scores_gemma":[0.9987801,0.000075771284,0.000060463855,0.000048074544,0.00071449555,0.0003211415],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00069137214,0.0020341314,0.0010322098,0.002154079,0.007078985,0.0056083472,0.0013466668,0.003300731,0.32828686],"category_scores_gemma":[0.002598229,0.00070099835,0.00054941344,0.0055948757,0.0007563424,0.0015792788,0.0014256822,0.0021048447,0.09801516],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031456995,0.0000058369105,0.00018131967,0.00007718324,0.0000032093137,0.000041750518,0.00005802747,0.00007020936,0.000045220335,0.00034552044,0.99053204,0.008608122],"study_design_scores_gemma":[0.000009486649,0.0000050879444,0.0035358653,0.00016638041,0.000004031864,0.000016416694,0.0001559969,0.000037877755,0.000032297005,0.000100647245,0.9959287,0.000007172353],"about_ca_topic_score_codex":0.87706435,"about_ca_topic_score_gemma":0.97228855,"teacher_disagreement_score":0.32828686,"about_ca_system_score_codex":0.018506696,"about_ca_system_score_gemma":0.015855871,"threshold_uncertainty_score":0.95811725},"labels":[],"label_agreement":null},{"id":"W2802939654","doi":"10.1590/1982-2554135104","title":"O Cinema Dito dos Primeiros Tempos: um Caldo de Cultura em Plena Ebulição...","year":2018,"lang":"pt","type":"article","venue":"Galáxia (São Paulo)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Movie theater; Art; Philosophy; Art history","score_opus":0.02840167514330024,"score_gpt":0.24910135837649497,"score_spread":0.22069968323319472,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2802939654","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08143884,0.031463303,0.00563992,0.07682753,0.0043522734,0.000074231495,0.00014350448,0.00023377218,0.7998266],"genre_scores_gemma":[0.70982194,0.01283233,0.00409993,0.005292198,0.001574563,0.00008333282,0.00008611571,0.00022006381,0.26598957],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928707,0.00033655923,0.000017230293,0.00009155151,0.00014985658,0.000117685486],"domain_scores_gemma":[0.9989084,0.00036174315,0.00012583709,0.00010380545,0.00019512216,0.0003050107],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014882152,0.00045200792,0.00021034868,0.0013068782,0.007657206,0.010972543,0.0008671998,0.0016563399,0.01006582],"category_scores_gemma":[0.002727211,0.0002759113,0.00024115002,0.00091151183,0.0094778985,0.0060858284,0.0049920348,0.0027445783,0.001431689],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010228558,0.000036950252,0.0019038038,0.00034968636,0.000009168342,0.00047042483,0.18371984,0.00015468142,0.0022973786,0.6151184,0.08458139,0.11125601],"study_design_scores_gemma":[0.000008434458,0.000030916297,0.0025457235,0.0003792773,0.000009648838,0.0002974988,0.04392265,0.00018011153,0.00056167564,0.02324577,0.9288022,0.000016037848],"about_ca_topic_score_codex":0.008916468,"about_ca_topic_score_gemma":0.016456516,"teacher_disagreement_score":0.010972543,"about_ca_system_score_codex":0.0039194673,"about_ca_system_score_gemma":0.0024276045,"threshold_uncertainty_score":0.033673525},"labels":[],"label_agreement":null},{"id":"W2803089000","doi":"10.22215/etd/2009-06343","title":"Martin Scorsese and film culture: radically contextualizing the contemporary auteur","year":2009,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Canadian Heritage; Library and Archives Canada","funders":"","keywords":"Auteur theory; Humanities; Art; Art history; Movie theater","score_opus":0.033409961829961775,"score_gpt":0.24596075961754,"score_spread":0.2125507977875782,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2803089000","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44085366,0.009805531,0.0010642034,0.03176218,0.00020387216,0.000013850962,0.000055573717,0.000015874317,0.5162253],"genre_scores_gemma":[0.9807396,0.002441278,0.00011378599,0.0005335723,0.000102736114,0.000005456042,0.000010189059,0.000014183351,0.01603916],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985745,0.0009161244,0.000030541527,0.00012216052,0.00018875282,0.00016782021],"domain_scores_gemma":[0.99503976,0.0034043628,0.00055102777,0.00023262843,0.00038216202,0.00039011246],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017337054,0.00024095536,0.0001598054,0.0021303552,0.0039452943,0.0061788745,0.0003575132,0.00086244463,0.005128831],"category_scores_gemma":[0.0058797696,0.00015121112,0.00008582967,0.0019440389,0.013418473,0.0029480641,0.0020386055,0.0015683195,0.00026592586],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006400763,0.000029549938,0.009709963,0.000089870795,0.00001088831,0.00028085377,0.35142565,0.00011404905,0.00037084316,0.60470057,0.007832379,0.025371356],"study_design_scores_gemma":[0.000021813028,0.00006927143,0.06675108,0.0008104113,0.000023718,0.00050027226,0.3724458,0.00046337012,0.0008791115,0.061266914,0.49672917,0.000039100527],"about_ca_topic_score_codex":0.038519233,"about_ca_topic_score_gemma":0.07833486,"teacher_disagreement_score":0.038519233,"about_ca_system_score_codex":0.0050308025,"about_ca_system_score_gemma":0.0017448057,"threshold_uncertainty_score":0.07659006},"labels":[],"label_agreement":null},{"id":"W2804076072","doi":"","title":"Retrocognition (Film): Screening, New Jersey Film Festival, New Brunswick, NJ, January 25-February 10, 2013. Director/Animator","year":2013,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer graphics (images); Visual arts; Art history; Art; Computer science","score_opus":0.033807876618280094,"score_gpt":0.22364333048756488,"score_spread":0.1898354538692848,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2804076072","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06807079,0.0048407046,0.0013946181,0.03371018,0.00648976,0.001020395,0.11427661,0.0033923027,0.76680464],"genre_scores_gemma":[0.15162644,0.002835381,0.0021859056,0.003392345,0.0011500044,0.00030368372,0.03836492,0.0006799021,0.79946136],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997036,0.000025410116,0.000007535136,0.000033553253,0.00014119472,0.00008874061],"domain_scores_gemma":[0.9989309,0.00010467216,0.00006934921,0.000057093817,0.00045365424,0.00038433485],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008530713,0.0004858602,0.00016270242,0.001209137,0.0024969534,0.0021654025,0.00090345106,0.0007392509,0.079213075],"category_scores_gemma":[0.0015901875,0.00037224253,0.000118407304,0.0009344242,0.0003418892,0.0010892692,0.0010013927,0.0010918805,0.012806611],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000069615766,0.000043403365,0.001756872,0.000037452384,0.0000031025218,0.000086326225,0.00024537984,0.000030192436,0.00031815286,0.00034671323,0.9826401,0.014422634],"study_design_scores_gemma":[0.00005454738,0.0000586063,0.084781565,0.00010481505,0.000018876292,0.000099270306,0.0027663957,0.00027339786,0.0009981488,0.00023556728,0.9105788,0.00002993003],"about_ca_topic_score_codex":0.26949736,"about_ca_topic_score_gemma":0.7593947,"teacher_disagreement_score":0.26949736,"about_ca_system_score_codex":0.0029481987,"about_ca_system_score_gemma":0.0031097769,"threshold_uncertainty_score":0.53585744},"labels":[],"label_agreement":null},{"id":"W2804254987","doi":"10.7202/1045369ar","title":"Multifunctional Halls and the Place of Cinema in the European Countryside, 1920-1970","year":2018,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Exhibition; Historiography; Rural area; Film studies; Relation (database); Aesthetics; Sociology; Visual arts; History; Media studies; Art; Political science; Archaeology; Law","score_opus":0.028575708811830934,"score_gpt":0.22547781590997865,"score_spread":0.1969021070981477,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2804254987","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83010197,0.01738491,0.0015430411,0.0021808129,0.00022648933,0.000018564871,0.00013929138,0.00002866794,0.1483762],"genre_scores_gemma":[0.9930213,0.0014763264,0.00013723137,0.000047704776,0.00005030884,0.0000029411806,0.000018086983,0.000008118328,0.0052379793],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994759,0.00020069616,0.00002066163,0.00012630557,0.000039339717,0.0001372363],"domain_scores_gemma":[0.99910396,0.00043935544,0.00016763974,0.000056256373,0.00007347816,0.00015927096],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009670384,0.00034718824,0.00022239918,0.0014816752,0.002528439,0.0042898515,0.0003195239,0.00072988815,0.005551736],"category_scores_gemma":[0.0019974369,0.00024486653,0.00015596376,0.001003415,0.005679729,0.0029247913,0.0017260491,0.00089675514,0.00025872324],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005462238,0.000118727265,0.018538777,0.00042779927,0.000041935946,0.0026772604,0.31361875,0.0010442256,0.0027267963,0.5133663,0.007657469,0.13923573],"study_design_scores_gemma":[0.000043837415,0.00037099302,0.16153604,0.0011722672,0.000051165276,0.0024318753,0.12630132,0.0005954357,0.0022248013,0.011897861,0.6932825,0.00009192051],"about_ca_topic_score_codex":0.010090325,"about_ca_topic_score_gemma":0.018536195,"teacher_disagreement_score":0.010090325,"about_ca_system_score_codex":0.0034711508,"about_ca_system_score_gemma":0.00059885654,"threshold_uncertainty_score":0.025185108},"labels":[],"label_agreement":null},{"id":"W2804469606","doi":"","title":"Les Salles de cinéma au Québec, 1896-2008. Pierre Pageau, Québec : Les Éditions GID, 2009, 414 pages","year":2010,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.011696807431597046,"score_gpt":0.1712048052529287,"score_spread":0.15950799782133165,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2804469606","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05574679,0.4999531,0.0026146257,0.030091856,0.005264471,0.00012979325,0.06037362,0.00050571124,0.34532008],"genre_scores_gemma":[0.31890568,0.110053346,0.002528614,0.00131848,0.0004908444,0.000087016444,0.008834887,0.00025828512,0.55752283],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995573,0.000046366837,0.000021176078,0.00005586458,0.00023021066,0.00008902088],"domain_scores_gemma":[0.99902856,0.000120720346,0.00008480326,0.00002757034,0.0006113823,0.00012694736],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004996841,0.0007580503,0.0003751039,0.003435917,0.0027147594,0.0031696334,0.0006681159,0.00061439053,0.045895975],"category_scores_gemma":[0.0020460987,0.00037559128,0.00029191977,0.0061215223,0.0014237528,0.0013522853,0.0006364171,0.000971922,0.0027576631],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010938136,0.00003412077,0.009859816,0.0008672294,0.000051930452,0.00025412897,0.010607486,0.0007196139,0.00086221716,0.0231453,0.75120175,0.202287],"study_design_scores_gemma":[0.000004866142,0.0000055907717,0.04995782,0.00061565574,0.00001479063,0.00010889013,0.0026724862,0.00018964805,0.000272792,0.00039345803,0.94574195,0.000022015854],"about_ca_topic_score_codex":0.98736715,"about_ca_topic_score_gemma":0.9951139,"teacher_disagreement_score":0.049954746,"about_ca_system_score_codex":0.049954746,"about_ca_system_score_gemma":0.029217327,"threshold_uncertainty_score":0.3624487},"labels":[],"label_agreement":null},{"id":"W2804473584","doi":"","title":"Inside the pleasure dome : fringe film in Canada","year":2001,"lang":"en","type":"book","venue":"Medical Entomology and Zoology","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":16,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Movie theater; Art; Performance art; Poetry; Dome (geology); Pleasure; Cartography; Literature; Geography; Geology; Psychology","score_opus":0.018437904679625847,"score_gpt":0.20075154194201236,"score_spread":0.18231363726238653,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2804473584","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029798059,0.057914086,0.000706952,0.033455253,0.0029451645,0.00009319747,0.0038736095,0.00026456927,0.8709491],"genre_scores_gemma":[0.137646,0.043785844,0.0007162547,0.0026701463,0.00022953759,0.00004689697,0.0015415013,0.000249846,0.81311405],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996449,0.000024958272,0.0000063502052,0.00003459282,0.00016370136,0.00012552604],"domain_scores_gemma":[0.99938715,0.00007584844,0.000016299691,0.000017060649,0.00029826254,0.00020528238],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029334432,0.0005405399,0.00029950097,0.0014345612,0.009123042,0.006511089,0.00090101565,0.0009829811,0.03138417],"category_scores_gemma":[0.0011824826,0.00033782722,0.0001977146,0.0041748313,0.0016774829,0.0015686674,0.0011828792,0.0013664594,0.0029436818],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000553342,0.000024665273,0.0013315271,0.00018613575,0.000008404782,0.00042268395,0.0120621035,0.00022144888,0.00040226436,0.030185757,0.892095,0.06300457],"study_design_scores_gemma":[0.000004324475,0.0000037338584,0.006501109,0.00025024658,0.000006887897,0.000074680516,0.008425931,0.00011146833,0.00014107603,0.0006349054,0.98382956,0.000016041071],"about_ca_topic_score_codex":0.9881181,"about_ca_topic_score_gemma":0.99643743,"teacher_disagreement_score":0.04993531,"about_ca_system_score_codex":0.04993531,"about_ca_system_score_gemma":0.051374227,"threshold_uncertainty_score":0.36230773},"labels":[],"label_agreement":null},{"id":"W2804984472","doi":"10.3138/md.61.2.0925","title":"Tennessee Williams’s Becoming-Clown","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Imitation; Character (mathematics); Aesthetics; Identification (biology); Sociology; Art; Psychology; Social psychology","score_opus":0.036810660312142106,"score_gpt":0.23487151926028843,"score_spread":0.19806085894814632,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2804984472","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21944392,0.0055676764,0.0035134607,0.08410952,0.0021452177,0.000050608935,0.00010663037,0.00018227358,0.68488073],"genre_scores_gemma":[0.81863505,0.0013074034,0.0005051389,0.0027997287,0.00022306197,0.000020294234,0.000021121006,0.000094544375,0.1763936],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912435,0.00050336303,0.000008690402,0.00009353556,0.00011406374,0.00015590755],"domain_scores_gemma":[0.99943787,0.00026280494,0.00005935607,0.00003228112,0.000055820572,0.0001518704],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000896774,0.0003457753,0.00014391035,0.0005892745,0.0055252076,0.005491935,0.000431475,0.0009850162,0.009909819],"category_scores_gemma":[0.0029260127,0.00014264716,0.00010048223,0.0004879441,0.00866426,0.0029663425,0.0024043645,0.002121313,0.0005516007],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012043933,0.000028578024,0.0009321446,0.00008011374,0.00000945637,0.0016470026,0.16066064,0.00022323518,0.0014293524,0.6750168,0.13397408,0.025878202],"study_design_scores_gemma":[0.0000056483145,0.000035800385,0.0019394867,0.000158591,0.000004896215,0.0004884346,0.05366605,0.00023771642,0.0005166904,0.021117415,0.9218029,0.000026304066],"about_ca_topic_score_codex":0.021232998,"about_ca_topic_score_gemma":0.04374276,"teacher_disagreement_score":0.021232998,"about_ca_system_score_codex":0.003964898,"about_ca_system_score_gemma":0.00087770954,"threshold_uncertainty_score":0.042218804},"labels":[],"label_agreement":null},{"id":"W2806143237","doi":"","title":"Toronto International Film Festival : « … il y a encore un grand cinéma qui se fait… »","year":2010,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.007549555539708249,"score_gpt":0.16711653401143806,"score_spread":0.15956697847172982,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2806143237","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.093190104,0.04285687,0.00261501,0.21630907,0.020726096,0.00022031525,0.0432996,0.0006463413,0.58013666],"genre_scores_gemma":[0.57089597,0.013846388,0.0019386372,0.0057989196,0.0027856047,0.00007796296,0.0078552365,0.00031956643,0.39648163],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999345,0.00009720896,0.000023148705,0.00009157359,0.00027419088,0.00016883085],"domain_scores_gemma":[0.9980951,0.00028104422,0.00019194066,0.00009974022,0.0006232545,0.00070898037],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008006437,0.00090815686,0.0002552952,0.0016135329,0.00577126,0.008462451,0.0006392167,0.0017237827,0.038168628],"category_scores_gemma":[0.003115469,0.00036192613,0.00024120198,0.003664243,0.0018076951,0.0019023917,0.001226844,0.0025204434,0.0027657028],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010439656,0.000023314422,0.0053413403,0.00020011449,0.000026807342,0.0001947604,0.0071493573,0.0001849135,0.00044635552,0.030736377,0.9370355,0.018556867],"study_design_scores_gemma":[0.000011089786,0.00002130861,0.049883332,0.0002189585,0.000038027447,0.0000763443,0.011129577,0.00019475167,0.00067616376,0.0013377665,0.93636024,0.000052335236],"about_ca_topic_score_codex":0.85506123,"about_ca_topic_score_gemma":0.947463,"teacher_disagreement_score":0.14493877,"about_ca_system_score_codex":0.024171647,"about_ca_system_score_gemma":0.01676674,"threshold_uncertainty_score":0.2915846},"labels":[],"label_agreement":null},{"id":"W2808300128","doi":"","title":"Réinventer le film noir : Le cinéma des frères Coen & de Quentin Tarantino. Helen Faradji, Le Quartanier, Montréal, 2009, 256 pages","year":2010,"lang":"fr","type":"article","venue":"Images","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.01507119326237225,"score_gpt":0.21000887357438397,"score_spread":0.19493768031201172,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2808300128","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0037683973,0.7500729,0.0009702132,0.13486007,0.01814645,0.000020074318,0.00025958708,0.00014035392,0.09176199],"genre_scores_gemma":[0.09722465,0.45788804,0.002423964,0.01340883,0.024226224,0.00003762606,0.0004449909,0.0003357347,0.4040099],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997018,0.000109968656,0.000008213786,0.000043912452,0.00009114887,0.000044878714],"domain_scores_gemma":[0.9992132,0.00032233712,0.000052171174,0.000030981937,0.00022862728,0.00015268427],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010338303,0.00079164276,0.000365041,0.0011851365,0.0016681681,0.004936833,0.00063495216,0.0016210814,0.022844888],"category_scores_gemma":[0.0023089799,0.0003416986,0.00018716799,0.0011372393,0.0015672193,0.0047084596,0.0012525092,0.0017799498,0.003374431],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025499474,0.000011930352,0.00025662695,0.00016348786,0.000007374039,0.000071120354,0.0017846872,0.000038682258,0.00018808688,0.011613475,0.91628575,0.069553286],"study_design_scores_gemma":[0.0000043048653,0.0000065735762,0.0021100051,0.00055939594,0.0000075133908,0.00022707472,0.002463436,0.000076662975,0.0001653006,0.0017864924,0.992584,0.000009291772],"about_ca_topic_score_codex":0.04297056,"about_ca_topic_score_gemma":0.10589823,"teacher_disagreement_score":0.04297056,"about_ca_system_score_codex":0.0027275262,"about_ca_system_score_gemma":0.0012638578,"threshold_uncertainty_score":0.085440874},"labels":[],"label_agreement":null},{"id":"W2810175207","doi":"","title":"Gli anni di Lipsett al National Film Board of Canada","year":2017,"lang":"it","type":"article","venue":"Cineforum","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.02606102787726217,"score_gpt":0.23046329313735092,"score_spread":0.20440226526008876,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2810175207","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010506274,0.030100873,0.0011093026,0.14868492,0.01914009,0.00021750484,0.007820649,0.0004647074,0.7819557],"genre_scores_gemma":[0.022609295,0.0050214506,0.0005662765,0.004956157,0.00061936426,0.000036100555,0.0008836847,0.00013486609,0.9651729],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99684143,0.00015649555,0.00007787433,0.00041159076,0.0015488002,0.00096387824],"domain_scores_gemma":[0.9912175,0.0005020426,0.0002115224,0.00022415188,0.006089226,0.0017555109],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016347902,0.0006405862,0.000683123,0.0029276798,0.008255935,0.009551583,0.0009639886,0.00264644,0.16000986],"category_scores_gemma":[0.0049044304,0.0004580681,0.00047686306,0.0026009937,0.0017300722,0.0015679611,0.0016491133,0.0033414774,0.022347935],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059527254,0.000028826047,0.0017605716,0.000114174065,0.000009324816,0.00011122757,0.00038013625,0.00007394417,0.00044649444,0.024129922,0.93523604,0.03764986],"study_design_scores_gemma":[0.0000045804736,0.0000037731058,0.003222938,0.000073138086,0.0000048029647,0.00002508025,0.00037661372,0.000047665402,0.00011406944,0.00033922383,0.9957782,0.000009772161],"about_ca_topic_score_codex":0.9109722,"about_ca_topic_score_gemma":0.94406396,"teacher_disagreement_score":0.16000986,"about_ca_system_score_codex":0.036750622,"about_ca_system_score_gemma":0.07354878,"threshold_uncertainty_score":0.5352863},"labels":[],"label_agreement":null},{"id":"W28221567","doi":"10.3138/cjfs.20.2.133","title":"Abandoned Images: Film and Film’s End","year":2011,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Movie theater; Context (archaeology); Mainstream; Art; Film studies; Visual arts; Downtown; Appeal; Architecture; Reading (process); Art history; Media studies; History; Sociology; Archaeology; Law; Political science","score_opus":0.07056056753014982,"score_gpt":0.22360585135635108,"score_spread":0.15304528382620125,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W28221567","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008218295,0.5364998,0.0012547997,0.08548899,0.008455048,0.000031793286,0.00011633827,0.0000625302,0.3598724],"genre_scores_gemma":[0.26402047,0.34347877,0.0020163758,0.023613643,0.010423187,0.00010866795,0.00027747217,0.0003292475,0.3557322],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99877685,0.0006169252,0.000035228306,0.00013070219,0.00026826328,0.00017206582],"domain_scores_gemma":[0.99867874,0.00071069784,0.00013906145,0.00007448088,0.00021369179,0.00018333193],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010023634,0.00070479844,0.00045983092,0.0017508859,0.0050284783,0.011382295,0.0010375511,0.0030512752,0.010286519],"category_scores_gemma":[0.0037792013,0.00043756963,0.0003272746,0.0020387473,0.010409699,0.01295539,0.0031542222,0.0047819573,0.0026528917],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055321565,0.000038881808,0.00043928315,0.00045008873,0.00001229181,0.00038300967,0.06418105,0.00008525001,0.00022772286,0.29054502,0.57593954,0.067642555],"study_design_scores_gemma":[0.000003979529,0.000010625851,0.00079939107,0.00085047435,0.000004019556,0.00031046005,0.01741201,0.000033234446,0.00007821368,0.01181397,0.9686735,0.00001006832],"about_ca_topic_score_codex":0.020808453,"about_ca_topic_score_gemma":0.025204135,"teacher_disagreement_score":0.020808453,"about_ca_system_score_codex":0.004045383,"about_ca_system_score_gemma":0.0021767407,"threshold_uncertainty_score":0.041374683},"labels":[],"label_agreement":null},{"id":"W286637771","doi":"","title":"Sounds like Canada: A Reexamination of the Development of Canadian Cinema-Verite","year":2009,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Mandate; Hindsight bias; Film director; Media studies; Art history; History; Sociology; Law; Political science; Psychology","score_opus":0.027478132472317177,"score_gpt":0.1880335692140581,"score_spread":0.16055543674174091,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W286637771","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16158463,0.008280866,0.0024455967,0.122296944,0.0018134173,0.00016937923,0.00086869387,0.00023697727,0.70230365],"genre_scores_gemma":[0.8414436,0.0060570324,0.0031418917,0.009707813,0.00011972046,0.00005895408,0.0003252242,0.00024008493,0.13890554],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9968592,0.00036699825,0.000043469794,0.0003361755,0.0013323269,0.0010618033],"domain_scores_gemma":[0.99505323,0.0005755702,0.00014052745,0.00015408319,0.0028283398,0.0012481648],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002429106,0.00047732942,0.00025945617,0.0026900559,0.034010515,0.011791742,0.0017059118,0.0020765697,0.011826014],"category_scores_gemma":[0.006605082,0.00041451326,0.00034575863,0.003470496,0.009946875,0.0033414743,0.003960953,0.0047287373,0.00052772404],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012415437,0.00004838208,0.009893641,0.00033863817,0.00002446349,0.001804045,0.26317418,0.00033251106,0.002051333,0.41880396,0.19592825,0.10747651],"study_design_scores_gemma":[0.0000074978557,0.00001658522,0.014740759,0.00025955922,0.00001982628,0.00027076618,0.09982737,0.00029128612,0.00041540051,0.0029175908,0.88117695,0.00005639165],"about_ca_topic_score_codex":0.9950499,"about_ca_topic_score_gemma":0.99826825,"teacher_disagreement_score":0.1829707,"about_ca_system_score_codex":0.1829707,"about_ca_system_score_gemma":0.22532022,"threshold_uncertainty_score":0.94763815},"labels":[],"label_agreement":null},{"id":"W287986760","doi":"","title":"Shooting Women (2008)","year":2012,"lang":"en","type":"article","venue":"Film & history","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Photography; Film industry; Power (physics); Cinematography; Sociology; Visual arts; Media studies; Gender studies; Art; Movie theater","score_opus":0.038453507936221126,"score_gpt":0.19411143560411426,"score_spread":0.15565792766789313,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W287986760","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00747315,0.033432044,0.00023496759,0.04160598,0.007139936,0.000060461607,0.00064464775,0.00015219308,0.9092565],"genre_scores_gemma":[0.032949634,0.018061891,0.00027897288,0.011060435,0.0014045461,0.000073961564,0.00043099062,0.0001032561,0.9356363],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99963653,0.0000511559,0.000013826109,0.000070416885,0.000113298694,0.000114761984],"domain_scores_gemma":[0.99968874,0.000042913234,0.00003287474,0.000017148057,0.00006649651,0.0001518749],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00037951695,0.00044999932,0.00013321839,0.00082522613,0.004060749,0.0034006003,0.00042131616,0.0018469556,0.08250753],"category_scores_gemma":[0.0010477543,0.0002406867,0.00013849964,0.0009318526,0.00073739485,0.0020968416,0.0023437587,0.0019497001,0.01907931],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013307418,0.000019407842,0.00045925527,0.00013171042,0.0000013426641,0.00014371052,0.006245815,0.0000068635813,0.00019846886,0.013224375,0.88666874,0.092887096],"study_design_scores_gemma":[0.0000013723438,0.0000053044905,0.0014726296,0.00014940301,5.852615e-7,0.00009774636,0.0024280276,0.0000025015452,0.0000307132,0.00015592914,0.99565375,0.0000020423113],"about_ca_topic_score_codex":0.0151096815,"about_ca_topic_score_gemma":0.06759664,"teacher_disagreement_score":0.08250753,"about_ca_system_score_codex":0.001992904,"about_ca_system_score_gemma":0.0020716528,"threshold_uncertainty_score":0.27601516},"labels":[],"label_agreement":null},{"id":"W2883173621","doi":"10.61490/eial.v29i1.1566","title":"RIELLE NAVITSKI: Public Spectacles of Violence: Sensational Cinema and Journalism in Early Twentieth-Century Mexico and Brazil. Durham and London: Duke University Press, 2017.","year":2019,"lang":"en","type":"article","venue":"EIAL - Estudios Interdisciplinarios de América Latina y el Caribe","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Movie theater; Journalism; Media studies; History; Art history; Art; Political science; Sociology","score_opus":0.014285241405736816,"score_gpt":0.23172128610208184,"score_spread":0.21743604469634503,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2883173621","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02721432,0.39922175,0.0038822265,0.3513342,0.004516179,0.00006789772,0.0016061498,0.00020733174,0.21194994],"genre_scores_gemma":[0.5534847,0.2665784,0.004060945,0.014146055,0.0023008508,0.0001926552,0.00077455613,0.0003183547,0.1581435],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919504,0.00036033316,0.00003947408,0.000066972054,0.00023406283,0.00010418608],"domain_scores_gemma":[0.9963497,0.001969586,0.00046622468,0.00011718512,0.0006569169,0.00044040353],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016295935,0.00064502866,0.00035363543,0.0030209108,0.004272697,0.0063949525,0.0010129402,0.002952175,0.016764987],"category_scores_gemma":[0.0072891326,0.00046459574,0.00024572184,0.0024692924,0.0043106177,0.01218676,0.002611173,0.0026590428,0.0017689031],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009570308,0.00004009867,0.002611888,0.00072159333,0.000017602464,0.0007254747,0.09240603,0.00012768293,0.0006610935,0.21160746,0.61460274,0.07638261],"study_design_scores_gemma":[0.000011877189,0.000011240625,0.009834219,0.0018908015,0.00002218147,0.0005184807,0.049457602,0.00018342135,0.000527641,0.023398202,0.9141089,0.00003541156],"about_ca_topic_score_codex":0.06200626,"about_ca_topic_score_gemma":0.13914885,"teacher_disagreement_score":0.06200626,"about_ca_system_score_codex":0.0037261082,"about_ca_system_score_gemma":0.0037109584,"threshold_uncertainty_score":0.12329072},"labels":[],"label_agreement":null},{"id":"W2883459667","doi":"10.3138/cjfs.26.2.2017-0007","title":"Building a Hong Kong Studio Brand: Milkyway’s Changing Image in Overseas Critical Reception","year":2017,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Art history","score_opus":0.06153737945109123,"score_gpt":0.3076110596848264,"score_spread":0.24607368023373516,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2883459667","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90813303,0.00040950853,0.0002871936,0.005028721,0.0002846683,0.000034999688,0.000061356935,0.000039721086,0.08572078],"genre_scores_gemma":[0.94956946,0.00025791398,0.00016251745,0.00039479678,0.000060393533,0.000010820232,0.000027172735,0.00003755997,0.049479183],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99944204,0.00015846596,0.000014950515,0.00006457837,0.00009241757,0.00022756032],"domain_scores_gemma":[0.99867624,0.00021777401,0.00015867877,0.00009047981,0.00026540388,0.000591441],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013012834,0.00032478588,0.00014866998,0.00057722593,0.0065498124,0.0062873303,0.0006155499,0.0008465185,0.014660665],"category_scores_gemma":[0.0015161413,0.000284576,0.00018779725,0.0007207732,0.004660816,0.0021660475,0.0034236037,0.0015937816,0.0009652587],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00032341125,0.00011999884,0.035339817,0.00022497488,0.000019165293,0.003100233,0.85834926,0.00017974885,0.0050440016,0.017788922,0.035711013,0.043799438],"study_design_scores_gemma":[0.000015022132,0.00013461984,0.072216295,0.00012884506,0.000020273294,0.00047849814,0.7235609,0.00017345621,0.0009518291,0.00037338986,0.20189546,0.00005140458],"about_ca_topic_score_codex":0.1370347,"about_ca_topic_score_gemma":0.24380918,"teacher_disagreement_score":0.1370347,"about_ca_system_score_codex":0.008733817,"about_ca_system_score_gemma":0.00408499,"threshold_uncertainty_score":0.27247417},"labels":[],"label_agreement":null},{"id":"W2883722007","doi":"","title":"Boy Gets Girl (Play): Production, Found Productions, Toronto, 2013","year":2013,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Girl; Production (economics); Art; Psychology; Economics; Developmental psychology","score_opus":0.02387300231625863,"score_gpt":0.21367176700600016,"score_spread":0.18979876468974152,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2883722007","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13317856,0.098873265,0.0019586717,0.05213998,0.003065186,0.0001652386,0.117025144,0.0009166209,0.59267724],"genre_scores_gemma":[0.3961044,0.032893747,0.0013540667,0.00057701656,0.00064221356,0.00006743938,0.013528038,0.00030699171,0.5545261],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943084,0.00006994698,0.000024373963,0.00006625593,0.00024320386,0.00016530049],"domain_scores_gemma":[0.9983157,0.00022503288,0.0001401557,0.0000665,0.0005395952,0.0007129888],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006939592,0.0006790066,0.0002417467,0.0029980922,0.004815682,0.0046383287,0.0007258744,0.000782303,0.04751345],"category_scores_gemma":[0.0022620684,0.0005385174,0.00020457088,0.008579737,0.0016514229,0.0018641771,0.0012383396,0.0014485195,0.004280724],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008105679,0.000022321527,0.014358154,0.00035163193,0.000018814078,0.00038968606,0.025092034,0.00026038822,0.00028590497,0.010757078,0.87871116,0.069671795],"study_design_scores_gemma":[0.0000067844594,0.000017055805,0.16074948,0.00037668264,0.000022340802,0.0002016187,0.03444416,0.00018364805,0.00030098666,0.00075392483,0.8029214,0.000021831147],"about_ca_topic_score_codex":0.89871025,"about_ca_topic_score_gemma":0.98019344,"teacher_disagreement_score":0.10128975,"about_ca_system_score_codex":0.028429816,"about_ca_system_score_gemma":0.019696364,"threshold_uncertainty_score":0.20627367},"labels":[],"label_agreement":null},{"id":"W2883806293","doi":"10.5007/2175-8026.2018v71n2p249","title":"Thornley, Davinia. Cinema, Cross-Cultural Collaboration, and Criticism: Filming on an Uneven Field. Basingstoke: Palgrave Macmillan, 2014.","year":2018,"lang":"en","type":"article","venue":"Ilha do Desterro A Journal of English Language Literatures in English and Cultural Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Universidade Federal de Santa Catarina","keywords":"Movie theater; Criticism; Field (mathematics); Media studies; Art history; Sociology; Economic geography; History; Art; Geography; Literature; Mathematics","score_opus":0.016167799228232506,"score_gpt":0.3082953284417567,"score_spread":0.2921275292135242,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2883806293","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0033550994,0.79382765,0.0016042357,0.06547417,0.0020814117,0.00004231873,0.00028853296,0.0001012535,0.13322528],"genre_scores_gemma":[0.16473527,0.639115,0.0038530806,0.011579156,0.0024591105,0.00024570944,0.00023824992,0.0003547189,0.17741978],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918014,0.0003708844,0.000059972095,0.00010177003,0.00021730347,0.00006996052],"domain_scores_gemma":[0.9958228,0.0028865358,0.00028602433,0.00012458685,0.0005276182,0.000352396],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013501297,0.001017658,0.00061872404,0.0035009773,0.0051561687,0.0064845295,0.0012472313,0.0039769663,0.01927522],"category_scores_gemma":[0.003915088,0.0010844459,0.00025377405,0.00481209,0.0075931535,0.013230228,0.0023653824,0.004184695,0.0035987522],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054041215,0.00004610002,0.0011678537,0.0013439561,0.000018220213,0.00057398505,0.07020624,0.00012298427,0.00044847841,0.1039958,0.6676116,0.15441069],"study_design_scores_gemma":[0.00001077886,0.000013825278,0.0027355459,0.001554046,0.000013325433,0.0003727587,0.01908508,0.00004708134,0.00018341886,0.023851443,0.95211756,0.0000151812155],"about_ca_topic_score_codex":0.03089931,"about_ca_topic_score_gemma":0.08195198,"teacher_disagreement_score":0.03089931,"about_ca_system_score_codex":0.0035997783,"about_ca_system_score_gemma":0.0030590931,"threshold_uncertainty_score":0.06448203},"labels":[],"label_agreement":null},{"id":"W2884118853","doi":"10.5149/northcarolina/9781469631677.003.0002","title":"The Southern Origins of Bohemian New York","year":2017,"lang":"en","type":"book-chapter","venue":"University of North Carolina Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Salon; Quarter (Canadian coin); History; Art history; Portrait; Queen (butterfly); Art; Archaeology","score_opus":0.05260436827818432,"score_gpt":0.19107343174026212,"score_spread":0.1384690634620778,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2884118853","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12825423,0.009202603,0.0014692463,0.006212297,0.00040889112,0.000047861664,0.0002060786,0.00006521109,0.85413355],"genre_scores_gemma":[0.8639815,0.0030564514,0.0006841799,0.0007704809,0.00012688045,0.000071913215,0.00013787881,0.000051686613,0.13111892],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995952,0.000099150406,0.000012039854,0.00009626699,0.00008044774,0.000116860254],"domain_scores_gemma":[0.9998511,0.000036261896,0.000023680148,0.000014466636,0.00003471319,0.000039773142],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057808514,0.0002581068,0.00023065488,0.0013218084,0.0073218807,0.0051235543,0.00039066773,0.00043289072,0.014695325],"category_scores_gemma":[0.0009328382,0.00024026186,0.00011965653,0.0015270639,0.0054017915,0.0023260345,0.0040280162,0.0017825247,0.0010125383],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055828263,0.000017602277,0.0035644919,0.00008617831,0.000009435946,0.0002717187,0.06629763,0.00013014348,0.0007357846,0.88809097,0.012590276,0.028149962],"study_design_scores_gemma":[0.000011881649,0.000017374368,0.017838629,0.00018190106,0.000009178065,0.00010685593,0.015772115,0.00017834878,0.00037096604,0.023972621,0.94150615,0.00003393655],"about_ca_topic_score_codex":0.1836228,"about_ca_topic_score_gemma":0.24957705,"teacher_disagreement_score":0.1836228,"about_ca_system_score_codex":0.0080850795,"about_ca_system_score_gemma":0.0036171367,"threshold_uncertainty_score":0.365108},"labels":[],"label_agreement":null},{"id":"W2885758146","doi":"10.1386/fiin.13.1.128_1","title":"Filming in Toronto: An interview with Elan Mastai on What If","year":2015,"lang":"en","type":"article","venue":"Film International","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Visual arts","score_opus":0.06241390780431368,"score_gpt":0.2751123946948393,"score_spread":0.2126984868905256,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2885758146","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4454285,0.015015404,0.00087148586,0.35922834,0.0024174673,0.00014054569,0.0010055897,0.00006339073,0.17582935],"genre_scores_gemma":[0.89749014,0.010285864,0.0003265362,0.015301226,0.0004886824,0.000043712935,0.00018403518,0.00011461678,0.07576513],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980854,0.000726352,0.00006179051,0.0001655102,0.00033585518,0.00062515814],"domain_scores_gemma":[0.99446785,0.0020743285,0.00049304916,0.00009397507,0.00096765975,0.0019031605],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018248066,0.00044511337,0.000407483,0.0013740205,0.019342724,0.0069108773,0.0008835728,0.0035107008,0.015820485],"category_scores_gemma":[0.0073029753,0.0005413306,0.0002620169,0.0029445328,0.0070348377,0.003432738,0.0026529508,0.008097663,0.0006746179],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044567812,0.000023723303,0.0049637766,0.00011899506,0.000012132183,0.0024542732,0.8972708,0.00011438253,0.0009574594,0.0068532918,0.08086885,0.0063178428],"study_design_scores_gemma":[0.0000026716614,0.000015432786,0.012443401,0.0002031003,0.000008550767,0.00025572136,0.7570048,0.00007128899,0.00025902485,0.00021673628,0.22948825,0.000030960276],"about_ca_topic_score_codex":0.83038694,"about_ca_topic_score_gemma":0.92176104,"teacher_disagreement_score":0.83038694,"about_ca_system_score_codex":0.043043036,"about_ca_system_score_gemma":0.013907125,"threshold_uncertainty_score":0.34122384},"labels":[],"label_agreement":null},{"id":"W2886137701","doi":"10.7765/9781526111791.00013","title":"Public and private identities","year":2016,"lang":"en","type":"book-chapter","venue":"Manchester University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Appeal; Comics; Politics; Media studies; Art; Art history; Political science; Sociology; Aesthetics; Environmental ethics; Law; Philosophy","score_opus":0.06933741843994959,"score_gpt":0.1793935485299009,"score_spread":0.1100561300899513,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2886137701","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0070094573,0.0034365577,0.00149946,0.0129114855,0.00046664407,0.000013669348,0.000047380076,0.00003109206,0.9745842],"genre_scores_gemma":[0.531796,0.0045665186,0.00087080785,0.004162421,0.00097496656,0.00008397419,0.0001254933,0.00015199237,0.45726788],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970471,0.0012813788,0.00006990684,0.00036636778,0.0006718617,0.00056339626],"domain_scores_gemma":[0.9985494,0.0005536384,0.00013755991,0.0002626392,0.00016231781,0.00033430257],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002027533,0.0005099647,0.00033807915,0.001278651,0.009436744,0.020487411,0.00080024294,0.003171326,0.023981323],"category_scores_gemma":[0.0032172443,0.00033839277,0.00024202459,0.0015029066,0.018826654,0.013378398,0.006224079,0.0039786873,0.004453962],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000047928515,0.000008406376,0.00008065616,0.000013959059,6.710631e-7,0.000037789803,0.012050338,0.000015905149,0.000037887992,0.96877176,0.012802801,0.006175168],"study_design_scores_gemma":[0.0000057941547,0.0000123853,0.00050978304,0.00022724303,0.0000038184917,0.00015673302,0.01644548,0.00012071444,0.0001245563,0.18647936,0.79590636,0.000007764209],"about_ca_topic_score_codex":0.00660332,"about_ca_topic_score_gemma":0.0075224233,"teacher_disagreement_score":0.023981323,"about_ca_system_score_codex":0.0064770593,"about_ca_system_score_gemma":0.0041520107,"threshold_uncertainty_score":0.08022553},"labels":[],"label_agreement":null},{"id":"W2886182379","doi":"","title":"Toronto Film Festival: festival toronto film festival","year":2016,"lang":"en","type":"article","venue":"Cineforum","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film festival; Advertising; Visual arts; Art; Media studies; Sociology; Business","score_opus":0.022573662483439148,"score_gpt":0.22894302589536655,"score_spread":0.2063693634119274,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2886182379","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0651657,0.011672529,0.0010705984,0.023427583,0.0122884065,0.0006100644,0.29084107,0.0009443439,0.5939797],"genre_scores_gemma":[0.28629386,0.00707195,0.001968834,0.0017674632,0.004098354,0.00033853398,0.09220466,0.00094673585,0.6053095],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994585,0.000044352044,0.000018596624,0.00008151431,0.00023507721,0.00016200081],"domain_scores_gemma":[0.9978815,0.00011966345,0.0001108306,0.00012730468,0.0007360705,0.0010245196],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00064891385,0.00092370063,0.00035235865,0.0031659428,0.0076739537,0.006373099,0.00076389883,0.0011810022,0.14708774],"category_scores_gemma":[0.0021730277,0.00038120523,0.00030515046,0.0048922,0.00089886517,0.0014336326,0.0014829639,0.0015092647,0.009959022],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000116888565,0.00002719925,0.0022179384,0.00018477417,0.000013466493,0.00017552776,0.0020185309,0.00009004891,0.00046637547,0.0034815671,0.9815709,0.009636628],"study_design_scores_gemma":[0.000018750765,0.000023189705,0.03943158,0.00012521695,0.000014337852,0.000083957,0.004029869,0.000096352785,0.0003969238,0.000292636,0.95546556,0.00002160941],"about_ca_topic_score_codex":0.71916497,"about_ca_topic_score_gemma":0.92697406,"teacher_disagreement_score":0.28083503,"about_ca_system_score_codex":0.018135663,"about_ca_system_score_gemma":0.012438343,"threshold_uncertainty_score":0.5649778},"labels":[],"label_agreement":null},{"id":"W2886443990","doi":"","title":"Toronto International Film Festival","year":2015,"lang":"en","type":"article","venue":"Cineforum","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Art history; History","score_opus":0.049674428148522264,"score_gpt":0.24565673878485542,"score_spread":0.19598231063633315,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2886443990","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015769927,0.010566516,0.0004596596,0.016092319,0.0073356195,0.000098258,0.02346456,0.000406876,0.92580634],"genre_scores_gemma":[0.09328836,0.006363984,0.0006430815,0.0006250564,0.0012596791,0.00003792303,0.008487756,0.00024304431,0.889051],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99946755,0.000056868583,0.000014599449,0.00007836669,0.00022460324,0.00015792402],"domain_scores_gemma":[0.99856734,0.00008266136,0.00006860624,0.000104050654,0.0004662862,0.00071105716],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057726144,0.0010143463,0.0003547482,0.0031762528,0.0065905964,0.00689342,0.0006369417,0.001016693,0.19362642],"category_scores_gemma":[0.0014132801,0.00037127113,0.00032176953,0.0035932048,0.00082568737,0.0012488794,0.0016081043,0.0016553719,0.019315284],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005939877,0.000017936269,0.0009041438,0.000093435985,0.0000088645365,0.00012939263,0.00081017875,0.000098431745,0.00025451585,0.008112133,0.9717345,0.017777056],"study_design_scores_gemma":[0.0000040205696,0.000010262557,0.007929391,0.00008102901,0.000005657068,0.000035683162,0.0015501248,0.00006245596,0.00020303701,0.0004404522,0.9896689,0.000008948721],"about_ca_topic_score_codex":0.50209135,"about_ca_topic_score_gemma":0.85823363,"teacher_disagreement_score":0.49790865,"about_ca_system_score_codex":0.0130500095,"about_ca_system_score_gemma":0.00963322,"threshold_uncertainty_score":0.9983377},"labels":[],"label_agreement":null},{"id":"W2887928169","doi":"10.22230/cjc.2019v44n3a3395","title":"Canada Before Television: Radio, Taste, and the Struggle for Cultural Democracy","year":2018,"lang":"en","type":"article","venue":"Canadian Journal of Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Taste; Democracy; Political science; Advertising; Media studies; Sociology; Psychology; Business; Law; Politics","score_opus":0.02413079557811689,"score_gpt":0.23004636462920255,"score_spread":0.20591556905108566,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2887928169","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45389333,0.006870746,0.00047313003,0.08900803,0.00032906016,0.000032840475,0.00077597535,0.00003441669,0.44858238],"genre_scores_gemma":[0.9793844,0.0014136278,0.00008526413,0.0022892181,0.00008101065,0.000004931333,0.0000693451,0.000019368103,0.016652787],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986273,0.00019853046,0.000018058287,0.000106003645,0.00042086456,0.00062921],"domain_scores_gemma":[0.9946525,0.0016106685,0.0005051796,0.00016102883,0.0015582767,0.0015122687],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012563505,0.00017154243,0.00028748324,0.0010735288,0.008405184,0.011372839,0.00084826705,0.0020874983,0.021118557],"category_scores_gemma":[0.008619878,0.00018592717,0.00016461671,0.0033325946,0.008637822,0.002375799,0.001815764,0.00311931,0.00057642575],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006465747,0.00025713805,0.090833545,0.00027166933,0.00007576253,0.001003368,0.06305019,0.0009938005,0.00090134394,0.60280824,0.13023348,0.108924925],"study_design_scores_gemma":[0.00016268501,0.00008072636,0.26768327,0.00066627323,0.00018199095,0.00026078787,0.22352815,0.0008736107,0.0006029412,0.0664415,0.4393464,0.00017167802],"about_ca_topic_score_codex":0.9641725,"about_ca_topic_score_gemma":0.98260915,"teacher_disagreement_score":0.04041789,"about_ca_system_score_codex":0.04041789,"about_ca_system_score_gemma":0.056131154,"threshold_uncertainty_score":0.29325372},"labels":[],"label_agreement":null},{"id":"W2889549961","doi":"10.22215/etd/2011-09715","title":"Early cinema and the supernatural","year":2011,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University; Canadian Heritage; Library and Archives Canada","funders":"Social Sciences and Humanities Research Council of Canada; University of Toronto","keywords":"Movie theater; Art; Humanities; Art history","score_opus":0.021405897595263877,"score_gpt":0.20687777942438057,"score_spread":0.1854718818291167,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2889549961","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13624318,0.03088233,0.0016724584,0.026199464,0.0009225,0.000018592105,0.00012755467,0.000020301164,0.80391365],"genre_scores_gemma":[0.93697596,0.0063932464,0.00042057145,0.0009339804,0.00042912035,0.000009634562,0.00004335555,0.000019796005,0.05477437],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918586,0.00048997795,0.000016479527,0.00008209082,0.00010645531,0.00011908793],"domain_scores_gemma":[0.9972971,0.0013508651,0.00035613356,0.00020073554,0.00037747913,0.00041760464],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012675402,0.000186005,0.00015322892,0.0013179717,0.0027324657,0.006365929,0.00031908584,0.0007635109,0.014938403],"category_scores_gemma":[0.004744317,0.00015075086,0.0000958065,0.0010775647,0.008620942,0.0033987516,0.0015778653,0.001987847,0.00066258624],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000084886946,0.000053214397,0.0030559145,0.0001462162,0.0000091947495,0.00020126541,0.04450109,0.00006897378,0.0002541168,0.88895476,0.016200272,0.046470154],"study_design_scores_gemma":[0.000027053367,0.0000764577,0.021761993,0.0010666443,0.000017053057,0.00050905003,0.034026455,0.0002222674,0.00041171542,0.1549492,0.7869074,0.000024745083],"about_ca_topic_score_codex":0.005255612,"about_ca_topic_score_gemma":0.010856383,"teacher_disagreement_score":0.014938403,"about_ca_system_score_codex":0.0026555413,"about_ca_system_score_gemma":0.0013254598,"threshold_uncertainty_score":0.049973965},"labels":[],"label_agreement":null},{"id":"W2889906143","doi":"10.3138/9781442624030-011","title":"10. Where Is Fear? Space, Place, And The Sense Of Horror In The Canadian Avant-Garde Film","year":2015,"lang":"en","type":"book-chapter","venue":"University of Toronto Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Avant garde; Sense of place; Space (punctuation); Aesthetics; Art history; Art; Sense (electronics); Visual arts; Sociology; Philosophy; Social science; Engineering; Linguistics","score_opus":0.030841979690690132,"score_gpt":0.18586879761688252,"score_spread":0.15502681792619238,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2889906143","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.028948281,0.011071751,0.00079292536,0.030716803,0.00093721785,0.000023996367,0.00019652331,0.000033605946,0.9272789],"genre_scores_gemma":[0.7864161,0.0069937543,0.00050385925,0.0029746823,0.00029022523,0.00002362961,0.00009085572,0.000100535806,0.20260628],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99920875,0.00018833186,0.0000113794495,0.0000666066,0.00021361077,0.00031137382],"domain_scores_gemma":[0.9993617,0.00018917078,0.000033950557,0.000023499782,0.0002149176,0.00017671645],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00069766334,0.0006614298,0.0002648452,0.0010221452,0.014973914,0.012696841,0.0009969904,0.0025144327,0.014552214],"category_scores_gemma":[0.0017982877,0.00026940723,0.00023223733,0.001491241,0.015602457,0.0034711806,0.002036265,0.0039060125,0.00087122375],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043967055,0.000013927966,0.001067119,0.000110999965,0.000006680876,0.00031117338,0.26033455,0.0001071272,0.00033486914,0.6278058,0.088408664,0.021455104],"study_design_scores_gemma":[0.0000067570068,0.000008880893,0.004774317,0.00042361039,0.000014236806,0.00019463856,0.19431111,0.00010128104,0.0002288024,0.017311152,0.7825879,0.00003729345],"about_ca_topic_score_codex":0.9144576,"about_ca_topic_score_gemma":0.9594737,"teacher_disagreement_score":0.08554238,"about_ca_system_score_codex":0.034032658,"about_ca_system_score_gemma":0.01907583,"threshold_uncertainty_score":0.24692535},"labels":[],"label_agreement":null},{"id":"W2890755219","doi":"10.1386/public.29.57.27_1","title":"Anarchival Impulses: A Performance Theory of Media","year":2018,"lang":"en","type":"article","venue":"Public","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Dance; Impulse (physics); Digital media; Media theory; Key (lock); Queer; Sociology; Art; Computer science; Visual arts; Media studies; Gender studies; Computer security; World Wide Web; Physics","score_opus":0.04904096124332435,"score_gpt":0.21735414896774538,"score_spread":0.16831318772442103,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2890755219","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.051509123,0.0013599326,0.08954402,0.018806506,0.0003418575,0.000097017895,0.0001115008,0.0001251727,0.83810484],"genre_scores_gemma":[0.97640914,0.0004684484,0.004571404,0.00049343664,0.00039542906,0.0001149609,0.00003434114,0.000059218353,0.01745373],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99527174,0.0025541596,0.00011614108,0.00049280014,0.0008837439,0.0006813983],"domain_scores_gemma":[0.99270743,0.0040074647,0.00089633564,0.00083290786,0.0008830479,0.0006728187],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0044949176,0.0008261439,0.00040429377,0.0038038113,0.0032482368,0.013847698,0.0016486855,0.0030105368,0.018852321],"category_scores_gemma":[0.009171109,0.00028801517,0.0005453135,0.0025273846,0.028124522,0.013314068,0.0057878694,0.003467524,0.0016645478],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005043852,0.000008350524,0.00012422437,0.000010141824,0.0000014616381,0.000014959813,0.00089016254,0.00018258044,0.00003175036,0.9968907,0.00032993517,0.0015107017],"study_design_scores_gemma":[0.000018740964,0.000050233262,0.0006785324,0.00013362325,0.0000064097085,0.00007259236,0.0053822887,0.0034646264,0.00017374984,0.960241,0.029758941,0.000019214836],"about_ca_topic_score_codex":0.0016384621,"about_ca_topic_score_gemma":0.00076316134,"teacher_disagreement_score":0.018852321,"about_ca_system_score_codex":0.0046468894,"about_ca_system_score_gemma":0.0015294476,"threshold_uncertainty_score":0.06306732},"labels":[],"label_agreement":null},{"id":"W2891468040","doi":"10.1386/public.29.57.36_1","title":"Awakening from the Gendered Archive: Archiveology and Critical Cultural History","year":2018,"lang":"en","type":"article","venue":"Public","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Metaphor; Variety (cybernetics); Sociology; Film studies; Aesthetics; Media studies; Visual arts; Art; Linguistics; Philosophy; Movie theater; Computer science","score_opus":0.08895416079030936,"score_gpt":0.25173947246124084,"score_spread":0.16278531167093147,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2891468040","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24118836,0.029909419,0.02248916,0.10241476,0.0022488413,0.00008251817,0.00014290573,0.000116398674,0.6014076],"genre_scores_gemma":[0.98547953,0.002508345,0.00095905043,0.0010674476,0.00062354637,0.000037362577,0.000017576136,0.00006463314,0.009242447],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9949586,0.0040192404,0.000076573,0.00028780877,0.00035806635,0.00029970307],"domain_scores_gemma":[0.9865514,0.010485171,0.0007665089,0.0009993595,0.00065361266,0.00054391526],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007545641,0.00035511176,0.00040981875,0.0030467848,0.007469434,0.01363102,0.0012794896,0.0022675444,0.005408485],"category_scores_gemma":[0.012221158,0.00021352079,0.00020675479,0.0019795622,0.056448177,0.014192707,0.0053052683,0.003989321,0.00030994788],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013470345,0.000010206675,0.00025262038,0.00004437693,0.0000022403265,0.0001400846,0.11003926,0.000057359328,0.00006722351,0.8812667,0.002775502,0.0053309943],"study_design_scores_gemma":[0.000014157174,0.000029352617,0.0009514045,0.00065901014,0.000008192863,0.00035802228,0.2158738,0.0003721109,0.00053067686,0.49207988,0.2891048,0.000018642682],"about_ca_topic_score_codex":0.0027847544,"about_ca_topic_score_gemma":0.002453161,"teacher_disagreement_score":0.01363102,"about_ca_system_score_codex":0.0059219,"about_ca_system_score_gemma":0.0022307828,"threshold_uncertainty_score":0.042966604},"labels":[],"label_agreement":null},{"id":"W289242861","doi":"","title":"The Toronto Film Festival: Random Thoughts","year":2005,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Distrust; Statement (logic); Media studies; History; Sociology; Political science; Law","score_opus":0.022943656375375876,"score_gpt":0.233290169961152,"score_spread":0.21034651358577613,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W289242861","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014450025,0.0451688,0.0012119113,0.55074495,0.089504585,0.00033298624,0.0028940323,0.0006585213,0.29503432],"genre_scores_gemma":[0.2455032,0.032168996,0.0013103683,0.16590306,0.040028326,0.00042522428,0.0017291775,0.0020675778,0.510864],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9949196,0.0013385607,0.00015517473,0.0006635308,0.0020347133,0.00088841515],"domain_scores_gemma":[0.99061525,0.0013665736,0.000497368,0.0005743665,0.0031953012,0.003751174],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0052060555,0.0013303073,0.0006333001,0.002221507,0.019659666,0.017622573,0.0020258643,0.0033335497,0.031011483],"category_scores_gemma":[0.017124953,0.0006990913,0.00047189288,0.0030972885,0.0106559135,0.0053286985,0.0069144224,0.008472839,0.009132681],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045083707,0.000013013525,0.0004980938,0.00015614122,0.000008187864,0.0002616268,0.02039477,0.00002702154,0.00020362304,0.016704781,0.95493215,0.006755434],"study_design_scores_gemma":[0.0000052636465,0.000008107873,0.0010691656,0.00029662333,0.000006106094,0.00006348513,0.035433725,0.000023729242,0.00009081795,0.0008363288,0.96214515,0.000021409063],"about_ca_topic_score_codex":0.34966823,"about_ca_topic_score_gemma":0.53727275,"teacher_disagreement_score":0.34966823,"about_ca_system_score_codex":0.03651895,"about_ca_system_score_gemma":0.012195183,"threshold_uncertainty_score":0.6952659},"labels":[],"label_agreement":null},{"id":"W2892438327","doi":"10.1080/09639489.2018.1524858","title":"The Bressonians: French cinema and the culture of authorship","year":2018,"lang":"en","type":"article","venue":"Modern & Contemporary France","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Movie theater; Art; Art history; Media studies; Sociology; Anthropology","score_opus":0.03283642264625636,"score_gpt":0.22646514571510157,"score_spread":0.1936287230688452,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2892438327","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38446015,0.13995801,0.0030328536,0.16732949,0.0018937194,0.000018876266,0.00020962572,0.00009757355,0.30299973],"genre_scores_gemma":[0.9838965,0.0060222032,0.00027962224,0.00130892,0.0005362563,0.00000619341,0.000025677533,0.000020604164,0.007903982],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975374,0.0018657388,0.000052316107,0.00013759699,0.00023229781,0.00017471662],"domain_scores_gemma":[0.9909101,0.005796327,0.0012706171,0.0003071346,0.0011513928,0.00056451245],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036498602,0.00043546926,0.00024122614,0.0026528642,0.004492332,0.009245391,0.0005842859,0.0022777382,0.006443198],"category_scores_gemma":[0.012627909,0.00016790983,0.0001540894,0.0019791403,0.0065308167,0.007213561,0.0016207543,0.0016898409,0.00044136398],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016937495,0.00004584162,0.011848188,0.00024828894,0.000022820166,0.0006569795,0.3595848,0.00018983906,0.00054919714,0.48944885,0.05687658,0.08035917],"study_design_scores_gemma":[0.00003161332,0.0000787078,0.0522007,0.0018812118,0.000041598658,0.0011425344,0.20873845,0.0006794922,0.00063711475,0.046800226,0.6876911,0.00007714601],"about_ca_topic_score_codex":0.030099368,"about_ca_topic_score_gemma":0.02782935,"teacher_disagreement_score":0.030099368,"about_ca_system_score_codex":0.00519121,"about_ca_system_score_gemma":0.0018713705,"threshold_uncertainty_score":0.05984831},"labels":[],"label_agreement":null},{"id":"W2894561753","doi":"10.3138/cjfs.27.1.2017-0015","title":"Film Festivals in the White Cube: Queer City Cinema as Artistic Practice","year":2018,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University; York University","funders":"","keywords":"Queer; Movie theater; Humanities; Art; Art history; Sociology; Gender studies","score_opus":0.05929751695917712,"score_gpt":0.29380033587668813,"score_spread":0.234502818917511,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2894561753","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29745904,0.008236392,0.0026334235,0.028625958,0.0012043003,0.00010459646,0.00017977605,0.00009950271,0.661457],"genre_scores_gemma":[0.8599135,0.003910317,0.0010371768,0.0017871143,0.00038973815,0.000083042425,0.00010429351,0.00016163835,0.13261315],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9974292,0.0013786572,0.00004917181,0.00026095915,0.00033935296,0.0005426365],"domain_scores_gemma":[0.99784374,0.0010199097,0.0002070277,0.00019652274,0.00026528383,0.00046754873],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030212756,0.00052027794,0.0002841685,0.0015659983,0.012045855,0.015848253,0.0011759335,0.0016161066,0.01910734],"category_scores_gemma":[0.004155403,0.00041054573,0.00032035995,0.0020309058,0.011792087,0.0049658343,0.006833492,0.0031511232,0.00091408094],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015770557,0.00010507931,0.0038305954,0.00030488835,0.000022646069,0.0006650121,0.6624073,0.0002796626,0.0014834162,0.2242358,0.055998154,0.050509658],"study_design_scores_gemma":[0.000023014309,0.00005982052,0.008460047,0.00027208927,0.000012583301,0.00016027498,0.2745961,0.00019342148,0.0007008791,0.004153183,0.71133685,0.000031788197],"about_ca_topic_score_codex":0.073184766,"about_ca_topic_score_gemma":0.2102127,"teacher_disagreement_score":0.073184766,"about_ca_system_score_codex":0.009915809,"about_ca_system_score_gemma":0.004285503,"threshold_uncertainty_score":0.14551753},"labels":[],"label_agreement":null},{"id":"W2894589786","doi":"10.1080/17503280.2018.1528089","title":"Sino-Canadian documentary coproduction: transnational production mode, narrative pattern and theatrical release in China","year":2018,"lang":"en","type":"article","venue":"Studies in Documentary Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Coproduction; China; Narrative; Storytelling; Production (economics); Mainland China; Sociology; Media studies; Political science; Public relations; Art; Economics; Law; Literature","score_opus":0.025317570107801588,"score_gpt":0.2763690557474137,"score_spread":0.2510514856396121,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2894589786","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92033136,0.0014875939,0.00042496307,0.0010854452,0.00006074832,0.000051146773,0.0002300487,0.00003581728,0.07629284],"genre_scores_gemma":[0.98340917,0.0005446806,0.00028705498,0.00006494056,0.000010163897,0.000016093352,0.00013545998,0.00002462993,0.015507724],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99907863,0.0001782887,0.000027894654,0.0001317887,0.00028726587,0.00029612813],"domain_scores_gemma":[0.9989949,0.0002610084,0.00011919537,0.00012293752,0.00021710909,0.0002848467],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001149375,0.0005852467,0.00029711484,0.0028364032,0.014087397,0.0035551516,0.00093605666,0.000554094,0.004995037],"category_scores_gemma":[0.0021095574,0.00022725192,0.00019633178,0.006629261,0.0065753255,0.0011692919,0.0031423222,0.00093820714,0.00021801828],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001667995,0.000024958714,0.017874544,0.00022688453,0.000019243333,0.002098501,0.895031,0.00014476225,0.0030844656,0.02467736,0.008186805,0.04846464],"study_design_scores_gemma":[0.00001734153,0.00007054844,0.09319251,0.00019309131,0.00004573781,0.0010273488,0.64378977,0.00041925427,0.0022854928,0.00083234307,0.25804418,0.00008237948],"about_ca_topic_score_codex":0.7353389,"about_ca_topic_score_gemma":0.87515366,"teacher_disagreement_score":0.26466107,"about_ca_system_score_codex":0.02299432,"about_ca_system_score_gemma":0.019183788,"threshold_uncertainty_score":0.5324394},"labels":[],"label_agreement":null},{"id":"W2894619715","doi":"","title":"Borderland Films: American Cinema, Mexico, and Canada During the Progressive Era by Dominique Brégent-Heald (review)","year":2018,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies-revue Canadienne D Etudes Cinematographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Progressive era; Art history; Political science; Art; History; Media studies; Sociology; Law; Politics","score_opus":0.014371006064300411,"score_gpt":0.22515537057771465,"score_spread":0.21078436451341423,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2894619715","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013185604,0.99397534,0.0000075272387,0.002533079,0.00023616107,0.000006263935,0.000080165904,0.0000017753877,0.001841124],"genre_scores_gemma":[0.009284309,0.98873967,0.000040214156,0.0008396911,0.00027169433,0.00001156061,0.00008269789,0.0000024306232,0.0007277007],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995098,0.000100746416,0.00003817038,0.000059870315,0.0001826444,0.00010878377],"domain_scores_gemma":[0.99706894,0.0009714453,0.00044362264,0.0000428448,0.0010393194,0.00043389198],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012514086,0.000532364,0.000879615,0.0027808247,0.0023583286,0.004892859,0.0007780307,0.001518459,0.0049827565],"category_scores_gemma":[0.0057200296,0.0002988606,0.00033222843,0.006369935,0.0014583304,0.0019703656,0.0012584535,0.0016849283,0.00028237686],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00035405558,0.000097894415,0.0059585194,0.03842482,0.00046031224,0.00038783255,0.00959299,0.00012166599,0.00047611725,0.0049339836,0.27419975,0.66499203],"study_design_scores_gemma":[0.00006615112,0.000052366144,0.05014053,0.057091344,0.0007848561,0.00050885597,0.014475961,0.0000309904,0.00019141444,0.00039238555,0.87622315,0.000041964806],"about_ca_topic_score_codex":0.6503691,"about_ca_topic_score_gemma":0.82591206,"teacher_disagreement_score":0.3496309,"about_ca_system_score_codex":0.008345907,"about_ca_system_score_gemma":0.027534442,"threshold_uncertainty_score":0.70337987},"labels":[],"label_agreement":null},{"id":"W2895738466","doi":"10.3138/cjfs.27.1.2017-0013","title":"Under “The Half-Lit Moon”: Theories of Expanded Cinema and Nuit Blanche Edmonton 2015","year":2018,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Art history","score_opus":0.04134150092646964,"score_gpt":0.2640056345060855,"score_spread":0.22266413357961584,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2895738466","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12198963,0.005303684,0.0030910268,0.012954155,0.00013508274,0.00002167326,0.00003313314,0.000023494107,0.85644823],"genre_scores_gemma":[0.9576138,0.0014872447,0.00045890862,0.0005731029,0.00008889268,0.000023107646,0.000018680084,0.000019514639,0.039716654],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992161,0.00043035764,0.0000083388895,0.00011288183,0.000077913464,0.00015437331],"domain_scores_gemma":[0.99840975,0.0010489114,0.00013500894,0.00011665756,0.00012655732,0.00016317227],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014453194,0.00036157318,0.00015330636,0.0010949465,0.0053021265,0.007482777,0.0008094882,0.0016187686,0.009094116],"category_scores_gemma":[0.0021715807,0.0002462676,0.00022139506,0.000737709,0.01921801,0.004879521,0.003260865,0.0025288633,0.00043712877],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012860643,0.000008586085,0.0006930615,0.00002578695,0.000002487063,0.00009303496,0.099654354,0.00010131668,0.00007259992,0.892287,0.0018319567,0.0052169226],"study_design_scores_gemma":[0.000026116502,0.00003877692,0.01586421,0.0009366394,0.000034274635,0.00035661552,0.2275682,0.0013992855,0.0003841831,0.34159398,0.41175565,0.000042116284],"about_ca_topic_score_codex":0.053723406,"about_ca_topic_score_gemma":0.05925114,"teacher_disagreement_score":0.9462766,"about_ca_system_score_codex":0.008372516,"about_ca_system_score_gemma":0.0025721118,"threshold_uncertainty_score":0.10682136},"labels":[],"label_agreement":null},{"id":"W2896336916","doi":"10.1007/978-3-319-66344-9_4","title":"The Business of ‘Wholesome Entertainment’: The Mascioli Film Circuit of Northeastern Ontario","year":2018,"lang":"en","type":"book-chapter","venue":"Global cinema","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Entertainment; Exhibition; Newspaper; Corporation; Movie theater; Amusement; Immigration; Art; History; Art history; Media studies; Visual arts; Engineering; Political science; Archaeology; Sociology; Law","score_opus":0.02918886538042253,"score_gpt":0.2015391662411156,"score_spread":0.17235030086069306,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2896336916","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16536424,0.0072066584,0.00056497887,0.03108286,0.00040205003,0.00005334186,0.00048425756,0.000047679416,0.7947939],"genre_scores_gemma":[0.5140546,0.0036000921,0.00031897236,0.0012715154,0.000085335094,0.000020530622,0.0001458181,0.00007897416,0.4804241],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9996295,0.00003506149,0.0000056754666,0.000041178828,0.00012102935,0.00016740673],"domain_scores_gemma":[0.99946624,0.000098256976,0.000032589698,0.000023593146,0.00014519169,0.00023401764],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00024715415,0.00022293461,0.00013453144,0.0005106087,0.0109918555,0.005903226,0.0006916559,0.0010629289,0.022301603],"category_scores_gemma":[0.00097350293,0.00022849164,0.00011421884,0.0012476833,0.003189022,0.0016069845,0.001445793,0.0013362048,0.0007796271],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019055147,0.00004761018,0.014915904,0.00024641713,0.000023122635,0.0011515085,0.14767921,0.0004837936,0.002021745,0.3502098,0.3642798,0.1187505],"study_design_scores_gemma":[0.000006909496,0.000012648789,0.029992636,0.00014342165,0.000011638605,0.00011560568,0.04373163,0.00020065006,0.00034627356,0.0039212555,0.92149657,0.000020762567],"about_ca_topic_score_codex":0.95965356,"about_ca_topic_score_gemma":0.9937769,"teacher_disagreement_score":0.04089454,"about_ca_system_score_codex":0.04089454,"about_ca_system_score_gemma":0.028074203,"threshold_uncertainty_score":0.29671204},"labels":[],"label_agreement":null},{"id":"W2896426671","doi":"10.3138/cjfs.23.2.96","title":"The Critical Cinematic Cartography of <i>My Winnipeg</i>","year":2014,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Art; Cartography; Geography","score_opus":0.032607901724282615,"score_gpt":0.2427709309811121,"score_spread":0.2101630292568295,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2896426671","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33650258,0.020138266,0.003940235,0.06488531,0.002118706,0.0001658053,0.0015415143,0.00012569767,0.57058185],"genre_scores_gemma":[0.95143527,0.0036749966,0.0009234738,0.0010064057,0.00016283106,0.000017233611,0.00012827989,0.00015764557,0.042493746],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995678,0.000146322,0.000009510015,0.000061766965,0.0000816731,0.00013295606],"domain_scores_gemma":[0.9987961,0.0004385916,0.00012356558,0.00007308078,0.00035511845,0.00021343153],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000782133,0.0003415491,0.0001424999,0.0027370853,0.0067865504,0.0076338793,0.0006720066,0.00086548156,0.011266786],"category_scores_gemma":[0.005018773,0.00032672004,0.000111496694,0.0028668654,0.0053093615,0.0018089812,0.0015871138,0.0017109833,0.00034151378],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009971156,0.000015578556,0.004932525,0.0003728933,0.000023102575,0.0018720531,0.4159333,0.0003791703,0.0022325513,0.40041706,0.11077837,0.0629437],"study_design_scores_gemma":[0.000004836679,0.000008340782,0.016352344,0.00034852067,0.000018107883,0.00033469105,0.12612584,0.00021492766,0.0005366133,0.007422458,0.8486118,0.000021615639],"about_ca_topic_score_codex":0.7722499,"about_ca_topic_score_gemma":0.866762,"teacher_disagreement_score":0.22775012,"about_ca_system_score_codex":0.015638312,"about_ca_system_score_gemma":0.010831136,"threshold_uncertainty_score":0.45818275},"labels":[],"label_agreement":null},{"id":"W2897021560","doi":"","title":"Long Road Home","year":2018,"lang":"en","type":"article","venue":"American cinematographer","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Transport engineering; Computer science; Engineering","score_opus":0.016746933252048415,"score_gpt":0.23349147960425504,"score_spread":0.21674454635220664,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2897021560","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00045613016,0.0013090657,0.0004439244,0.005953855,0.0042742817,0.000050429862,0.0016736707,0.0012378953,0.9846007],"genre_scores_gemma":[0.0007075497,0.0002968475,0.000101416736,0.00061633793,0.00013295529,0.00000837088,0.00039352276,0.00018848685,0.9975545],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994972,0.00003591055,0.000011712342,0.00011837905,0.0002132915,0.00012360951],"domain_scores_gemma":[0.99838805,0.000075817574,0.00003724766,0.000096937016,0.0005911824,0.0008108484],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00036479102,0.0007549454,0.0005792279,0.0008520899,0.0036183782,0.0049959873,0.0007945839,0.001660242,0.85049576],"category_scores_gemma":[0.0018263201,0.0003131647,0.00038705286,0.0008338661,0.00038718682,0.002289808,0.002937276,0.0025061925,0.69824106],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022868564,0.000013492969,0.000069643334,0.000025451098,0.0000014004258,0.000055234395,0.00003573016,0.000010319631,0.00011120155,0.0017657796,0.96733093,0.030557819],"study_design_scores_gemma":[0.0000027722288,0.000004077295,0.00017370714,0.000018673672,6.332778e-7,0.000022239326,0.00007355904,0.000011237221,0.000023598195,0.00018450672,0.99948275,0.0000022523514],"about_ca_topic_score_codex":0.021771101,"about_ca_topic_score_gemma":0.07400413,"teacher_disagreement_score":0.85049576,"about_ca_system_score_codex":0.00135185,"about_ca_system_score_gemma":0.003180149,"threshold_uncertainty_score":0.21324968},"labels":[],"label_agreement":null},{"id":"W2897526559","doi":"10.1111/1468-2281.12242","title":"Discovering film on Irish television: fragments from RTÉ archives 1960–5*","year":2018,"lang":"en","type":"article","venue":"Historical Research","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Queen's University; Queen's University Belfast","keywords":"Movie theater; Irish; The arts; Media studies; History; Visual arts; Political science; Advertising; Art; Sociology; Business","score_opus":0.14584685883246729,"score_gpt":0.3325195244158164,"score_spread":0.1866726655833491,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2897526559","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58004284,0.0049492423,0.001057205,0.0028097022,0.0005735793,0.00021479529,0.0135569805,0.000086273925,0.3967094],"genre_scores_gemma":[0.87529814,0.005210379,0.001189,0.0004966795,0.00052989554,0.00015078341,0.0078042364,0.00039624487,0.1089247],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993243,0.00015114374,0.00003808455,0.000091879614,0.00016780726,0.00022675563],"domain_scores_gemma":[0.9986051,0.00057360623,0.00018419269,0.00012924509,0.00036762748,0.0001403566],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001230155,0.0003255345,0.0003198003,0.0058583636,0.0026252388,0.0029305248,0.00052213646,0.00042711932,0.013024633],"category_scores_gemma":[0.0030780316,0.00025871166,0.00022466706,0.0073871687,0.0027291337,0.0014756437,0.0021676507,0.0014977996,0.0017418849],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00065024156,0.00015914839,0.04027746,0.0016907372,0.00005685021,0.006324759,0.63774365,0.00032684306,0.005139054,0.02082254,0.10545235,0.18135639],"study_design_scores_gemma":[0.00001487004,0.000045093224,0.18353511,0.0009792881,0.000025124189,0.00091687613,0.1828225,0.00006201916,0.0010609175,0.00045620595,0.6300418,0.00004018945],"about_ca_topic_score_codex":0.12026393,"about_ca_topic_score_gemma":0.28723267,"teacher_disagreement_score":0.12026393,"about_ca_system_score_codex":0.0064927647,"about_ca_system_score_gemma":0.0018367313,"threshold_uncertainty_score":0.23912781},"labels":[],"label_agreement":null},{"id":"W2897860869","doi":"10.1007/978-3-319-66344-9_5","title":"Spaces In-Between: The Railway and Early Cinema in Rural, Western Canada","year":2018,"lang":"en","type":"book-chapter","venue":"Global cinema","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Movie theater; Space (punctuation); Rural area; Geography; Nationalism; Media studies; History; Political science; Archaeology; Sociology; Art history; Law","score_opus":0.020778553738738704,"score_gpt":0.2097328909050009,"score_spread":0.1889543371662622,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2897860869","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4908098,0.012846121,0.0009070949,0.017985767,0.0008197233,0.000091210575,0.0009295554,0.00008815898,0.4755226],"genre_scores_gemma":[0.816498,0.00630577,0.00040101106,0.0007610854,0.000113896764,0.000020926267,0.0002378975,0.00009824809,0.17556329],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992907,0.00010720577,0.000011036306,0.00007524066,0.00022327411,0.00029245036],"domain_scores_gemma":[0.99832207,0.00034886252,0.000092680355,0.00003254444,0.0005933825,0.00061040826],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00064656336,0.00048249893,0.00025556696,0.002145255,0.018897614,0.011051571,0.0011674766,0.0012678523,0.017156115],"category_scores_gemma":[0.002409055,0.00025808637,0.00017603001,0.004669717,0.0049796747,0.0020107632,0.0020538676,0.0023357049,0.00071997335],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009777561,0.00008093347,0.012214531,0.00029017878,0.000020766214,0.0012308505,0.75194377,0.00024614943,0.0011314163,0.06202091,0.09419224,0.076530546],"study_design_scores_gemma":[0.0000043845025,0.000013447436,0.028607052,0.00039906564,0.000018971194,0.00026023563,0.5273433,0.00013791582,0.00029778256,0.0013802109,0.44150874,0.000028834964],"about_ca_topic_score_codex":0.98586977,"about_ca_topic_score_gemma":0.99650687,"teacher_disagreement_score":0.055256166,"about_ca_system_score_codex":0.055256166,"about_ca_system_score_gemma":0.07645333,"threshold_uncertainty_score":0.40091342},"labels":[],"label_agreement":null},{"id":"W2897880123","doi":"10.1177/1206331218805381","title":"Emplacing Time: Photography, Location, and the Cinematic Pilgrimage","year":2018,"lang":"en","type":"article","venue":"Space and Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"University of Toronto","keywords":"Movie theater; Shot (pellet); Visual arts; Contemplation; Photography; Art; Object (grammar); Filmography; Modernity; Subject (documents); Film studies; Pilgrimage; Art history; History; Computer science; Archaeology","score_opus":0.008094688688744304,"score_gpt":0.1949462660526539,"score_spread":0.1868515773639096,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2897880123","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20985714,0.06524848,0.004297069,0.03895191,0.0013507736,0.000057208523,0.00011607867,0.00008998868,0.6800313],"genre_scores_gemma":[0.9555896,0.016386693,0.0013441899,0.001306702,0.0008434386,0.000037606093,0.00003793424,0.00006387721,0.02438993],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9987669,0.00082549907,0.00002525904,0.00012067433,0.00012281818,0.00013881586],"domain_scores_gemma":[0.99715143,0.0018667217,0.000362515,0.0002129844,0.00017096387,0.0002354186],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013878999,0.0003379506,0.00019199614,0.002289577,0.0053399773,0.009362132,0.00081591855,0.0017261278,0.0062774923],"category_scores_gemma":[0.004901985,0.0002912087,0.00017582117,0.0020281533,0.014568546,0.008836014,0.0037290337,0.002365925,0.00050870125],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000080472935,0.00006045081,0.0046567256,0.00026353265,0.00001382677,0.001247864,0.48269197,0.00010014617,0.00050327444,0.4314815,0.021242175,0.057658102],"study_design_scores_gemma":[0.000024319592,0.0000740537,0.0170471,0.0013694823,0.000036402762,0.0022644456,0.4638399,0.0002231786,0.00063871685,0.03779497,0.4766453,0.00004216034],"about_ca_topic_score_codex":0.010819581,"about_ca_topic_score_gemma":0.019570153,"teacher_disagreement_score":0.010819581,"about_ca_system_score_codex":0.0035563952,"about_ca_system_score_gemma":0.001190419,"threshold_uncertainty_score":0.025803626},"labels":[],"label_agreement":null},{"id":"W2898624106","doi":"10.1111/1468-0424.12408","title":"Christine Gledhill and Julia Knight, Doing Women's Film History: Reframing Cinemas, Past and Future (Urbana: University of Illinois Press, 2015), pp. 278. IBSN: 978‐0‐252‐08118‐7 Jane M. Gaines, Pink‐Slipped: What Happened to Women in the Silent Film Industries? (Urbana: University of Illinois Press, 2018), pp. 328. ISBN: 978‐0‐252‐08343‐3Erin Hill, Never Done: A History of Women's Work in Media Production (New Brunswick: Rutgers University Press, 2016), pp. 283. ISBN: 978‐0‐8135‐7486‐8Kathleen A. Feeley, Mary Pickford: Hollywood and the New Woman (Boulder: Westview Press, 2016), pp. 204. ISBN: 978‐0‐8133‐4905‐6 Therese Grisham and Julie Grossman, Ida Lupino, Director: Her Art and Resilience in Times of Transition (New Brunswick: Rutgers University Press, 2017), pp. 248. ISBN: 978‐0‐8135‐7490‐5 Julia Erhart, <i>Gendering History on Screen: Women Filmmakers and Historical Films</i> (London: I.B. Taurus, 2018), pp. 256. ISBN: 978‐1‐7845‐3528‐5","year":2018,"lang":"en","type":"article","venue":"Gender & History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Brock University","funders":"","keywords":"Knight; Movie theater; Art history; Grossman; Hollywood; Art; Media studies; History; Sociology","score_opus":0.016754153677583455,"score_gpt":0.1761778528111252,"score_spread":0.15942369913354174,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2898624106","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016617486,0.74700254,0.0015304036,0.0972443,0.005310338,0.00008971332,0.00048312158,0.00021480939,0.14646299],"genre_scores_gemma":[0.031053746,0.6499749,0.003184848,0.028257651,0.0029877075,0.00027832593,0.000400258,0.0005430214,0.2833196],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99864644,0.00050092814,0.00007230338,0.00021434943,0.00038581717,0.00018014606],"domain_scores_gemma":[0.9971365,0.0015782932,0.00024517355,0.00010074797,0.0005136077,0.00042561014],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002073575,0.0014274394,0.000426138,0.0033086466,0.005565373,0.009296055,0.0018257588,0.0045582834,0.054099955],"category_scores_gemma":[0.0047935816,0.0010560765,0.00037459703,0.0030219175,0.0050603584,0.018257426,0.004228177,0.0040582176,0.017030215],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026822552,0.000022939876,0.00027552314,0.0005598842,0.0000053217477,0.0001436296,0.014186788,0.000028313189,0.00020537057,0.015256592,0.90677255,0.06251629],"study_design_scores_gemma":[0.0000043418963,0.0000046943014,0.0009930581,0.00084179896,0.0000037696757,0.00016012248,0.008469013,0.000017426168,0.00010132572,0.003791726,0.98559755,0.000015283867],"about_ca_topic_score_codex":0.058340643,"about_ca_topic_score_gemma":0.17263773,"teacher_disagreement_score":0.058340643,"about_ca_system_score_codex":0.005164158,"about_ca_system_score_gemma":0.0045524277,"threshold_uncertainty_score":0.18098235},"labels":[],"label_agreement":null},{"id":"W2899276015","doi":"10.21900/j.median.v14i1.62","title":"Cosmopolitical technologies and the demarcation of screen space at Cine Kurumin","year":2018,"lang":"en","type":"article","venue":"Media-N","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Vision; The Imaginary; Politics; Simulacrum; Indigenous; Sociology; Media studies; Aesthetics; Space (punctuation); Representation (politics); Hegemony; Visual arts; Art; Political science; Anthropology; Law; Philosophy","score_opus":0.02488019069174391,"score_gpt":0.22266637377420384,"score_spread":0.19778618308245993,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2899276015","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23849516,0.008655142,0.029766345,0.025102545,0.0014381995,0.00014974653,0.00018891392,0.00034088557,0.69586307],"genre_scores_gemma":[0.96080357,0.0015816289,0.004717564,0.0012190805,0.00020092005,0.00009628571,0.000040785762,0.00016543317,0.031174669],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9989122,0.000751419,0.000018605613,0.00010477937,0.00009621406,0.00011676393],"domain_scores_gemma":[0.99913824,0.0004501186,0.0000812323,0.000096316806,0.00010646485,0.0001275409],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015261292,0.00044866357,0.00011300645,0.0008419192,0.0035070614,0.0083099175,0.0006312946,0.0009146856,0.0070911357],"category_scores_gemma":[0.002389293,0.00022232624,0.00017022734,0.00040410494,0.011750152,0.005184012,0.0038634115,0.0016768099,0.00062801444],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001074046,0.00003799163,0.0017292302,0.00033397696,0.000011364908,0.00096630916,0.4073157,0.00012406058,0.008316148,0.5264275,0.01577191,0.03885842],"study_design_scores_gemma":[0.000026226162,0.00008877927,0.004221777,0.0005897677,0.000020714278,0.0012892551,0.23927751,0.0003153223,0.00501739,0.024419608,0.72469074,0.000042871685],"about_ca_topic_score_codex":0.0034999629,"about_ca_topic_score_gemma":0.004822789,"teacher_disagreement_score":0.0083099175,"about_ca_system_score_codex":0.0015562034,"about_ca_system_score_gemma":0.0005720668,"threshold_uncertainty_score":0.023722231},"labels":[],"label_agreement":null},{"id":"W2899378790","doi":"10.18357/scene02201718370","title":"Movie Stars Make Much Ado in Bard on the Beach’s Newest Adaptation","year":2018,"lang":"en","type":"article","venue":"Scene Reviews of Early Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Adaptation (eye); Stars; Psychology; Astronomy; Physics; Neuroscience","score_opus":0.08897228440996942,"score_gpt":0.2658589127328581,"score_spread":0.1768866283228887,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2899378790","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0047621266,0.061272718,0.00091487507,0.20528427,0.07619419,0.000078521894,0.007419968,0.0007492587,0.64332414],"genre_scores_gemma":[0.04232614,0.027731793,0.0012222761,0.030665714,0.011282407,0.00004962072,0.004363822,0.00085525936,0.881503],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989127,0.00009885882,0.000030814637,0.00007835038,0.0006582337,0.00022104997],"domain_scores_gemma":[0.99595416,0.00026845993,0.000100295576,0.0001848388,0.0023375754,0.0011546047],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011431435,0.0005406417,0.00044159754,0.0012787385,0.0060151964,0.008028143,0.0006739406,0.002036081,0.086949386],"category_scores_gemma":[0.0047079725,0.00032601933,0.00031574952,0.0017719183,0.002042066,0.002630743,0.0020288485,0.004538645,0.018525997],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019585172,0.0000033570598,0.00013481856,0.000042158255,0.0000029832436,0.000015526011,0.00016943066,0.000009932534,0.00006907643,0.0024367797,0.98597777,0.011118477],"study_design_scores_gemma":[0.0000019922368,0.0000023995283,0.0011146028,0.00005149098,0.0000018773178,0.000012832124,0.00032736262,0.0000062049735,0.00003381527,0.00011952675,0.9983236,0.0000041536396],"about_ca_topic_score_codex":0.50756603,"about_ca_topic_score_gemma":0.8577292,"teacher_disagreement_score":0.50756603,"about_ca_system_score_codex":0.009008493,"about_ca_system_score_gemma":0.010092063,"threshold_uncertainty_score":0.990668},"labels":[],"label_agreement":null},{"id":"W2899565521","doi":"10.2307/j.ctt1ckphqj.8","title":"The Three Faces of Culture:","year":2018,"lang":"en","type":"book-chapter","venue":"University of Ottawa Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.0372246099000368,"score_gpt":0.19052527313103362,"score_spread":0.15330066323099684,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2899565521","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01214177,0.023231093,0.00085718546,0.04539158,0.0018095982,0.000012309332,0.00020287625,0.0000678192,0.91628575],"genre_scores_gemma":[0.52718616,0.029794721,0.0015238089,0.018663678,0.0010292156,0.000044391316,0.00029198063,0.00019182937,0.42127413],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990938,0.00012673777,0.000013231289,0.000089003195,0.0003609631,0.00031629513],"domain_scores_gemma":[0.9994825,0.000045756668,0.000025127762,0.000037787162,0.00017629741,0.00023240698],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00056662696,0.00053506653,0.0002950173,0.00090836117,0.0078404285,0.013935968,0.00077253825,0.0014527834,0.01516436],"category_scores_gemma":[0.0010051099,0.00017229369,0.00019585463,0.0015975831,0.012927352,0.004986257,0.003136192,0.00349463,0.0032544131],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003871455,0.000012397135,0.0013675961,0.0001342048,0.000008582021,0.00012571106,0.03582027,0.000085491374,0.00035803005,0.6788295,0.16556974,0.11764994],"study_design_scores_gemma":[0.0000036584343,0.000008294479,0.002925185,0.00031411546,0.000008373584,0.00014095659,0.021853626,0.00005214002,0.0001439492,0.04326359,0.93126667,0.000019514859],"about_ca_topic_score_codex":0.4880313,"about_ca_topic_score_gemma":0.5988342,"teacher_disagreement_score":0.4880313,"about_ca_system_score_codex":0.0132387895,"about_ca_system_score_gemma":0.017959675,"threshold_uncertainty_score":0.97038126},"labels":[],"label_agreement":null},{"id":"W2899760718","doi":"10.3138/seminar.54.4.004","title":"Refiguring Red Vienna: Alternative Forms of Currency and Community in Michael Riebl’s <i>Planet Ottakring</i>","year":2018,"lang":"en","type":"article","venue":"Seminar A Journal of Germanic Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Comedy; Politics; Currency; Depiction; Romance; Sociology; Political economy; Political science; Literature; Law; Economics; Art","score_opus":0.059820120016058416,"score_gpt":0.2905377097840048,"score_spread":0.23071758976794637,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2899760718","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45086524,0.008618874,0.0058311624,0.0552422,0.0012623052,0.000024140298,0.000079075646,0.00010175646,0.47797525],"genre_scores_gemma":[0.9785502,0.0006877967,0.0004678583,0.001030917,0.00010236473,0.000008711645,0.000012822299,0.00005170103,0.019087443],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998733,0.0008548657,0.000016244205,0.000102963044,0.00011571601,0.00017730054],"domain_scores_gemma":[0.999376,0.0003398203,0.00007332594,0.00005281006,0.00002831959,0.00012980135],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012381378,0.0002775426,0.00018095682,0.0006387158,0.0054750694,0.008623188,0.0005145668,0.0016060676,0.004826525],"category_scores_gemma":[0.0023014983,0.0002284862,0.0001350404,0.00051364943,0.014381457,0.0061626774,0.004662849,0.0024725185,0.00053003995],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008456035,0.000024369363,0.0008433972,0.00006487827,0.0000069860494,0.0005956544,0.28580797,0.0001837784,0.00061229855,0.67530465,0.022165742,0.014305738],"study_design_scores_gemma":[0.000025491709,0.000030743413,0.0023840794,0.00028597823,0.000012363163,0.000644571,0.2309319,0.00042345328,0.0007179132,0.064158104,0.70034355,0.00004190509],"about_ca_topic_score_codex":0.004061484,"about_ca_topic_score_gemma":0.011107443,"teacher_disagreement_score":0.008623188,"about_ca_system_score_codex":0.0028195248,"about_ca_system_score_gemma":0.0005280053,"threshold_uncertainty_score":0.020457149},"labels":[],"label_agreement":null},{"id":"W2901156886","doi":"10.1525/gfc.2018.18.4.54","title":"Bottles of Art, Works of Alcohol","year":2018,"lang":"en","type":"article","venue":"Gastronomica The Journal of Food and Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Ontario College of Art and Design","funders":"","keywords":"Embodied cognition; Aesthetics; Affect (linguistics); Point (geometry); Art; Visual arts; Psychology; Sociology; Epistemology; Philosophy; Communication","score_opus":0.019514053646331023,"score_gpt":0.21173418066792452,"score_spread":0.1922201270215935,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2901156886","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.028200617,0.017868692,0.0010558185,0.010992155,0.0014440209,0.00003081218,0.00028895846,0.000076377335,0.9400427],"genre_scores_gemma":[0.60818607,0.02036223,0.001435455,0.003466367,0.0018524149,0.00005280938,0.0002936179,0.00026727282,0.36408368],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989876,0.00032472776,0.000033377455,0.00012392033,0.0004212594,0.00010917028],"domain_scores_gemma":[0.9991443,0.00030567133,0.00011258679,0.0001783011,0.00010922666,0.00014986261],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006350024,0.0004539865,0.00025122895,0.0016115453,0.006189059,0.0101971645,0.00063032843,0.0012470126,0.034467433],"category_scores_gemma":[0.002729797,0.00019722676,0.00022175378,0.0023826202,0.010447655,0.005416052,0.0039025613,0.0014904793,0.003661323],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011207084,0.00008664096,0.0027061272,0.0004312199,0.000017868873,0.00051205675,0.062101506,0.00014149692,0.0006399541,0.7023966,0.11175103,0.119103484],"study_design_scores_gemma":[0.0000033245676,0.000015120925,0.0018917082,0.0001560948,0.0000036545177,0.00032961782,0.014214736,0.000031402004,0.00009945873,0.013735585,0.96951073,0.000008560368],"about_ca_topic_score_codex":0.0060561383,"about_ca_topic_score_gemma":0.013895609,"teacher_disagreement_score":0.034467433,"about_ca_system_score_codex":0.002743564,"about_ca_system_score_gemma":0.0013297278,"threshold_uncertainty_score":0.115305066},"labels":[],"label_agreement":null},{"id":"W290126868","doi":"","title":"Chop Suey: Photographs to Remember You By","year":2002,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Narrative; Visual arts; Art; Art history; Literature; Computer science","score_opus":0.03732315546714892,"score_gpt":0.21222956515335842,"score_spread":0.1749064096862095,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W290126868","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024779165,0.015202322,0.0012846222,0.024486596,0.019296495,0.0002501818,0.0016094643,0.0012053566,0.9118859],"genre_scores_gemma":[0.08398907,0.0077714697,0.0023417114,0.0053010597,0.0018962633,0.00008565133,0.000862588,0.0006267452,0.89712554],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998733,0.000017342443,0.0000032323455,0.00002203937,0.0000558433,0.000028239936],"domain_scores_gemma":[0.999731,0.00003263905,0.0000144029955,0.00002939688,0.000111175475,0.00008129638],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001814463,0.00049189135,0.00017820808,0.00074806256,0.0031858191,0.002016125,0.00037495035,0.000826295,0.14118302],"category_scores_gemma":[0.0012391815,0.000256421,0.000143957,0.00078893395,0.00052902347,0.0022794541,0.0014619263,0.0018055986,0.030374508],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024546942,0.0000125298675,0.00019379074,0.000064045424,0.000001344545,0.0004026028,0.0034060106,0.0000133641015,0.00059763406,0.0016703648,0.96556896,0.028044792],"study_design_scores_gemma":[0.0000023113596,0.000007906993,0.00087680516,0.000060369184,0.0000017224498,0.00035635507,0.003605634,0.000016259304,0.000181132,0.00015332692,0.9947343,0.000003854877],"about_ca_topic_score_codex":0.018677134,"about_ca_topic_score_gemma":0.056884296,"teacher_disagreement_score":0.14118302,"about_ca_system_score_codex":0.0009733778,"about_ca_system_score_gemma":0.00050242915,"threshold_uncertainty_score":0.47230422},"labels":[],"label_agreement":null},{"id":"W2901274544","doi":"10.3366/edinburgh/9781474420341.001.0001","title":"Early Cinema in Scotland","year":2018,"lang":"en","type":"book","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Entertainment; Exhibition; Popularity; Film studies; Filmography; Visual arts; The Imaginary; Art; Media studies; Context (archaeology); Geography; History; Sociology; Political science; Archaeology; Law","score_opus":0.030962944591074525,"score_gpt":0.19132553637690328,"score_spread":0.16036259178582876,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2901274544","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18243618,0.08412859,0.0008121028,0.023605663,0.011077621,0.000116622214,0.00044874242,0.00016860806,0.69720584],"genre_scores_gemma":[0.764716,0.035169814,0.0005311406,0.0033739286,0.0045382255,0.00006184182,0.00027785395,0.000092020666,0.19123924],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99847907,0.0003979407,0.000048409707,0.0001131905,0.00051448314,0.00044689138],"domain_scores_gemma":[0.998453,0.0004492513,0.00014286091,0.00005589911,0.00054756587,0.00035150652],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010998212,0.00054391404,0.00024487285,0.0025622183,0.0066079763,0.006529765,0.000797553,0.0010186203,0.0120084705],"category_scores_gemma":[0.00409224,0.0001948817,0.00023344993,0.0023431801,0.0033302817,0.0021136457,0.0028330914,0.0015620333,0.0010403214],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016424626,0.00012999146,0.003425325,0.0011466834,0.000016020816,0.0038118723,0.35162058,0.00014621076,0.002784902,0.15098308,0.28834146,0.19742969],"study_design_scores_gemma":[0.000006278279,0.000035750545,0.0061021913,0.00032350747,0.000005071366,0.0002665105,0.020169886,0.000020591555,0.00015323717,0.0006144435,0.9722911,0.0000114130435],"about_ca_topic_score_codex":0.067454174,"about_ca_topic_score_gemma":0.112982824,"teacher_disagreement_score":0.067454174,"about_ca_system_score_codex":0.010455648,"about_ca_system_score_gemma":0.0047742366,"threshold_uncertainty_score":0.13412309},"labels":[],"label_agreement":null},{"id":"W2901363553","doi":"10.3138/md.61.4.br3","title":"Haunted City: Three Centuries of Racial Impersonation in Philadelphia","year":2018,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Parade; Blackface; Orientalism; History; Race (biology); Art; Art history; Literature; Sociology; Gender studies","score_opus":0.03813430232648194,"score_gpt":0.24270630352950576,"score_spread":0.20457200120302382,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2901363553","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7009724,0.010069224,0.0015504281,0.042086385,0.0018850397,0.00003154694,0.00029961404,0.00011107552,0.24299434],"genre_scores_gemma":[0.9674065,0.0016739977,0.00025684774,0.0021692044,0.00027285895,0.000021267235,0.00004730381,0.000071291266,0.028080786],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913764,0.00040271037,0.000012674291,0.00008145006,0.00009026463,0.00027528513],"domain_scores_gemma":[0.99924976,0.00025984494,0.000101957325,0.000056478762,0.00008603757,0.0002458842],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007202661,0.0003599193,0.00021915266,0.0006267491,0.012581536,0.004090396,0.0004615718,0.0018081263,0.006315346],"category_scores_gemma":[0.0017871625,0.00033818878,0.00015088632,0.0007680287,0.00746972,0.0025265433,0.00487307,0.0032872313,0.0005576794],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015343327,0.000062058956,0.0051372494,0.00010602441,0.000030062629,0.0015916012,0.701733,0.00018380326,0.0008110793,0.11415509,0.14037412,0.035662487],"study_design_scores_gemma":[0.0000103444645,0.000056312587,0.009053248,0.00017145216,0.000015353247,0.0004678209,0.20123644,0.00009628828,0.00049358094,0.0038425296,0.7845118,0.000044844444],"about_ca_topic_score_codex":0.020783765,"about_ca_topic_score_gemma":0.088310115,"teacher_disagreement_score":0.020783765,"about_ca_system_score_codex":0.003529469,"about_ca_system_score_gemma":0.000869662,"threshold_uncertainty_score":0.04132557},"labels":[],"label_agreement":null},{"id":"W2902895449","doi":"10.3390/arts7040091","title":"On Dissipation: Goodbye, Dragon Inn and the “Death of Cinema”","year":2018,"lang":"en","type":"article","venue":"Arts","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"","keywords":"Movie theater; Aesthetics; Theme (computing); Art; Sociology; Literature; Computer science","score_opus":0.03376467322022578,"score_gpt":0.2368701816532517,"score_spread":0.2031055084330259,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2902895449","genre_codex":"empirical","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5181158,0.030220935,0.0067647113,0.09104239,0.0017940367,0.00003928587,0.00007400533,0.00006054591,0.35188818],"genre_scores_gemma":[0.97807455,0.0030206144,0.00027545332,0.0022693994,0.00029876002,0.000011856429,0.0000137880415,0.000025592895,0.016009975],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991716,0.00055402773,0.000010731609,0.00007934669,0.00007803902,0.00010635769],"domain_scores_gemma":[0.9987167,0.0008188975,0.0001611477,0.000067915855,0.00010514541,0.00013013028],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013731002,0.0003144008,0.00017486385,0.0007591524,0.0045869327,0.006379431,0.00043189945,0.0009461666,0.0029020205],"category_scores_gemma":[0.0035147134,0.00012786899,0.00009744704,0.0005685206,0.015395953,0.006094078,0.0029882027,0.0020107718,0.00020370803],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006991987,0.000016187447,0.001688125,0.000097152566,0.0000070314627,0.0005920453,0.44799235,0.0001081256,0.00060127117,0.5140771,0.018180618,0.01656998],"study_design_scores_gemma":[0.000016285621,0.000055665467,0.0072425185,0.00055346376,0.000014697546,0.0007245921,0.30879715,0.0003531447,0.00077269255,0.071595356,0.60982895,0.00004549678],"about_ca_topic_score_codex":0.0072528212,"about_ca_topic_score_gemma":0.009314517,"teacher_disagreement_score":0.0072528212,"about_ca_system_score_codex":0.0026666627,"about_ca_system_score_gemma":0.0007936652,"threshold_uncertainty_score":0.019348085},"labels":[],"label_agreement":null},{"id":"W2904135670","doi":"10.29173/invoke48962","title":"‘Strangled the Chicken’: The Spectacle of Gay Male Sex and the Incitement of its Discourse in Rope","year":2018,"lang":"en","type":"article","venue":"INvoke","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Human sexuality; Homosexuality; Incitement; Gender studies; Sociology; Censorship; Law; Political science","score_opus":0.03288287707712761,"score_gpt":0.2475846140432263,"score_spread":0.21470173696609868,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2904135670","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3557362,0.023894917,0.006697261,0.19003578,0.0013866874,0.00003174381,0.00014809404,0.00009828379,0.42197108],"genre_scores_gemma":[0.9762422,0.0026901606,0.00041205913,0.0036576833,0.0004781561,0.000019953384,0.000021010395,0.00007016321,0.016408622],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9949492,0.0038346928,0.000057122146,0.0003529985,0.00049553596,0.0003104086],"domain_scores_gemma":[0.9878571,0.0095852865,0.00077920017,0.000651129,0.000594769,0.00053243333],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006310052,0.00044438418,0.00035761236,0.0023162146,0.009918693,0.011807807,0.00089266535,0.0043341373,0.0047847014],"category_scores_gemma":[0.015577739,0.00038216854,0.0002115317,0.0017755268,0.03407715,0.009991689,0.0054329666,0.0047414494,0.00048245312],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007279405,0.00001728786,0.001237824,0.00012492498,0.000009359522,0.0005526425,0.5093057,0.000074561474,0.0003347849,0.46021414,0.017356038,0.010700059],"study_design_scores_gemma":[0.000019694835,0.000055049055,0.003951882,0.00084099727,0.000016719092,0.00055848615,0.29590246,0.00043687923,0.0007966085,0.058117628,0.6392506,0.00005296258],"about_ca_topic_score_codex":0.009428698,"about_ca_topic_score_gemma":0.008262817,"teacher_disagreement_score":0.011807807,"about_ca_system_score_codex":0.003917852,"about_ca_system_score_gemma":0.0012555766,"threshold_uncertainty_score":0.03337109},"labels":[],"label_agreement":null},{"id":"W2904277408","doi":"10.4000/1895.6255","title":"Guillaume Debrulle, Charlie Chaplin. Les Lumières de la ville ; Laurent Jullier, Jean-Marc Leveratto, Analyse d’une œuvre : les Lumières de la ville (City Lights) Charlie Chaplin, 1931","year":2018,"lang":"fr","type":"article","venue":"1895","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"SNC-Lavalin (Canada)","funders":"","keywords":"Humanities; Art; Movie theater; Art history; Philosophy","score_opus":0.02371017478544637,"score_gpt":0.25583567142482627,"score_spread":0.2321254966393799,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2904277408","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019918655,0.65544254,0.0008280023,0.21998885,0.00540205,0.00003197166,0.0004400153,0.000052466752,0.11582222],"genre_scores_gemma":[0.10727735,0.34758464,0.0021297098,0.03658402,0.0067241522,0.00020693298,0.00039753437,0.00027087613,0.49882486],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99883133,0.0005409464,0.00003698577,0.0001963673,0.0002593473,0.00013495947],"domain_scores_gemma":[0.9975248,0.0013466962,0.000199385,0.00006089737,0.0005872214,0.0002809324],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010661853,0.0014764203,0.00051458983,0.0024998626,0.007673685,0.0069694035,0.0011868215,0.0057395375,0.04603948],"category_scores_gemma":[0.0037530023,0.0006575866,0.00028041354,0.0033059323,0.004744308,0.005811578,0.0019682972,0.005090758,0.008298341],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003162303,0.000018597826,0.00037468242,0.0001792828,0.0000063024117,0.00016563783,0.00520538,0.000078630896,0.000045549496,0.1027658,0.8653625,0.025766011],"study_design_scores_gemma":[0.0000053343488,0.0000036915226,0.0011765977,0.00045859863,0.0000025274596,0.000075110496,0.004022153,0.00003821568,0.000057260957,0.006244321,0.98790526,0.000010926829],"about_ca_topic_score_codex":0.22071111,"about_ca_topic_score_gemma":0.34674025,"teacher_disagreement_score":0.22071111,"about_ca_system_score_codex":0.009930547,"about_ca_system_score_gemma":0.004532027,"threshold_uncertainty_score":0.43885285},"labels":[],"label_agreement":null},{"id":"W2904841401","doi":"10.7202/1054147ar","title":"Musique et immersion spectatorielle dans les scènes de poursuite des films d’action du cinéma hollywoodien contemporain","year":2018,"lang":"fr","type":"article","venue":"Revue musicale OICRM","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.0551020381702906,"score_gpt":0.2548219466563655,"score_spread":0.19971990848607488,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2904841401","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53039265,0.0044863704,0.011696535,0.00818104,0.00023235119,0.000054056378,0.00018385627,0.000035000918,0.44473818],"genre_scores_gemma":[0.98048955,0.00084445113,0.0010101014,0.00013676051,0.000057461402,0.000015664267,0.00003453056,0.00001310091,0.017398354],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990127,0.00058139965,0.000020689135,0.000115610186,0.00014772378,0.00012186462],"domain_scores_gemma":[0.99863833,0.0008584986,0.00019808859,0.00006642626,0.000107551816,0.00013111786],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011796942,0.00024466772,0.00016816684,0.000756528,0.0018819851,0.0045298203,0.00037494715,0.00076513225,0.007656015],"category_scores_gemma":[0.0037252284,0.00015677622,0.00014322968,0.0008120207,0.0056562116,0.0026548242,0.0016476489,0.0012449452,0.0002524966],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017633768,0.00004627508,0.008435083,0.00027717772,0.000029458475,0.0006872755,0.19280551,0.00046588122,0.0025229764,0.74986064,0.0046047596,0.040088598],"study_design_scores_gemma":[0.00005910359,0.00027306867,0.11768782,0.00084735773,0.00006947858,0.0013027254,0.29254615,0.0021241384,0.0031241283,0.1137823,0.46809047,0.00009332574],"about_ca_topic_score_codex":0.00951607,"about_ca_topic_score_gemma":0.015148708,"teacher_disagreement_score":0.00951607,"about_ca_system_score_codex":0.002218641,"about_ca_system_score_gemma":0.0010018268,"threshold_uncertainty_score":0.025611877},"labels":[],"label_agreement":null},{"id":"W2904993399","doi":"10.1515/culture-2018-0036","title":"“A Wide-Angle View of Fragile Earth”: Capitalist Aesthetics in The Work of Yann Arthus-Bertrand","year":2018,"lang":"en","type":"article","venue":"Open Cultural Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Ideology; Aesthetics; Politics; Humanism; Subject (documents); Film director; Sociology; Anthropocene; Epistemology; Art; Philosophy; Environmental ethics; Political science; Visual arts; Law; Computer science; Movie theater","score_opus":0.08200284002204279,"score_gpt":0.29573414117808233,"score_spread":0.21373130115603955,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2904993399","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.114241,0.013132614,0.017037278,0.11604538,0.0015593764,0.00002860478,0.00006280728,0.00013714866,0.73775566],"genre_scores_gemma":[0.9809473,0.0011859861,0.0010552483,0.0012327865,0.0003066549,0.000011486948,0.0000064114133,0.00005054436,0.015203629],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982759,0.0012125979,0.000016838432,0.00015308286,0.00019683017,0.00014485841],"domain_scores_gemma":[0.99780387,0.0016721003,0.00011238686,0.00012339363,0.00012266981,0.00016553958],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024584902,0.00042968214,0.00020850245,0.0014172184,0.0063295155,0.009893495,0.0007399293,0.0022618962,0.0044532563],"category_scores_gemma":[0.0037772413,0.00019122225,0.00017805402,0.00086737954,0.029794078,0.0060591274,0.0024235027,0.0027230396,0.0003297856],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026939366,0.000010579087,0.00020575928,0.00003425206,0.0000035131688,0.00024163004,0.11023185,0.00020258666,0.00019697697,0.87153316,0.0124111045,0.0049015577],"study_design_scores_gemma":[0.000016854427,0.000030036064,0.0012716906,0.00026411994,0.000011029689,0.00060044124,0.12240522,0.0010699796,0.00043654002,0.30817878,0.5656761,0.000039205283],"about_ca_topic_score_codex":0.015210598,"about_ca_topic_score_gemma":0.014840074,"teacher_disagreement_score":0.015210598,"about_ca_system_score_codex":0.005267764,"about_ca_system_score_gemma":0.0011325069,"threshold_uncertainty_score":0.038220525},"labels":[],"label_agreement":null},{"id":"W2905942387","doi":"10.4000/communiquer.3278","title":"Des séries de mouvements aux images du temps dans les séries, ou l’art d’analyser les fictions audiovisuelles","year":2018,"lang":"fr","type":"article","venue":"Communiquer Revue de communication sociale et publique","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Series (stratigraphy); Conversation; Art; Movement (music); Visual arts; Art history; Psychology; Communication; Aesthetics; Geology","score_opus":0.07073239920840656,"score_gpt":0.307266178917131,"score_spread":0.2365337797087244,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2905942387","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18607295,0.02802139,0.07630259,0.051964737,0.01342045,0.00028116882,0.0017197042,0.0005890262,0.641628],"genre_scores_gemma":[0.5933645,0.016859459,0.022178324,0.0028240394,0.0070287315,0.00036415597,0.00058235374,0.00070281717,0.35609558],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99781907,0.0009177732,0.00007224706,0.00032804106,0.0007004158,0.00016250521],"domain_scores_gemma":[0.9921829,0.0053449036,0.0007885459,0.0004870429,0.00090317,0.00029344042],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025919199,0.0008978007,0.00032851662,0.0039444137,0.0033889425,0.008306597,0.0008202642,0.001909276,0.023551755],"category_scores_gemma":[0.014982722,0.00028566387,0.00061610015,0.0031331792,0.005243232,0.006151779,0.0018549152,0.0027722416,0.0024746433],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000155049,0.00006906284,0.0040254276,0.00087123585,0.00004497863,0.000735162,0.06514495,0.0008314576,0.0032881035,0.7013518,0.06246253,0.1610203],"study_design_scores_gemma":[0.000012373156,0.00007135193,0.008522035,0.0006372527,0.000034332923,0.00067126204,0.022379257,0.0007253126,0.0027390441,0.045420267,0.9187399,0.000047689005],"about_ca_topic_score_codex":0.0044768895,"about_ca_topic_score_gemma":0.0077074943,"teacher_disagreement_score":0.023551755,"about_ca_system_score_codex":0.003203773,"about_ca_system_score_gemma":0.0015827151,"threshold_uncertainty_score":0.07878852},"labels":[],"label_agreement":null},{"id":"W2906278436","doi":"10.28995/2073-6401-2015-2-115-119","title":"A SYNTHESIS OF THE EXPRESSIVE MEANS OF THE DOCUMENTARY TV AND EXPERIMENTAL DOCUMENTARY CINEMATOGRAPHY IN CANADA OF 1950-1960S","year":2015,"lang":"en","type":"article","venue":"RSUH/RGGU Bulletin Series Philosophy Social Studies Art Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cinematography; Documentary film; History; Art; Visual arts; Art history","score_opus":0.03616299766277372,"score_gpt":0.2406615324414022,"score_spread":0.20449853477862848,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2906278436","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5072247,0.1076531,0.0014783985,0.013382105,0.00078541937,0.00023828613,0.01850145,0.00007981239,0.3506567],"genre_scores_gemma":[0.95538783,0.02469562,0.0005137184,0.00041411628,0.00023316155,0.000052372798,0.002394288,0.000070879985,0.016238011],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985464,0.0002079201,0.00006244787,0.00022528782,0.00049392536,0.00046394084],"domain_scores_gemma":[0.99082524,0.0032298777,0.000655892,0.0002483017,0.004281452,0.00075925846],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019885292,0.0007360672,0.00056752283,0.013752756,0.0073612565,0.007507095,0.0011756002,0.00075263274,0.019392258],"category_scores_gemma":[0.010001613,0.00031251184,0.00026112457,0.021273835,0.0059128036,0.0019011715,0.0018143074,0.0015019159,0.0004935401],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00071153126,0.000156813,0.048799705,0.0053958576,0.00017899752,0.0010088402,0.46752608,0.0008660189,0.0017132267,0.21318614,0.061238516,0.1992183],"study_design_scores_gemma":[0.000019048617,0.00003528043,0.3168446,0.0039686705,0.00012331533,0.0002572314,0.21417168,0.0003188323,0.000843667,0.0032319804,0.46012086,0.000064833424],"about_ca_topic_score_codex":0.9797641,"about_ca_topic_score_gemma":0.9898259,"teacher_disagreement_score":0.0942509,"about_ca_system_score_codex":0.0942509,"about_ca_system_score_gemma":0.08469032,"threshold_uncertainty_score":0.68384135},"labels":[],"label_agreement":null},{"id":"W2911241270","doi":"10.3138/cjfs.20.1.115","title":"Ciné Forum: Morris not Enough: Remembering Peter Morris","year":2011,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"Morris water navigation task; Art; Art history; Psychology","score_opus":0.11721048497415544,"score_gpt":0.23587242656312324,"score_spread":0.1186619415889678,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2911241270","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014197862,0.04156272,0.00039976396,0.9057049,0.023303548,0.0000125654915,0.000078681485,0.000109835535,0.027408222],"genre_scores_gemma":[0.11260646,0.08929412,0.001965811,0.46260872,0.04415668,0.00010657074,0.00019023681,0.00061544013,0.28845587],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99837214,0.0008449877,0.00005557964,0.0001571124,0.0003854777,0.0001847589],"domain_scores_gemma":[0.99286085,0.0029944235,0.00049472396,0.00020282152,0.0015450881,0.001902063],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027913714,0.0005361826,0.0004370662,0.0008896005,0.0068333754,0.008449505,0.00084368075,0.006617552,0.026948692],"category_scores_gemma":[0.014579736,0.0005094636,0.00024697583,0.0009435923,0.0038339563,0.016108261,0.0028664402,0.010526082,0.0069969147],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014395513,0.000006215678,0.000121285935,0.000029247029,0.0000017340399,0.00010752903,0.0020234487,0.0000072649023,0.000047702248,0.0038009721,0.98604685,0.007793364],"study_design_scores_gemma":[0.000012925514,0.000012866812,0.0006428313,0.0002635539,0.0000061905075,0.000259335,0.006975047,0.000034734763,0.000096582764,0.0033459638,0.9883245,0.000025454601],"about_ca_topic_score_codex":0.027827187,"about_ca_topic_score_gemma":0.061657555,"teacher_disagreement_score":0.027827187,"about_ca_system_score_codex":0.002304419,"about_ca_system_score_gemma":0.0028090084,"threshold_uncertainty_score":0.09015232},"labels":[],"label_agreement":null},{"id":"W2911249917","doi":"10.7765/9781526141651.00008","title":"Words and images","year":2019,"lang":"en","type":"book-chapter","venue":"Manchester University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Identity (music); Literature; History; Reading (process); TRACE (psycholinguistics); Art history; Aesthetics; Philosophy; Linguistics","score_opus":0.03341431467472328,"score_gpt":0.1759730278723789,"score_spread":0.14255871319765562,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2911249917","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001039877,0.011041425,0.0010929729,0.0054533198,0.004386824,0.000036781115,0.0004939851,0.00015464381,0.9763],"genre_scores_gemma":[0.022184828,0.006896071,0.0008592126,0.002298597,0.0015805463,0.000048596165,0.0004995614,0.00034291254,0.9652897],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936324,0.00018469185,0.000037634025,0.00010525984,0.00022275223,0.00008637614],"domain_scores_gemma":[0.999405,0.00016368939,0.000059589776,0.00009850061,0.00018540904,0.00008779979],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003788533,0.0008289346,0.0003882293,0.002299093,0.00287295,0.007961667,0.00086880015,0.0012195917,0.15204637],"category_scores_gemma":[0.002559272,0.00022746371,0.00021586707,0.0026057,0.002541185,0.005817852,0.0023897658,0.0018340521,0.086088374],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033446642,0.00001464021,0.00011502038,0.00018412802,0.0000028507698,0.0001533834,0.0038695466,0.00005158291,0.00041906463,0.31902826,0.59417003,0.08195802],"study_design_scores_gemma":[7.4321696e-7,0.0000019304625,0.00004622628,0.000056321718,3.208888e-7,0.00005932222,0.00046498113,0.000009594943,0.00003090107,0.0039673564,0.9953609,0.0000013664561],"about_ca_topic_score_codex":0.0023224775,"about_ca_topic_score_gemma":0.0039301584,"teacher_disagreement_score":0.15204637,"about_ca_system_score_codex":0.0023164195,"about_ca_system_score_gemma":0.0009983939,"threshold_uncertainty_score":0.5086458},"labels":[],"label_agreement":null},{"id":"W2911312593","doi":"10.3138/cjfs.15.1.88","title":"The Seen, the Heard, and the Read: On the Foreignness of Film. Edited by Atom Egoyan and Ian Balfour Cambridge, MA and London: MIT Press and Alphabet City Media, 2004","year":2006,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Alphabet; Media studies; Art; Art history; History; Sociology; Philosophy; Linguistics","score_opus":0.021778211062274715,"score_gpt":0.2030670564999696,"score_spread":0.18128884543769488,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2911312593","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0041341963,0.88787663,0.0006503253,0.03016487,0.007342607,0.000010496894,0.00022571965,0.000023033133,0.06957208],"genre_scores_gemma":[0.0895226,0.84304243,0.0008891543,0.0028539642,0.0076255375,0.000029621746,0.0002049051,0.00007627817,0.055755407],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997271,0.00013344109,0.000015843612,0.000025426421,0.00006780172,0.000030395793],"domain_scores_gemma":[0.9986076,0.00087791384,0.000097358796,0.00005265805,0.00023712502,0.00012742332],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009101692,0.0011047517,0.0008313555,0.0030584142,0.0020268846,0.0058005047,0.00080641126,0.0014606626,0.01481639],"category_scores_gemma":[0.003416904,0.0007904992,0.0002935628,0.0035368607,0.003355797,0.0066266772,0.0018009499,0.0019148781,0.0017354427],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012194745,0.00004208692,0.001536465,0.0012961773,0.000043906566,0.00040952282,0.028710717,0.00018320749,0.0003978472,0.09541372,0.66876274,0.20308161],"study_design_scores_gemma":[0.000014490409,0.000032039414,0.0063366215,0.003766939,0.000040198007,0.00064323127,0.024609445,0.00012385259,0.00028071363,0.025296522,0.93883586,0.000020126805],"about_ca_topic_score_codex":0.02081497,"about_ca_topic_score_gemma":0.039939936,"teacher_disagreement_score":0.97918504,"about_ca_system_score_codex":0.0015485082,"about_ca_system_score_gemma":0.0017793169,"threshold_uncertainty_score":0.049565792},"labels":[],"label_agreement":null},{"id":"W2911359644","doi":"10.3138/cjfs.15.1.104","title":"Cinema’s Conversion to Sound Technology and Film Style in France and the U.S. Charles O’Brien","year":2006,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Movie theater; Sound (geography); Style (visual arts); Art history; Art; Visual arts; Acoustics; Physics","score_opus":0.014762714115373811,"score_gpt":0.20456212792203654,"score_spread":0.18979941380666274,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2911359644","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87224686,0.013685481,0.00022066737,0.02873341,0.00015521298,0.000010075009,0.00029805794,0.000016849199,0.0846333],"genre_scores_gemma":[0.98869914,0.0018875257,0.00009173685,0.0005264471,0.000085531145,0.0000030220215,0.00005011467,0.000007936941,0.008648454],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993554,0.00029720817,0.000013343899,0.000086201,0.00011092171,0.00013701589],"domain_scores_gemma":[0.998401,0.0007734429,0.00028182342,0.000034123364,0.00031308507,0.00019645144],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008821095,0.00013752238,0.00014214477,0.0015540896,0.0016873925,0.00386841,0.00028146728,0.0007925402,0.0044433544],"category_scores_gemma":[0.0031593584,0.00014687864,0.00016485278,0.0017236063,0.0018128243,0.0011528345,0.0007316599,0.0011593126,0.00026107827],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00066172896,0.00042193648,0.29147196,0.00018547094,0.00015682928,0.0014655192,0.18632372,0.0015928176,0.002638789,0.13117361,0.10335654,0.2805512],"study_design_scores_gemma":[0.000017163791,0.00009338429,0.7981956,0.00022071652,0.000021497444,0.00025586088,0.042261127,0.0005708323,0.00046464294,0.0038961682,0.15394615,0.000056846773],"about_ca_topic_score_codex":0.2872493,"about_ca_topic_score_gemma":0.3506925,"teacher_disagreement_score":0.2872493,"about_ca_system_score_codex":0.006107986,"about_ca_system_score_gemma":0.0010151907,"threshold_uncertainty_score":0.57115465},"labels":[],"label_agreement":null},{"id":"W2911382962","doi":"10.3138/cjfs.15.2.125","title":"Film Festival Fever: Recent Testimonials Sundance to Sarajevo; Film Festivals and the World they made; Film Festival Confidential; Queer Film and Video Festival Forum, Take One; Curators Speak Out, Moving Image Review","year":2006,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Film festival; Art; Queer; Visual arts; Art history; Media studies; Sociology; Gender studies","score_opus":0.03573747854077482,"score_gpt":0.26237815805055664,"score_spread":0.22664067950978184,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2911382962","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012431906,0.09428072,0.00031718594,0.74364865,0.070281275,0.00009477907,0.0018456382,0.00007575711,0.077024125],"genre_scores_gemma":[0.16421841,0.08882941,0.0007876836,0.25041974,0.07190551,0.00020806312,0.0014873459,0.00036018377,0.42178363],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990969,0.00020915728,0.0000645868,0.00012644372,0.00024713686,0.00025582558],"domain_scores_gemma":[0.99545765,0.0019060196,0.00045227853,0.00014798294,0.0011937757,0.0008422848],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022814285,0.00044366083,0.000457229,0.0013234736,0.008036814,0.004703497,0.0010722659,0.0068601514,0.018492576],"category_scores_gemma":[0.008960699,0.00031509157,0.00041825688,0.0018330903,0.001647824,0.002306132,0.002198325,0.009437301,0.0018817148],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047405905,0.000014026062,0.00049854344,0.0003329954,0.000015700296,0.0006291293,0.004362721,0.000020646823,0.000316288,0.0037756113,0.9804354,0.009551513],"study_design_scores_gemma":[0.0000044400153,0.000007119213,0.0019037446,0.00025362946,0.000010216969,0.00013976086,0.0053376537,0.000013384166,0.00016105059,0.00016047442,0.9919978,0.000010695953],"about_ca_topic_score_codex":0.12483157,"about_ca_topic_score_gemma":0.28978002,"teacher_disagreement_score":0.12483157,"about_ca_system_score_codex":0.005422621,"about_ca_system_score_gemma":0.005635775,"threshold_uncertainty_score":0.2482099},"labels":[],"label_agreement":null},{"id":"W2911401699","doi":"10.3138/cjfs.22.1.156","title":"The Right to Play Oneself: Looking Back on Documentary Film By Thomas Waugh Minneapolis, London: University of Minnesota Press, 2011","year":2013,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art history; Art; Media studies; Documentary film; Performance art; Sociology","score_opus":0.017924529208674794,"score_gpt":0.19861172367672503,"score_spread":0.18068719446805023,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2911401699","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007760517,0.39849916,0.00064097886,0.42211196,0.022796215,0.00002805261,0.0005990107,0.000046942645,0.14751713],"genre_scores_gemma":[0.1572508,0.39139304,0.0014194659,0.05571585,0.012172935,0.000057009234,0.0005979823,0.00042373905,0.3809691],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992994,0.00027320793,0.000038946593,0.00009138307,0.00016466329,0.00013235836],"domain_scores_gemma":[0.99853265,0.0006664496,0.00007310528,0.00006644217,0.00038785953,0.00027358733],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010596784,0.0007856008,0.00042049607,0.0017601455,0.0081057325,0.010424067,0.0007655986,0.003701651,0.01603804],"category_scores_gemma":[0.0038360294,0.0005411109,0.00030153777,0.0025634519,0.005043143,0.009477643,0.0017442377,0.0066214716,0.0030634853],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003427086,0.000016503664,0.0004550277,0.00031618544,0.000008420931,0.00022512952,0.034110647,0.000039768198,0.00021923195,0.040597234,0.8918932,0.03208441],"study_design_scores_gemma":[0.0000024451433,0.000006101458,0.0014564601,0.00064917485,0.000009387183,0.00012984623,0.019609096,0.000018527304,0.00008032535,0.0019620834,0.9760668,0.000009823378],"about_ca_topic_score_codex":0.2621965,"about_ca_topic_score_gemma":0.52409565,"teacher_disagreement_score":0.2621965,"about_ca_system_score_codex":0.0095048,"about_ca_system_score_gemma":0.0066279736,"threshold_uncertainty_score":0.5213407},"labels":[],"label_agreement":null},{"id":"W2911686134","doi":"10.3138/cjfs.13.2.93","title":"Hollywood North: The Feature Film Industry in British Columbia Mike Gasher","year":2004,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Hollywood; Feature (linguistics); Art history; Film industry; Feature film; Art; Media studies; Visual arts; History; Movie theater; Sociology; Philosophy","score_opus":0.028942489683640955,"score_gpt":0.20876047571413672,"score_spread":0.17981798603049576,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2911686134","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6511024,0.013063856,0.00044141346,0.07113466,0.0005281224,0.00009620448,0.005278679,0.00011925218,0.25823542],"genre_scores_gemma":[0.6630656,0.009688012,0.0004200464,0.0025910384,0.000089258065,0.000029110694,0.0013636474,0.00006484739,0.3226885],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99968565,0.000026233956,0.0000057039806,0.00002660163,0.0001098012,0.00014605984],"domain_scores_gemma":[0.998528,0.00017655404,0.000094602845,0.000022948821,0.00065703277,0.0005208071],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00020262458,0.0001772626,0.00016423837,0.0015720302,0.0047420166,0.0029833352,0.00067164644,0.00080051064,0.024673615],"category_scores_gemma":[0.0013843378,0.00026575173,0.0000809844,0.0031841674,0.0005511491,0.0013773483,0.0008424709,0.0012143748,0.0015417961],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018463486,0.00017915794,0.09746027,0.0003076564,0.000035758025,0.003047078,0.02214399,0.00071580015,0.0017401179,0.012130534,0.7256407,0.13641423],"study_design_scores_gemma":[0.000013163915,0.000029393726,0.41323575,0.00035841824,0.000028037817,0.00037917102,0.13445316,0.0010963508,0.00081494474,0.0018444645,0.44768056,0.00006657188],"about_ca_topic_score_codex":0.97742665,"about_ca_topic_score_gemma":0.995905,"teacher_disagreement_score":0.024673615,"about_ca_system_score_codex":0.023657553,"about_ca_system_score_gemma":0.016655836,"threshold_uncertainty_score":0.17164838},"labels":[],"label_agreement":null},{"id":"W2911776443","doi":"10.3138/cjfs.24.2.155","title":"Lois Weber in Early Hollywood By Shelley Stamp Berkeley: University of California Press, 2015; Germaine Dulac: A Cinema of Sensations By Tami Williams Urbana, Chicago, and Springfield: University of Illinois, 2014","year":2015,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Hollywood; Art history; Movie theater; Art; History; Media studies; Sociology","score_opus":0.02044442993614401,"score_gpt":0.1908818798157179,"score_spread":0.17043744987957388,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2911776443","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003631001,0.45437807,0.0010808131,0.12783511,0.025550501,0.000047219004,0.00056365004,0.00018050164,0.38673308],"genre_scores_gemma":[0.051120445,0.13909759,0.0006415509,0.009517124,0.0084138885,0.000076606906,0.00024049351,0.00043894336,0.79045326],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994491,0.00014098627,0.000027059583,0.0001073912,0.00016466063,0.00011082277],"domain_scores_gemma":[0.9993093,0.00025922034,0.00006066575,0.000043474683,0.00014996585,0.00017737476],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009279618,0.0016185018,0.00048524348,0.0036027816,0.0055256556,0.0077332766,0.0007108028,0.002687064,0.040839523],"category_scores_gemma":[0.0029450774,0.0006577073,0.00024839133,0.003289252,0.0034959652,0.008710717,0.0033872824,0.0036526932,0.009003769],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018166866,0.000015052317,0.00012775925,0.0000931742,0.000002404896,0.000054599313,0.0033233394,0.00002934368,0.000054556996,0.05779849,0.9053495,0.033133596],"study_design_scores_gemma":[0.0000014314168,0.000001971939,0.0004928731,0.00024062951,0.0000018423207,0.000033286404,0.0018710833,0.000011598276,0.000056374985,0.00476183,0.9925212,0.0000058650257],"about_ca_topic_score_codex":0.03991325,"about_ca_topic_score_gemma":0.12071394,"teacher_disagreement_score":0.040839523,"about_ca_system_score_codex":0.0047881934,"about_ca_system_score_gemma":0.0034324916,"threshold_uncertainty_score":0.13662183},"labels":[],"label_agreement":null},{"id":"W2911845291","doi":"10.1177/155019061200800203","title":"Archiving Everyday Life","year":2012,"lang":"en","type":"article","venue":"Collections A Journal for Museum and Archives Professionals","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Everyday life; Power (physics); Aesthetics; Sociology; Epistemology; Art","score_opus":0.0488071669762242,"score_gpt":0.28253555435612404,"score_spread":0.23372838737989984,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2911845291","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.152048,0.032762423,0.084339015,0.0754031,0.0038708386,0.00020984847,0.00064104836,0.00061428646,0.6501114],"genre_scores_gemma":[0.9268459,0.013436776,0.024592806,0.005869659,0.0014849309,0.0001501054,0.00034236515,0.00034516506,0.026932307],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9936666,0.0039637694,0.00025069265,0.0006886327,0.0010345753,0.0003957203],"domain_scores_gemma":[0.99021065,0.0033765384,0.0008941217,0.0034456972,0.001233938,0.00083905255],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006008956,0.00057217537,0.0006410415,0.003658626,0.008041982,0.022740155,0.0019181272,0.0023461315,0.008715297],"category_scores_gemma":[0.0139307855,0.00044068394,0.00051991653,0.0032943133,0.030150458,0.026488803,0.010761324,0.0042702677,0.0015847522],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004391521,0.000035698795,0.002262632,0.00035534278,0.000038459457,0.0002520778,0.20948203,0.00022708692,0.00065775984,0.695633,0.013259921,0.07775205],"study_design_scores_gemma":[0.000009012289,0.000043840555,0.002202942,0.0008257745,0.000028463432,0.00054353784,0.14641036,0.00017014708,0.0005263358,0.28659093,0.56259555,0.00005309445],"about_ca_topic_score_codex":0.0037688427,"about_ca_topic_score_gemma":0.0041362676,"teacher_disagreement_score":0.022740155,"about_ca_system_score_codex":0.0040360834,"about_ca_system_score_gemma":0.0036191759,"threshold_uncertainty_score":0.031778753},"labels":[],"label_agreement":null},{"id":"W2911963733","doi":"10.7202/1055013ar","title":"Cinéma rouge au Québec","year":2004,"lang":"fr","type":"article","venue":"Bulletin d histoire politique","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"ROUGE; Art; Computer science; Natural language processing","score_opus":0.015982355978527287,"score_gpt":0.20654775888455854,"score_spread":0.19056540290603124,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2911963733","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26749203,0.033112586,0.001518649,0.06608867,0.001761746,0.00007482405,0.0015361562,0.0001109616,0.6283045],"genre_scores_gemma":[0.7428238,0.008495911,0.0006128775,0.0020401056,0.00021641936,0.000024619121,0.0002570529,0.000057926023,0.24547127],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943084,0.00015303171,0.000012780736,0.00007509607,0.00016650704,0.00016172235],"domain_scores_gemma":[0.9988275,0.00027791946,0.00006698842,0.0000383276,0.00062072236,0.00016852166],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006830593,0.00039925665,0.00022194078,0.0020929887,0.009441162,0.0062987097,0.0006021627,0.0012700653,0.022106804],"category_scores_gemma":[0.0020921403,0.00019619855,0.0001981449,0.0024953398,0.0028969944,0.0011677914,0.00077231997,0.0024153902,0.00051655434],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023192374,0.00014549504,0.018172646,0.00058979413,0.000054882108,0.0022963716,0.13849781,0.0010151429,0.00431308,0.49562103,0.21412821,0.12493366],"study_design_scores_gemma":[0.000008607314,0.000017206678,0.03121662,0.000329603,0.000019504732,0.00023309748,0.03381721,0.00048143894,0.00061954674,0.0023656127,0.9308615,0.000030169902],"about_ca_topic_score_codex":0.9804497,"about_ca_topic_score_gemma":0.9894365,"teacher_disagreement_score":0.056188557,"about_ca_system_score_codex":0.056188557,"about_ca_system_score_gemma":0.030274019,"threshold_uncertainty_score":0.40767843},"labels":[],"label_agreement":null},{"id":"W2912617832","doi":"10.3138/cjfs.20.1.117","title":"Ciné Forum: Roudtable: History of Canadian Film Studies","year":2011,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Round table; Art history; Ethnology; Sociology; Computer science","score_opus":0.13553636633156657,"score_gpt":0.2337208671040655,"score_spread":0.09818450077249893,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2912617832","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013519038,0.292712,0.0009803176,0.15889648,0.011642726,0.00010150081,0.0032418722,0.00020220064,0.5187038],"genre_scores_gemma":[0.34550542,0.21539348,0.0017252392,0.014548538,0.003645629,0.00013291785,0.0015741969,0.00033935512,0.41713524],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975585,0.00032970431,0.000063779466,0.00026391543,0.000968531,0.00081552577],"domain_scores_gemma":[0.9942707,0.00096026267,0.00025276231,0.00023522926,0.002726674,0.0015543338],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019416348,0.00077437685,0.00054426433,0.0078117186,0.016558083,0.010372924,0.0018403163,0.0025112354,0.05538752],"category_scores_gemma":[0.0058127353,0.0004396287,0.00033147482,0.013813282,0.008172014,0.004388312,0.0026728038,0.0027049182,0.002595154],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009036778,0.000032412056,0.0018281954,0.0010070958,0.000015105672,0.0003462422,0.02447711,0.00009794391,0.00056215934,0.19839823,0.6770036,0.096141465],"study_design_scores_gemma":[0.00000233904,0.0000026441123,0.0027320436,0.00024109913,0.0000033745582,0.00003092503,0.0039526625,0.00001590764,0.000061296414,0.0006752258,0.9922718,0.000010607006],"about_ca_topic_score_codex":0.9712966,"about_ca_topic_score_gemma":0.98674995,"teacher_disagreement_score":0.8837653,"about_ca_system_score_codex":0.1162347,"about_ca_system_score_gemma":0.09789709,"threshold_uncertainty_score":0.8433457},"labels":[],"label_agreement":null},{"id":"W2912624263","doi":"","title":"Museum Movies: The Museum of Modern Art and the Birth of Art Cinema","year":2006,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Reading (process); Art history; Visual arts; Modern art; History; Performance art; Philosophy","score_opus":0.02457859654240592,"score_gpt":0.20447082531225436,"score_spread":0.17989222876984845,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2912624263","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009194515,0.397518,0.0010811745,0.0441392,0.0047782813,0.000046855657,0.00072016905,0.00034658576,0.54217523],"genre_scores_gemma":[0.27871326,0.21573322,0.002754304,0.0067927744,0.006251403,0.00012042014,0.00079822075,0.00049645104,0.48833996],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9994548,0.00018500336,0.000021714182,0.000075525284,0.00017134131,0.00009165897],"domain_scores_gemma":[0.99928683,0.00021219962,0.0000909434,0.00008705084,0.00010379706,0.00021926506],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00073243736,0.00045120865,0.00026501872,0.001585503,0.0035267097,0.009676122,0.00074652716,0.0012810652,0.030175783],"category_scores_gemma":[0.0020604332,0.00058544957,0.00025629558,0.0018689167,0.002979759,0.005712498,0.001953995,0.0020669883,0.0030316128],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033051296,0.000024227844,0.0010368284,0.00037190283,0.000012386922,0.00014465718,0.012099426,0.000046990506,0.00039229478,0.14177431,0.7502779,0.09378611],"study_design_scores_gemma":[0.000003551237,0.000005129993,0.002568404,0.000347145,0.000005850239,0.00009616449,0.0020929775,0.000014895761,0.00007042774,0.0022648694,0.99252594,0.000004582744],"about_ca_topic_score_codex":0.032406386,"about_ca_topic_score_gemma":0.049676575,"teacher_disagreement_score":0.032406386,"about_ca_system_score_codex":0.0033811037,"about_ca_system_score_gemma":0.0021959946,"threshold_uncertainty_score":0.100948036},"labels":[],"label_agreement":null},{"id":"W2912816937","doi":"10.1386/ts.10.1.59_1","title":"Calls of the wild? ‘Fake’ sound effects and cinematic realism in BBC David Attenborough nature documentaries","year":2017,"lang":"en","type":"article","venue":"The Soundtrack","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"","keywords":"Context (archaeology); Realism; Media studies; Sound (geography); Art history; History; Art; Visual arts; Literature; Sociology; Archaeology","score_opus":0.017499973409856318,"score_gpt":0.24968436919108727,"score_spread":0.23218439578123096,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2912816937","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18840422,0.023594912,0.0068359356,0.14554131,0.002947036,0.000043021086,0.00021207752,0.00016453917,0.632257],"genre_scores_gemma":[0.95819277,0.0030263897,0.0009850964,0.0043406547,0.0010696483,0.00002466234,0.000038845992,0.00013654919,0.03218541],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99631137,0.0027410516,0.000061674866,0.00024601322,0.00038937546,0.00025059874],"domain_scores_gemma":[0.9816436,0.015110381,0.0009798873,0.00095592707,0.0008015731,0.0005085805],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0040254956,0.0003311438,0.00024197478,0.0013795247,0.0057531367,0.012628154,0.00053473463,0.002842388,0.012527589],"category_scores_gemma":[0.01918814,0.0003199702,0.0001499453,0.00089428714,0.01574528,0.0068079443,0.0030489971,0.0040016365,0.0010262746],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018431347,0.000039291022,0.0018849955,0.0002786843,0.000015400428,0.0005311461,0.19291899,0.0002520354,0.0009452057,0.6923427,0.080060445,0.030546758],"study_design_scores_gemma":[0.000029640212,0.000060003833,0.0045510656,0.0011692317,0.000018316672,0.00054664264,0.076239236,0.0006023676,0.001029415,0.057777237,0.8579062,0.00007066559],"about_ca_topic_score_codex":0.006853199,"about_ca_topic_score_gemma":0.009055717,"teacher_disagreement_score":0.012628154,"about_ca_system_score_codex":0.004652201,"about_ca_system_score_gemma":0.0007923458,"threshold_uncertainty_score":0.04190892},"labels":[],"label_agreement":null},{"id":"W2913587433","doi":"10.1386/public.29.58.188_5","title":"Archiveology: Walter Benjamin and Archival Film Practices","year":2018,"lang":"en","type":"article","venue":"Public","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Obsolescence; Movie theater; Key (lock); Art history; Art; Sociology; Aesthetics; Visual arts; Media studies; Computer science","score_opus":0.07207655143154558,"score_gpt":0.26402844260405944,"score_spread":0.19195189117251388,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2913587433","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013052456,0.4562625,0.006566433,0.08210661,0.0030684257,0.000051596093,0.00015326671,0.00012228977,0.4386164],"genre_scores_gemma":[0.382877,0.45467705,0.005730852,0.008511477,0.005774929,0.0001541014,0.00014551535,0.00037574332,0.14175336],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9948773,0.0029624654,0.00018433422,0.0003477609,0.0013838363,0.00024441656],"domain_scores_gemma":[0.99427104,0.0041221716,0.00041581097,0.0003541514,0.00059126946,0.00024549043],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0045261495,0.00034718358,0.00048174683,0.0034993575,0.0022559026,0.00991867,0.0011540843,0.0023634892,0.012480546],"category_scores_gemma":[0.008875477,0.0002714891,0.00021522319,0.0035334174,0.009286096,0.0077692177,0.0023530237,0.0028033147,0.001527605],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026314543,0.000026484735,0.00032529392,0.0006417276,0.000010472703,0.0002710382,0.027620709,0.00018306162,0.00023595977,0.742863,0.09661867,0.13117716],"study_design_scores_gemma":[0.0000044174853,0.000010010088,0.00050683157,0.0017043647,0.0000048566308,0.00024752333,0.008948383,0.00007927242,0.00023135984,0.034901794,0.95334893,0.000012182747],"about_ca_topic_score_codex":0.009560266,"about_ca_topic_score_gemma":0.008699357,"teacher_disagreement_score":0.012480546,"about_ca_system_score_codex":0.005147619,"about_ca_system_score_gemma":0.0023930247,"threshold_uncertainty_score":0.041751623},"labels":[],"label_agreement":null},{"id":"W2913625444","doi":"10.3138/cjfs.23.2.138","title":"The Films of Martin Scorsese, 1979-99: Authorship and Context II By Leighton Grist New York: Palgrave Macmillan, 2013","year":2014,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Context (archaeology); Art history; Art; History; Sociology; Archaeology","score_opus":0.045278048035264355,"score_gpt":0.2269164806271798,"score_spread":0.18163843259191545,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2913625444","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022097297,0.6817363,0.00056183623,0.10576483,0.008195245,0.000034032837,0.0017009418,0.000033322394,0.17987616],"genre_scores_gemma":[0.44380254,0.32721993,0.00056085276,0.0035945808,0.007119652,0.00008029774,0.0007569444,0.0001725099,0.2166927],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916625,0.00031537827,0.000050260252,0.000114832335,0.00022123898,0.00013205831],"domain_scores_gemma":[0.9967206,0.002037754,0.00036835828,0.00011656343,0.0004942151,0.00026251146],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012574908,0.0008293106,0.00041860947,0.0035422712,0.0039598923,0.0073146303,0.0006286468,0.0022839862,0.010544493],"category_scores_gemma":[0.007643555,0.0005065152,0.00018239304,0.0064677843,0.004229645,0.0060792505,0.001941925,0.002403341,0.0015501421],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001210607,0.000038540486,0.0023087328,0.0006617545,0.000017055085,0.00034999638,0.06518909,0.00014307802,0.00028969639,0.181771,0.63906074,0.110049255],"study_design_scores_gemma":[0.0000057224656,0.000008571053,0.005879655,0.0019354975,0.0000072530024,0.00013479241,0.014476162,0.000029285991,0.00019244642,0.0081651155,0.9691519,0.000013572767],"about_ca_topic_score_codex":0.05499127,"about_ca_topic_score_gemma":0.11085592,"teacher_disagreement_score":0.05499127,"about_ca_system_score_codex":0.006087312,"about_ca_system_score_gemma":0.0042095813,"threshold_uncertainty_score":0.109342396},"labels":[],"label_agreement":null},{"id":"W2913680963","doi":"","title":"The Cinema of Canada/film in Canada","year":2008,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; National cinema; Media studies; Film studies; Film industry; Context (archaeology); White (mutation); Politics; Sociology; Art history; History; Law; Political science; Archaeology","score_opus":0.03762090693728268,"score_gpt":0.1929802210993951,"score_spread":0.15535931416211243,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2913680963","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011530692,0.44651592,0.00086844957,0.044314355,0.0047336374,0.000060681086,0.0017899188,0.0002045855,0.4899818],"genre_scores_gemma":[0.29006147,0.34866467,0.0026907255,0.0061624837,0.0012472587,0.00006395566,0.0015311844,0.0003830981,0.34919512],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931085,0.000067056,0.000018999235,0.00007653165,0.00031329747,0.00021331052],"domain_scores_gemma":[0.9992662,0.00005496443,0.000037022066,0.000020715986,0.00035919325,0.00026192117],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043882255,0.0006847663,0.00034586334,0.002271093,0.00781458,0.010080475,0.00081961654,0.000817872,0.022851106],"category_scores_gemma":[0.0011822297,0.00033905814,0.00018443147,0.005138619,0.003990699,0.0020109469,0.0015553086,0.0015620711,0.0017436816],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027803579,0.0000128011225,0.0011661787,0.00053023413,0.000012088934,0.00023056519,0.017863851,0.00015378372,0.0008072031,0.059935354,0.7848785,0.13438156],"study_design_scores_gemma":[0.0000011033571,0.0000017925075,0.0026863706,0.00031051727,0.000004650395,0.000065150925,0.006494628,0.00002779468,0.0000727522,0.00059557566,0.98973197,0.000007695636],"about_ca_topic_score_codex":0.97535956,"about_ca_topic_score_gemma":0.989106,"teacher_disagreement_score":0.051683974,"about_ca_system_score_codex":0.051683974,"about_ca_system_score_gemma":0.07336415,"threshold_uncertainty_score":0.37499523},"labels":[],"label_agreement":null},{"id":"W2913894745","doi":"10.3138/cjfs.25.1.fm","title":"Introduction: National and Global: Twenty-Five Years of Film Studies in a Canadian Context","year":2016,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); History; Media studies; Sociology; Aesthetics; Political science; Art; Archaeology","score_opus":0.046310000085007685,"score_gpt":0.26405140717823694,"score_spread":0.21774140709322926,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2913894745","genre_codex":"review","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06814441,0.41952386,0.0008149835,0.1671771,0.015853649,0.00030602014,0.056698393,0.00030327894,0.2711783],"genre_scores_gemma":[0.41558754,0.36591598,0.0026120865,0.021944432,0.0065893787,0.00031057288,0.02151569,0.00034467725,0.16517961],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9975169,0.00013069027,0.0001387322,0.0002846776,0.0011290087,0.0008000838],"domain_scores_gemma":[0.9928255,0.0004959655,0.00049501477,0.00014381907,0.0037160467,0.0023236582],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028323992,0.0010443785,0.00076966145,0.012764041,0.010197819,0.013980386,0.001459879,0.0014675116,0.03322491],"category_scores_gemma":[0.00498917,0.0003520897,0.00051197014,0.034715366,0.0041027498,0.0041896123,0.0033691896,0.00225118,0.002249712],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018125742,0.000070377675,0.041507453,0.0038740167,0.00007888416,0.0003575072,0.03565332,0.00024699824,0.0009856952,0.041676424,0.69323534,0.18213269],"study_design_scores_gemma":[0.000004190554,0.000014639393,0.13011436,0.001818942,0.000040088475,0.0001340046,0.033340134,0.000037170623,0.00012443056,0.00062532036,0.833697,0.000049673046],"about_ca_topic_score_codex":0.96486735,"about_ca_topic_score_gemma":0.9865536,"teacher_disagreement_score":0.063203216,"about_ca_system_score_codex":0.063203216,"about_ca_system_score_gemma":0.114711024,"threshold_uncertainty_score":0.45857358},"labels":[],"label_agreement":null},{"id":"W2914149096","doi":"","title":"Irish Film Censorship: A Cultural Journey from Silent Cinema to Internet Pornography","year":2005,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Censorship; Irish; Movie theater; Legislation; Appeal; Pornography; Narrative; State (computer science); Media studies; Law; Sociology; History; Art; Literature; Political science","score_opus":0.07391108487816227,"score_gpt":0.26826247788439866,"score_spread":0.19435139300623638,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2914149096","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32777232,0.042773068,0.0015512884,0.07154769,0.003543815,0.00015696979,0.00026264114,0.0002069004,0.55218536],"genre_scores_gemma":[0.8867457,0.019435892,0.00086675776,0.0070550386,0.001197582,0.00010076519,0.00015518896,0.00038749815,0.08405557],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9967951,0.0016259525,0.00009056968,0.0002598697,0.000696433,0.0005320465],"domain_scores_gemma":[0.99591905,0.0015739687,0.00038135966,0.00029412998,0.000760779,0.001070713],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0038699883,0.0005910142,0.0004911356,0.0018349086,0.014500405,0.015851706,0.0018519379,0.0021774885,0.0067086434],"category_scores_gemma":[0.0065328465,0.0005043179,0.00026050443,0.0024024805,0.020491416,0.0072674826,0.0067127347,0.006162242,0.0010199843],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004206981,0.0000696306,0.0010675477,0.0001662621,0.000009078257,0.0007755915,0.8729498,0.000029086348,0.00042738245,0.024601663,0.069224104,0.030637901],"study_design_scores_gemma":[0.000007967829,0.000035396046,0.003042134,0.00040139302,0.0000071887575,0.0005192926,0.5233433,0.000033711683,0.00021416796,0.0009253424,0.47143567,0.000034450895],"about_ca_topic_score_codex":0.093260616,"about_ca_topic_score_gemma":0.12608963,"teacher_disagreement_score":0.093260616,"about_ca_system_score_codex":0.011909662,"about_ca_system_score_gemma":0.0066861436,"threshold_uncertainty_score":0.18543553},"labels":[],"label_agreement":null},{"id":"W2914636791","doi":"10.32873/uno.dc.jrf.22.03.07","title":"Myth and Monstrosity: Teaching Indigenous Films","year":2018,"lang":"en","type":"article","venue":"Journal of Religion & Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Mythology; Indigenous; Art; Literature; Biology; Ecology","score_opus":0.0157386290811363,"score_gpt":0.22701064566562465,"score_spread":0.21127201658448835,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2914636791","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53537744,0.011332668,0.006399555,0.043562986,0.0035255114,0.00028692986,0.00006857514,0.00017455751,0.39927182],"genre_scores_gemma":[0.9100857,0.013810107,0.005187052,0.0033634317,0.0010507022,0.00015195883,0.0000538265,0.00012432112,0.06617292],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99817824,0.00108649,0.000042456522,0.00014392211,0.0002867397,0.00026207778],"domain_scores_gemma":[0.99717975,0.0014707845,0.00017769156,0.00014207585,0.00017879289,0.0008509622],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029783652,0.0004893538,0.00032765238,0.0009348868,0.006400797,0.007134975,0.0013077148,0.0014950716,0.00836234],"category_scores_gemma":[0.005755508,0.0003918228,0.0003152923,0.00051170326,0.0057104947,0.005072167,0.0050019687,0.0047836644,0.0009257588],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048526115,0.00074846396,0.003072358,0.0006247022,0.00001773789,0.0013257797,0.82380885,0.00017302627,0.0034857285,0.06895976,0.029937731,0.06779734],"study_design_scores_gemma":[0.000028497974,0.00023566771,0.0055671553,0.0013005472,0.000028466575,0.0010256034,0.5125612,0.000390121,0.002129314,0.0135348085,0.46316674,0.000031831958],"about_ca_topic_score_codex":0.0027702977,"about_ca_topic_score_gemma":0.010605181,"teacher_disagreement_score":0.00836234,"about_ca_system_score_codex":0.002494437,"about_ca_system_score_gemma":0.0019126912,"threshold_uncertainty_score":0.027974844},"labels":[],"label_agreement":null},{"id":"W2914904298","doi":"10.3138/cjfs.15.2.114","title":"Ciné-Documents Joyce Wieland: Interview and Notes on <i>Reason Over Passion and Pierre Vailières</i>","year":2006,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Passion; Art; Literature; Art history; Visual arts; Psychology; Social psychology","score_opus":0.03069626482206874,"score_gpt":0.23798844207040243,"score_spread":0.20729217724833368,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2914904298","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.060159232,0.025332125,0.0011229594,0.72129476,0.009138023,0.000072969466,0.00061650574,0.00006866343,0.18219483],"genre_scores_gemma":[0.48612264,0.01774107,0.00065783574,0.14694495,0.004980841,0.0001946312,0.00029928825,0.00055863237,0.34250015],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99803513,0.0010259643,0.00005771018,0.00020473036,0.00034795233,0.00032849313],"domain_scores_gemma":[0.994218,0.004087903,0.00029947367,0.00008018869,0.0007533667,0.00056105177],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001949391,0.00036475365,0.00041133194,0.0014475004,0.013948331,0.0068521188,0.0010223628,0.0065811835,0.016863633],"category_scores_gemma":[0.011762929,0.0003955671,0.00021095123,0.0021313862,0.0049925274,0.0075172912,0.0026241501,0.011905302,0.0017874739],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006716441,0.000056584104,0.0010595955,0.000148471,0.0000066958246,0.0010908749,0.2773092,0.00005412341,0.0006006826,0.073347695,0.6359812,0.010277663],"study_design_scores_gemma":[0.0000032354956,0.000006137263,0.0016485109,0.00014157363,0.0000020424764,0.0001645495,0.15987772,0.000020065667,0.00020656777,0.0013392499,0.8365737,0.000016717913],"about_ca_topic_score_codex":0.07775413,"about_ca_topic_score_gemma":0.1479132,"teacher_disagreement_score":0.92224586,"about_ca_system_score_codex":0.008442505,"about_ca_system_score_gemma":0.0034410036,"threshold_uncertainty_score":0.15460312},"labels":[],"label_agreement":null},{"id":"W2914921593","doi":"10.3138/cjfs.23.2.135","title":"American Ethnographic Cinema and Personal Documentary: The Cambridge Turn By Scott Macdonald. Berkeley: University of California Press, 2013","year":2014,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Ontario College of Art and Design","funders":"","keywords":"Movie theater; Ethnography; Sociology; Media studies; Art history; Art; Anthropology","score_opus":0.016804509266287557,"score_gpt":0.19842371575934756,"score_spread":0.18161920649306001,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2914921593","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0073630884,0.7122912,0.0007437782,0.18552038,0.005104832,0.000021992972,0.00024925664,0.000031435233,0.08867404],"genre_scores_gemma":[0.23546322,0.63145375,0.0012904714,0.019402307,0.01133712,0.000074754134,0.00024372604,0.00019268985,0.10054194],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984225,0.0009719749,0.00006798527,0.00013390585,0.00028020545,0.0001234613],"domain_scores_gemma":[0.990833,0.0066642715,0.0005333906,0.00032272583,0.0008919103,0.00075471523],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033476907,0.0009856198,0.0005755202,0.0059078643,0.00630781,0.008318052,0.00096491707,0.0029325013,0.008876232],"category_scores_gemma":[0.009172383,0.00084375835,0.00022233302,0.007209538,0.009807951,0.01207599,0.0024209714,0.0038560706,0.0011437879],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048578724,0.00003538737,0.0011212381,0.00056597707,0.00001418049,0.00020438386,0.07577376,0.000059219867,0.00017884641,0.12894738,0.7213629,0.07168812],"study_design_scores_gemma":[0.0000062038816,0.000009534948,0.004777708,0.0023328434,0.000010983505,0.00024397654,0.036266267,0.000050105606,0.00011402902,0.011152476,0.94501394,0.000021932585],"about_ca_topic_score_codex":0.09034559,"about_ca_topic_score_gemma":0.21929011,"teacher_disagreement_score":0.09034559,"about_ca_system_score_codex":0.0056031593,"about_ca_system_score_gemma":0.0036838062,"threshold_uncertainty_score":0.17963946},"labels":[],"label_agreement":null},{"id":"W291596016","doi":"","title":"The Thinking Queer's Pornographer: BRUCE LABRUCE, ART/PORN AND THE POLITICS OF CO-OPTATION","year":2012,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Art history; Visual arts; Queer; Movie theater; Entertainment; Art; Nothing; Politics; Sociology; Law; Political science","score_opus":0.01944322377404508,"score_gpt":0.22680081543028408,"score_spread":0.207357591656239,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W291596016","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0060133445,0.15578206,0.00076217164,0.21869726,0.01090687,0.000031599644,0.00015044182,0.00015471443,0.60750157],"genre_scores_gemma":[0.08153875,0.04237916,0.00040334224,0.023239976,0.0034969153,0.000033991764,0.000099004305,0.00023530604,0.8485735],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997142,0.00008027681,0.0000043930772,0.00004092064,0.000097845914,0.000062327475],"domain_scores_gemma":[0.99965394,0.0001163691,0.00002593368,0.00001700876,0.00009505336,0.00009158303],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004178237,0.00033222145,0.00026569524,0.0006463564,0.006028783,0.0052204058,0.00049950386,0.0010743825,0.023203364],"category_scores_gemma":[0.0012830317,0.00023240347,0.00011044086,0.0012881733,0.0037682212,0.0026668643,0.0011692202,0.002576681,0.0037825722],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009182351,0.000003954435,0.00013068246,0.000032379077,0.0000011829832,0.00006631942,0.0029724557,0.000009442368,0.000050159113,0.027254315,0.956367,0.013102951],"study_design_scores_gemma":[0.0000019277618,0.0000021078035,0.0006036953,0.00012498391,0.0000018108868,0.000067943765,0.0043217433,0.000018486837,0.000045566892,0.00204263,0.99276525,0.0000037721143],"about_ca_topic_score_codex":0.12214214,"about_ca_topic_score_gemma":0.30272722,"teacher_disagreement_score":0.12214214,"about_ca_system_score_codex":0.0047867117,"about_ca_system_score_gemma":0.0031938655,"threshold_uncertainty_score":0.2428624},"labels":[],"label_agreement":null},{"id":"W2916121146","doi":"10.1525/fq.2009.62.4.20","title":"Films of the year, 2008","year":2009,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Selection (genetic algorithm); Art; Zhàng; Art history; History; Computer science; Archaeology; Artificial intelligence; China","score_opus":0.015997664776827288,"score_gpt":0.2001919369879589,"score_spread":0.1841942722111316,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2916121146","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0066685556,0.026960082,0.00093359227,0.071495004,0.088794686,0.00011426493,0.028064698,0.00043756716,0.7765316],"genre_scores_gemma":[0.04856657,0.01419647,0.001014101,0.007563584,0.0156962,0.0001539405,0.0102994,0.0005640843,0.9019456],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99952257,0.0000766644,0.000023722901,0.00009861964,0.00019880985,0.00007963295],"domain_scores_gemma":[0.9986475,0.00025047088,0.000107564905,0.00011158409,0.0007077591,0.00017505107],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00081353635,0.00058337994,0.00029139785,0.0020190945,0.0024051196,0.004915217,0.0004931723,0.00077198626,0.105659835],"category_scores_gemma":[0.0048012715,0.00028589493,0.00024152575,0.0022446122,0.0005730486,0.0020392332,0.0012099209,0.0021155744,0.022297816],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021029922,0.0000036583194,0.0001263327,0.00005077183,0.0000017551738,0.000021924852,0.00031946859,0.00000801054,0.000051189607,0.0036896453,0.9870784,0.008627746],"study_design_scores_gemma":[0.000001804029,0.000003201946,0.0012481281,0.00009094287,0.0000016779533,0.000021961065,0.00033264598,0.000010210038,0.000053407824,0.00014417733,0.9980895,0.000002363792],"about_ca_topic_score_codex":0.018562764,"about_ca_topic_score_gemma":0.052322347,"teacher_disagreement_score":0.105659835,"about_ca_system_score_codex":0.0027693545,"about_ca_system_score_gemma":0.00092116016,"threshold_uncertainty_score":0.3534674},"labels":[],"label_agreement":null},{"id":"W2918235406","doi":"10.1001/jamapediatrics.2019.0076","title":"Bubble-Wrapping Halloween","year":2019,"lang":"en","type":"letter","venue":"JAMA Pediatrics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Medicine; Otorhinolaryngology; Family medicine; Neurology; Psychiatry","score_opus":0.033920785023509294,"score_gpt":0.2105119286028102,"score_spread":0.17659114357930092,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2918235406","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011353666,0.0008564605,0.0028514697,0.05253732,0.016177224,0.00012732667,0.0010756921,0.0033092315,0.9219299],"genre_scores_gemma":[0.0063840416,0.00051035214,0.0012185331,0.012820887,0.003409841,0.00007346599,0.00035339664,0.00073235185,0.97449714],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996138,0.00007731918,0.000016948783,0.000044080945,0.00015168029,0.00009620702],"domain_scores_gemma":[0.9976615,0.000986098,0.0000784409,0.00025282134,0.00040507372,0.0006159971],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00062080624,0.000514315,0.00023982677,0.0008103664,0.0021752932,0.0026954403,0.0006283973,0.0024311673,0.60657936],"category_scores_gemma":[0.0064372057,0.00026220633,0.00037726658,0.00047921683,0.0007409775,0.0031275842,0.002443032,0.003477249,0.29716426],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009742574,0.00001132438,0.000059879978,0.000010383039,6.2895674e-7,0.00009758824,0.000035989076,0.000009536848,0.00006660781,0.0022835021,0.9884393,0.008975519],"study_design_scores_gemma":[0.0000051182215,0.0000049497917,0.00013020601,0.000023008826,5.0816834e-7,0.00011326302,0.000080751364,0.00005326539,0.000061875086,0.0010983342,0.99842536,0.0000034651177],"about_ca_topic_score_codex":0.002980877,"about_ca_topic_score_gemma":0.007923561,"teacher_disagreement_score":0.60657936,"about_ca_system_score_codex":0.00067024323,"about_ca_system_score_gemma":0.0008891772,"threshold_uncertainty_score":0.56116676},"labels":[],"label_agreement":null},{"id":"W2918309107","doi":"","title":"Changer la société, changer le cinéma : le cinéma au Québec en 1968","year":2018,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.010715123153208637,"score_gpt":0.173029896002687,"score_spread":0.16231477284947837,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2918309107","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4754796,0.18311751,0.0024866206,0.0740709,0.00362899,0.0002126769,0.010624979,0.00015443443,0.25022423],"genre_scores_gemma":[0.7474831,0.026381414,0.0011183853,0.0012978787,0.00044527845,0.00007139575,0.0011296751,0.000049370887,0.22202352],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989454,0.00014685027,0.000047661666,0.0001411074,0.00037273628,0.00034633078],"domain_scores_gemma":[0.9986161,0.00025852173,0.00016456198,0.000033051296,0.0005718851,0.00035585955],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006986184,0.000803678,0.0003614348,0.002602575,0.007066254,0.0044995737,0.0008358864,0.0020766803,0.017287705],"category_scores_gemma":[0.0028900632,0.00038618175,0.00036903756,0.0049691554,0.0031767453,0.00291722,0.0011366826,0.003296714,0.00097271067],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005254689,0.0003539464,0.086454965,0.0014963157,0.00015641359,0.0032571966,0.11961856,0.0024275454,0.0023337808,0.24764028,0.21340837,0.3223271],"study_design_scores_gemma":[0.000023315775,0.000032023625,0.14978497,0.00048791358,0.00003767455,0.00031093898,0.020525254,0.0004073689,0.0005334666,0.0014380203,0.82635295,0.00006604968],"about_ca_topic_score_codex":0.995301,"about_ca_topic_score_gemma":0.9969022,"teacher_disagreement_score":0.10307617,"about_ca_system_score_codex":0.10307617,"about_ca_system_score_gemma":0.055989504,"threshold_uncertainty_score":0.7478734},"labels":[],"label_agreement":null},{"id":"W2921388064","doi":"10.4324/9781315516738-12","title":"from canada and back again","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.02774442571107691,"score_gpt":0.18175829129803014,"score_spread":0.15401386558695324,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2921388064","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0116458405,0.018081479,0.0005093536,0.094802536,0.008916913,0.000050557657,0.0027042474,0.00021362909,0.8630755],"genre_scores_gemma":[0.06547178,0.0097478125,0.0005653523,0.015440426,0.0003435372,0.0000238993,0.0010547476,0.0002575427,0.90709496],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979048,0.00008852065,0.000030505387,0.00027700438,0.00075755623,0.00094176055],"domain_scores_gemma":[0.998223,0.00006410126,0.000034888864,0.00006877291,0.0009761388,0.00063306716],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005816588,0.00070230296,0.0005946372,0.0020905153,0.022255098,0.014574229,0.0012584709,0.0023247048,0.0927649],"category_scores_gemma":[0.0026524942,0.00035998056,0.0004278924,0.0037024056,0.0043134796,0.0046898327,0.0053417487,0.00543517,0.013285598],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049839702,0.00001947094,0.0019532724,0.00015234406,0.00001677781,0.0005228242,0.013496988,0.000054793258,0.00031773432,0.110282086,0.82113045,0.052003443],"study_design_scores_gemma":[0.0000017249373,0.0000022574063,0.00071372447,0.00006893676,0.0000031511784,0.000043680848,0.0041707573,0.0000074250247,0.000045027686,0.0005360834,0.9943988,0.000008398784],"about_ca_topic_score_codex":0.9819619,"about_ca_topic_score_gemma":0.99187964,"teacher_disagreement_score":0.0927649,"about_ca_system_score_codex":0.061945647,"about_ca_system_score_gemma":0.12109739,"threshold_uncertainty_score":0.44944924},"labels":[],"label_agreement":null},{"id":"W2921952565","doi":"10.4000/books.pus.1577","title":"Innovations techniques et primitivité du cinéma","year":2018,"lang":"fr","type":"book-chapter","venue":"Presses universitaires de Strasbourg eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Computer science","score_opus":0.025693317986181602,"score_gpt":0.2163042630064676,"score_spread":0.190610945020286,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2921952565","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07808807,0.029251717,0.018945828,0.007260763,0.0008037679,0.0000841889,0.00013688723,0.000116558105,0.86531216],"genre_scores_gemma":[0.8026473,0.01684046,0.0067110606,0.00043588775,0.0007990708,0.000115864364,0.00011513836,0.0001370988,0.17219816],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985864,0.0006206714,0.00004548238,0.00025128433,0.00034181218,0.0001543739],"domain_scores_gemma":[0.996415,0.0022103898,0.00035042808,0.00036468514,0.0004320265,0.00022742372],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002105583,0.0004988805,0.00029939963,0.0019268851,0.0022211084,0.008594395,0.00066120044,0.0012344427,0.016641036],"category_scores_gemma":[0.006779919,0.0003483322,0.00029029255,0.0013994378,0.005594122,0.004031172,0.002170146,0.0023594352,0.001999532],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030043815,0.000039319657,0.0013935484,0.0002506926,0.000010836392,0.00022950237,0.019389424,0.0001927711,0.00093072205,0.8985953,0.007476362,0.071461506],"study_design_scores_gemma":[0.000024935469,0.000108308755,0.009064854,0.00094321027,0.000045322886,0.0013063153,0.009633433,0.0017944474,0.0025046868,0.15400016,0.8205335,0.000040795592],"about_ca_topic_score_codex":0.002568932,"about_ca_topic_score_gemma":0.0020487402,"teacher_disagreement_score":0.016641036,"about_ca_system_score_codex":0.0030194118,"about_ca_system_score_gemma":0.0010913782,"threshold_uncertainty_score":0.055669844},"labels":[],"label_agreement":null},{"id":"W2922029051","doi":"10.22215/etd/2013-09929","title":"Film, Fear and the Female: An Empirical Study of the Female Horror Spectator","year":2013,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Narrative; Representation (politics); Spectator sport; Fandom; Art; Psychology; Field (mathematics); Empirical research; Sociology; Inclusion (mineral); Social psychology; Aesthetics; Psychoanalysis; Advertising; Epistemology; Literature; Political science; Philosophy","score_opus":0.037788430298596735,"score_gpt":0.2803249441312391,"score_spread":0.24253651383264235,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2922029051","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99180025,0.00023771702,0.00025238062,0.00073181017,0.000037786092,0.000048843372,0.000046455927,0.000003065901,0.006841649],"genre_scores_gemma":[0.99129665,0.000663829,0.00027037662,0.00038385452,0.00009700236,0.00008033568,0.000055492368,0.000014795699,0.007137617],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9982881,0.0010759138,0.0000470556,0.00013360275,0.00022918891,0.00022615764],"domain_scores_gemma":[0.99495846,0.002959131,0.0008742196,0.00016199375,0.0005389538,0.00050724123],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023178868,0.00063571264,0.00057807245,0.0018486424,0.006137089,0.0034160616,0.0008633742,0.0012755224,0.005687773],"category_scores_gemma":[0.009942509,0.00041164397,0.00016965,0.0008625113,0.0039875694,0.0023920473,0.0023120518,0.0021631224,0.0005838965],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000088012006,0.00031800763,0.028866518,0.0001611618,0.0000086301425,0.0016331304,0.9537029,0.000023611921,0.0017851266,0.002398332,0.0016985481,0.009315955],"study_design_scores_gemma":[0.0000044330186,0.00012744809,0.019173577,0.00008117024,0.0000043154496,0.00068435585,0.97010314,0.000082478524,0.00030880418,0.00014708395,0.009271382,0.000011824541],"about_ca_topic_score_codex":0.005599749,"about_ca_topic_score_gemma":0.010362943,"teacher_disagreement_score":0.006137089,"about_ca_system_score_codex":0.001193986,"about_ca_system_score_gemma":0.0007927635,"threshold_uncertainty_score":0.019027472},"labels":[],"label_agreement":null},{"id":"W2922204374","doi":"10.3138/tric.39.2.209","title":"“That Felt Real to Me”: When Reality Theatre and Reality Television Collide","year":2018,"lang":"en","type":"article","venue":"Theatre Research in Canada","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Exploit; Aesthetics; Event (particle physics); Reality tv; Order (exchange); Production (economics); Product (mathematics); Media studies; Art; Computer science; Visual arts; History; Sociology; Computer security; Business","score_opus":0.14590071134140334,"score_gpt":0.33860325732070923,"score_spread":0.1927025459793059,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2922204374","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24681656,0.0053691417,0.010141119,0.120886676,0.0034907495,0.00013122759,0.00050411245,0.00021999615,0.61244035],"genre_scores_gemma":[0.94922835,0.00124786,0.0012018769,0.0059249047,0.00031474297,0.00005006405,0.00011210045,0.00022343644,0.041696694],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99144053,0.004902106,0.000072760835,0.0005962494,0.0012194784,0.0017687968],"domain_scores_gemma":[0.99606776,0.0015460845,0.00024985816,0.0002706273,0.00058598974,0.0012797283],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0041065114,0.00068784296,0.0005000498,0.0012522044,0.024814699,0.017940735,0.0015338609,0.0034165047,0.012011361],"category_scores_gemma":[0.012823761,0.00054649473,0.00044365303,0.0015893219,0.03813223,0.0078265825,0.0076579456,0.009134002,0.001125534],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012644689,0.000037455702,0.0023777154,0.000079155005,0.00002443545,0.0010495435,0.6997555,0.000115903014,0.0004898957,0.2286111,0.054886587,0.012446219],"study_design_scores_gemma":[0.000022440094,0.000026221374,0.004156838,0.00025728252,0.000016814358,0.00041018616,0.5615997,0.00019603751,0.00047047765,0.012005229,0.42076933,0.000069356094],"about_ca_topic_score_codex":0.58082646,"about_ca_topic_score_gemma":0.73991436,"teacher_disagreement_score":0.41917354,"about_ca_system_score_codex":0.03355936,"about_ca_system_score_gemma":0.012366103,"threshold_uncertainty_score":0.84328425},"labels":[],"label_agreement":null},{"id":"W2922816750","doi":"","title":"Culture and life: I am not your Negro","year":2016,"lang":"en","type":"article","venue":"Guardian (Sydney)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Peck (Imperial); Art; Art history; Visual arts; Politics; Media studies; Sociology; Political science; Law","score_opus":0.03175361527644591,"score_gpt":0.22464849179445218,"score_spread":0.19289487651800627,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2922816750","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29985663,0.026178231,0.00069122564,0.4069046,0.0028269025,0.000022801974,0.0006833997,0.00005323683,0.26278293],"genre_scores_gemma":[0.9345941,0.010581639,0.00015777147,0.014897342,0.00030350723,0.000013402302,0.00011076055,0.000041203723,0.039300304],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990206,0.0004192165,0.00001699408,0.000093120354,0.00020013713,0.00024987673],"domain_scores_gemma":[0.99714595,0.00022297176,0.00020127535,0.000093773815,0.00045195574,0.00188412],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011012964,0.00026105042,0.00033613082,0.0004288702,0.012099788,0.011065276,0.0005317136,0.0014117466,0.008635512],"category_scores_gemma":[0.0025013469,0.0002622118,0.00012218402,0.0009938717,0.01661949,0.003187943,0.0027293945,0.0036183938,0.0012103607],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008233253,0.00003990411,0.026954548,0.00017385258,0.00004981197,0.0006390707,0.5806596,0.000106122534,0.00065206067,0.08961695,0.2689257,0.03210008],"study_design_scores_gemma":[0.000007922278,0.000029650197,0.03768274,0.0004340492,0.000022041218,0.00027689364,0.57330334,0.000074815216,0.00016257362,0.005046387,0.38291416,0.00004544224],"about_ca_topic_score_codex":0.6870198,"about_ca_topic_score_gemma":0.8130015,"teacher_disagreement_score":0.6870198,"about_ca_system_score_codex":0.015006225,"about_ca_system_score_gemma":0.012941031,"threshold_uncertainty_score":0.6296468},"labels":[],"label_agreement":null},{"id":"W2922959034","doi":"","title":"Media Archaeology as Practice : The case of Bill Morrison's Dawson City: Frozen Time","year":2018,"lang":"en","type":"article","venue":"Data Archiving and Networked Services (DANS)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Topos theory; Materiality (auditing); Visual arts; Art; Archaeology; Art history; History; Literature; Aesthetics","score_opus":0.030318643274356454,"score_gpt":0.25615499092635613,"score_spread":0.22583634765199967,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2922959034","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4484083,0.008222758,0.0036131882,0.14919867,0.0010393563,0.00009589095,0.00018421031,0.00007722954,0.38916036],"genre_scores_gemma":[0.94318944,0.0030076934,0.0013504057,0.005956693,0.00022663294,0.000052171876,0.00003967422,0.00011508069,0.046062145],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99667346,0.0020515553,0.00005575049,0.0002987362,0.0003468105,0.000573635],"domain_scores_gemma":[0.9947037,0.0032760638,0.00035327594,0.00036085898,0.0003780495,0.00092807546],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029517566,0.00042997857,0.00030274442,0.0019106378,0.035593763,0.01294819,0.0021081143,0.0045174845,0.007206843],"category_scores_gemma":[0.0078974115,0.00062719465,0.0002421294,0.003601063,0.030319167,0.007389711,0.005744612,0.0052035297,0.0004684776],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003129128,0.000027750633,0.0016065508,0.00006452807,0.0000064676633,0.0045903777,0.7939481,0.00008011149,0.00021327134,0.16464162,0.024781162,0.010008839],"study_design_scores_gemma":[0.0000073421074,0.000011132624,0.0015929589,0.00024400225,0.000009422904,0.0009187794,0.5730982,0.00012908783,0.00019513925,0.0063375644,0.41743132,0.00002495944],"about_ca_topic_score_codex":0.25046474,"about_ca_topic_score_gemma":0.46226132,"teacher_disagreement_score":0.74953526,"about_ca_system_score_codex":0.017518723,"about_ca_system_score_gemma":0.007644427,"threshold_uncertainty_score":0.49801373},"labels":[],"label_agreement":null},{"id":"W2928994441","doi":"","title":"Exploration de la narrativité des images et de leur devenir image-corps et image-monde dans une installation vidéo panoramique","year":2014,"lang":"fr","type":"article","venue":"Archipelago (University of Quebec in Montreal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.01539373074386587,"score_gpt":0.2214152125277377,"score_spread":0.2060214817838718,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2928994441","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5657991,0.0055508623,0.10872566,0.004278674,0.0006624481,0.00035665478,0.0012063531,0.0011893602,0.31223086],"genre_scores_gemma":[0.8155265,0.0022532088,0.04168025,0.00039019322,0.00011012866,0.000120159486,0.0004834228,0.0005510983,0.13888504],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9994648,0.00014631056,0.000009053065,0.00010049613,0.00019139833,0.00008798418],"domain_scores_gemma":[0.99931157,0.0002890371,0.00003127554,0.00005515165,0.00024038876,0.00007256188],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009751883,0.00052141334,0.00025170654,0.00082124653,0.0026630838,0.004565095,0.00054611976,0.00076721306,0.0120968055],"category_scores_gemma":[0.0017208788,0.00024737293,0.00032133787,0.0007003359,0.0030673104,0.0016115913,0.0016908202,0.0012779454,0.0011563028],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00077125826,0.00013366298,0.0074891546,0.0020075517,0.000062596955,0.0069978433,0.343871,0.0045008617,0.15856536,0.10432705,0.033558827,0.33771488],"study_design_scores_gemma":[0.000031973395,0.00021252665,0.04526643,0.00079311145,0.00008540106,0.003915683,0.10392644,0.0062087444,0.029096378,0.0044428613,0.8058406,0.00017987359],"about_ca_topic_score_codex":0.10087611,"about_ca_topic_score_gemma":0.2580048,"teacher_disagreement_score":0.10087611,"about_ca_system_score_codex":0.0029512097,"about_ca_system_score_gemma":0.0022119568,"threshold_uncertainty_score":0.20057786},"labels":[],"label_agreement":null},{"id":"W2931860498","doi":"10.3167/ghs.2019.120110","title":"Fanfic’ing Film","year":2019,"lang":"en","type":"article","venue":"Girlhood Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Human sexuality; Narrative; Gender studies; Movie theater; Sociology; Space (punctuation); Psychology; Visual arts; Art; Literature","score_opus":0.05052925866251005,"score_gpt":0.24869628309002992,"score_spread":0.19816702442751988,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2931860498","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003869921,0.0028531146,0.00043617943,0.010178747,0.014500253,0.000116931275,0.0018645718,0.00045818667,0.9657221],"genre_scores_gemma":[0.020254608,0.001536655,0.0004863879,0.0019576913,0.0023866436,0.00004902499,0.0011682309,0.00031794366,0.9718427],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99966824,0.000049276176,0.000009377708,0.000057690064,0.0001314628,0.00008393583],"domain_scores_gemma":[0.9992919,0.00012178225,0.000031540905,0.00006205737,0.00028835738,0.00020424566],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005498239,0.000645285,0.00028306365,0.0018032058,0.0048536686,0.004938627,0.00066361006,0.0011131942,0.36740717],"category_scores_gemma":[0.0019528088,0.00023736649,0.0003731277,0.00090793887,0.000762105,0.0018043872,0.001957834,0.002007347,0.04383064],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026896494,0.000016445889,0.00019344066,0.000062231025,0.0000027397975,0.00014310317,0.00081256026,0.000018682967,0.00021003291,0.0065277456,0.9676588,0.024327291],"study_design_scores_gemma":[0.0000030296496,0.000004993981,0.0004981478,0.00005065695,0.0000012346007,0.000050113256,0.00047189716,0.000022538601,0.00006840955,0.0001911445,0.9986355,0.0000024522171],"about_ca_topic_score_codex":0.025980547,"about_ca_topic_score_gemma":0.09150035,"teacher_disagreement_score":0.36740717,"about_ca_system_score_codex":0.002279892,"about_ca_system_score_gemma":0.0011122905,"threshold_uncertainty_score":0.90231687},"labels":[],"label_agreement":null},{"id":"W293279286","doi":"","title":"Size Matters: Microcinemas and Alternative Exhibition Spaces","year":2003,"lang":"en","type":"article","venue":"Millennium film journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Queer; Mainstream; Greenwich; Variety (cybernetics); Film director; Lesbian; Visual arts; Movie theater; Sociology; Media studies; Aesthetics; Art; Political science; Computer science; Gender studies; Law","score_opus":0.019912599552735374,"score_gpt":0.2136242150808088,"score_spread":0.19371161552807342,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W293279286","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2574637,0.005271184,0.007757683,0.027989073,0.0014280938,0.00023043065,0.00048575542,0.00041205948,0.6989621],"genre_scores_gemma":[0.9145382,0.0019852028,0.0040236185,0.0015775007,0.00083157775,0.000283869,0.00023037025,0.00030090247,0.076228715],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99636555,0.0019919584,0.00006798433,0.0003873669,0.00047755346,0.000709584],"domain_scores_gemma":[0.99502546,0.0016673147,0.0004175251,0.00068093085,0.00032299937,0.0018857921],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002541307,0.0006218229,0.00031400716,0.0011536062,0.007189777,0.010700106,0.0021272108,0.0013067804,0.08124041],"category_scores_gemma":[0.006294878,0.00039740815,0.0005950771,0.0012805302,0.006462944,0.013619786,0.0114964545,0.0019652825,0.0035630525],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008060089,0.0005091156,0.018386398,0.0007170135,0.00008004235,0.0014134218,0.10461358,0.0006830196,0.0015331755,0.5437602,0.122121364,0.20537679],"study_design_scores_gemma":[0.00009108911,0.00036582432,0.020674303,0.00069188344,0.00005645968,0.0009493414,0.13967636,0.00076569547,0.0006061126,0.043310497,0.7927255,0.00008693657],"about_ca_topic_score_codex":0.0055059437,"about_ca_topic_score_gemma":0.015597266,"teacher_disagreement_score":0.08124041,"about_ca_system_score_codex":0.0022409663,"about_ca_system_score_gemma":0.0016307995,"threshold_uncertainty_score":0.27177626},"labels":[],"label_agreement":null},{"id":"W2933878162","doi":"","title":"\"Sparks of Life: Festival Highlights (June 2016-January 2017\"","year":2017,"lang":"en","type":"article","venue":"Dalhousie review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History; Art","score_opus":0.05511036409357597,"score_gpt":0.27207995268758534,"score_spread":0.21696958859400936,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2933878162","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0065107727,0.22043404,0.00073833973,0.4739386,0.0997917,0.00013937334,0.015437343,0.00065303355,0.18235676],"genre_scores_gemma":[0.11174022,0.1996129,0.0017877434,0.105408594,0.046983395,0.00037027485,0.014356712,0.0006861397,0.5190541],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985592,0.00016081694,0.00007034858,0.0001089284,0.0005533117,0.00054745824],"domain_scores_gemma":[0.99457514,0.00065417285,0.00043734012,0.00017631776,0.0016145931,0.0025423204],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004186307,0.0010277834,0.000614926,0.0026961928,0.0039052425,0.008309604,0.0015264105,0.003914911,0.04318437],"category_scores_gemma":[0.007541354,0.00037224445,0.0006794928,0.0027315603,0.0022289953,0.0038836927,0.006096594,0.0051589133,0.008707568],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034659948,0.000007967562,0.00016598804,0.00024340351,0.000005652116,0.00002714615,0.0002155463,0.000019982215,0.00004663868,0.005366196,0.98223764,0.011629049],"study_design_scores_gemma":[0.0000070268998,0.0000069912917,0.0024481725,0.00031543916,0.0000058992628,0.00001677122,0.0009241047,0.0000127102085,0.00006128243,0.000697647,0.99549425,0.000009751261],"about_ca_topic_score_codex":0.08777099,"about_ca_topic_score_gemma":0.23588085,"teacher_disagreement_score":0.08777099,"about_ca_system_score_codex":0.010692467,"about_ca_system_score_gemma":0.01939067,"threshold_uncertainty_score":0.17452025},"labels":[],"label_agreement":null},{"id":"W293437119","doi":"","title":"Filming Politics: Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-1946","year":2009,"lang":"en","type":"article","venue":"British Journal of Canadian Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Communism; Politics; Class (philosophy); Working class; Political science; History; Gender studies; Media studies; Sociology; Law; Computer science; Artificial intelligence","score_opus":0.033107784444027094,"score_gpt":0.21467460571475772,"score_spread":0.18156682127073062,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W293437119","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8881174,0.0039314707,0.00010401774,0.012540967,0.00024015621,0.000024759593,0.002023523,0.000016618778,0.0930012],"genre_scores_gemma":[0.98464495,0.0009398938,0.000027597707,0.0002233764,0.000042837983,0.0000055855094,0.0001847033,0.000014054535,0.013916879],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.999148,0.00010768452,0.00001535256,0.00006067748,0.00025228696,0.00041603498],"domain_scores_gemma":[0.99626875,0.00059530773,0.0004489757,0.00009731556,0.0013816927,0.0012079667],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010659975,0.0002534406,0.00023977738,0.0028599792,0.012473107,0.00636225,0.0011503351,0.0011280897,0.007249135],"category_scores_gemma":[0.004513686,0.00022507466,0.00014013321,0.005262118,0.005019818,0.0011996472,0.0015251754,0.002930589,0.00032118105],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000307738,0.000099612684,0.10629243,0.00017516516,0.0000601958,0.00085616985,0.75047475,0.00024563904,0.00085088704,0.03796909,0.06456697,0.038101327],"study_design_scores_gemma":[0.000007941432,0.000021719541,0.5040496,0.00019675113,0.000023230752,0.00011625761,0.34394723,0.0001382062,0.00031016176,0.00044640835,0.15069483,0.000047615344],"about_ca_topic_score_codex":0.9898144,"about_ca_topic_score_gemma":0.9956974,"teacher_disagreement_score":0.04927563,"about_ca_system_score_codex":0.04927563,"about_ca_system_score_gemma":0.022794355,"threshold_uncertainty_score":0.3575214},"labels":[],"label_agreement":null},{"id":"W293548759","doi":"","title":"The Brown Bunny","year":2004,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Style (visual arts); Art history; Art; Movie theater; Poetry; History; Visual arts; Literature","score_opus":0.02820186483043134,"score_gpt":0.21480590236929986,"score_spread":0.18660403753886853,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W293548759","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0027941684,0.006997566,0.0015364644,0.00751438,0.010684732,0.0001545161,0.0010274304,0.0007687441,0.96852195],"genre_scores_gemma":[0.005266518,0.0010376452,0.00056077936,0.00060119026,0.00028092967,0.000024194855,0.0003429602,0.00047069797,0.9914151],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994504,0.00008334027,0.000015041654,0.00014008008,0.00023272155,0.000078434125],"domain_scores_gemma":[0.99926203,0.00005683607,0.000029586672,0.0000815272,0.000285183,0.0002848582],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00057353545,0.0011433668,0.0004180807,0.0014448873,0.005494929,0.0061275936,0.00082875806,0.0012683125,0.3257232],"category_scores_gemma":[0.0017421808,0.0005963097,0.00037417,0.00096652214,0.0014247592,0.002563508,0.004231445,0.0021081243,0.11377179],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003808532,0.00001256123,0.00011113811,0.0000925231,0.000002079728,0.00014101257,0.0011471802,0.000034762907,0.00067546486,0.0072572962,0.9508252,0.039662614],"study_design_scores_gemma":[0.0000016250901,0.0000047156427,0.00022933974,0.000055901328,7.7463636e-7,0.000057563455,0.0004410907,0.000015922764,0.0000817054,0.00022746518,0.9988803,0.000003594146],"about_ca_topic_score_codex":0.027010642,"about_ca_topic_score_gemma":0.06311124,"teacher_disagreement_score":0.3257232,"about_ca_system_score_codex":0.0027385668,"about_ca_system_score_gemma":0.0020105955,"threshold_uncertainty_score":0.961774},"labels":[],"label_agreement":null},{"id":"W2936437702","doi":"","title":"\"Wondering About Wonder Woman: Superhero Films of Summer\"","year":2017,"lang":"en","type":"article","venue":"Dalhousie review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Wonder; Art; Art history; Literature; Philosophy; Epistemology","score_opus":0.0776055913194326,"score_gpt":0.28830565950263354,"score_spread":0.21070006818320092,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2936437702","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00948041,0.30103022,0.00022869867,0.45449713,0.030791754,0.000050438568,0.0011813915,0.00013200953,0.20260793],"genre_scores_gemma":[0.21442819,0.27742538,0.0007049269,0.14142777,0.020403292,0.00017464647,0.0012367358,0.00033947275,0.34385967],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999265,0.00022224635,0.000022559825,0.00006015173,0.00017473519,0.00025536327],"domain_scores_gemma":[0.9981173,0.0006486664,0.00015103667,0.00008665807,0.00039052195,0.0006059319],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016026077,0.0007850612,0.0005190334,0.0017766005,0.005530471,0.0075117145,0.0009427417,0.0037902745,0.021799285],"category_scores_gemma":[0.005365207,0.00039759686,0.00025632052,0.001661333,0.003217842,0.003692025,0.0034395761,0.0062739174,0.002389328],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059686492,0.000018958986,0.00026822792,0.00030342652,0.000009423729,0.000116784606,0.0039508985,0.00002008661,0.00014324875,0.013496328,0.95932674,0.022286227],"study_design_scores_gemma":[0.0000084226895,0.0000074703707,0.002521158,0.0006376167,0.000009938646,0.000069906804,0.0058256346,0.000011217328,0.00008363144,0.0006987922,0.9901153,0.000010951827],"about_ca_topic_score_codex":0.070138425,"about_ca_topic_score_gemma":0.2392683,"teacher_disagreement_score":0.070138425,"about_ca_system_score_codex":0.0066020074,"about_ca_system_score_gemma":0.006885629,"threshold_uncertainty_score":0.13946033},"labels":[],"label_agreement":null},{"id":"W293958162","doi":"","title":"Going Na'vi: Mastery in Avatar","year":2011,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pleasure; Movie theater; Politics; Media studies; Conversation; Avatar; Sociology; Aesthetics; Narrative; Identity (music); Art; Art history; Literature; Psychology; Law; Political science","score_opus":0.08820436164674672,"score_gpt":0.2124459522914291,"score_spread":0.12424159064468238,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W293958162","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14283241,0.0015066173,0.021760426,0.02957847,0.003086441,0.00018524916,0.0002159022,0.0022040545,0.7986304],"genre_scores_gemma":[0.5310473,0.00091863546,0.009067234,0.0056602536,0.0005062909,0.00015456114,0.00029474823,0.0012514153,0.45109954],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998548,0.0008095827,0.000023461755,0.00017319564,0.00024655534,0.00019919513],"domain_scores_gemma":[0.9985056,0.0004039857,0.00007838091,0.00008702601,0.00017771752,0.0007473423],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015505533,0.00047984076,0.00020610448,0.00029913167,0.0029390613,0.0053220233,0.0008948539,0.001342018,0.03731361],"category_scores_gemma":[0.005942754,0.00024266187,0.00022525758,0.00015510699,0.0019397599,0.004977539,0.0053082383,0.0033478371,0.010430966],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001714066,0.0002948208,0.004972787,0.0001883882,0.000011360671,0.0018578769,0.45774043,0.00017613993,0.0059521976,0.068511635,0.34110656,0.119016446],"study_design_scores_gemma":[0.000011946533,0.00010752854,0.0008440254,0.00015871634,0.000007069033,0.0015607288,0.0742325,0.0004971719,0.001125599,0.006192682,0.91523963,0.000022381344],"about_ca_topic_score_codex":0.0016981047,"about_ca_topic_score_gemma":0.0050170757,"teacher_disagreement_score":0.03731361,"about_ca_system_score_codex":0.0008992318,"about_ca_system_score_gemma":0.00057240226,"threshold_uncertainty_score":0.12482649},"labels":[],"label_agreement":null},{"id":"W2939819484","doi":"","title":"Introduction: Circus and Its Others","year":2018,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Scholarship; Mythology; Media studies; Sociology; Aesthetics; Art; Political science; Law; Literature","score_opus":0.027575764227282182,"score_gpt":0.21267794065847523,"score_spread":0.18510217643119303,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2939819484","genre_codex":"other","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001959521,0.13431495,0.0060818996,0.22809932,0.24058455,0.00009642976,0.0014789662,0.00053852465,0.38684583],"genre_scores_gemma":[0.053663373,0.12316576,0.0053631426,0.103330016,0.3839848,0.00033511888,0.002653514,0.0018443234,0.32565993],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979474,0.00063162076,0.00013301363,0.00041339314,0.00069802185,0.00017666673],"domain_scores_gemma":[0.98790437,0.00738287,0.00046877764,0.0005784845,0.0024003899,0.0012651542],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019810721,0.0007581161,0.00070620805,0.0031232892,0.0041178763,0.010508842,0.0009650762,0.0033908517,0.05147424],"category_scores_gemma":[0.014743734,0.00033151841,0.00042986625,0.0028959727,0.0030423515,0.0083485115,0.00267173,0.0067899604,0.020693203],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014309301,0.0000102246795,0.00011503017,0.00019829065,0.0000027929802,0.000043259493,0.0009716609,0.00003458094,0.000064675856,0.12714642,0.84870785,0.022690969],"study_design_scores_gemma":[0.000001186723,0.000005792792,0.000169443,0.0003434629,0.0000011203653,0.00006837294,0.00026067565,0.000021872362,0.000019822979,0.00853255,0.99056995,0.000005771452],"about_ca_topic_score_codex":0.0024488005,"about_ca_topic_score_gemma":0.0023587584,"teacher_disagreement_score":0.05147424,"about_ca_system_score_codex":0.0024298308,"about_ca_system_score_gemma":0.002857572,"threshold_uncertainty_score":0.17219847},"labels":[],"label_agreement":null},{"id":"W2940839204","doi":"10.1080/14680777.2019.1602781","title":"Locating the political and the aesthetic in media spectacles in India","year":2019,"lang":"en","type":"article","venue":"Feminist Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Windsor","funders":"","keywords":"Politics; Aesthetics; Sociology; Media studies; Political science; Political economy; Geography; Advertising; Art; Business; Law","score_opus":0.0337866314970787,"score_gpt":0.2519901666020826,"score_spread":0.21820353510500393,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2940839204","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41565955,0.0043174755,0.0030189198,0.020245712,0.00032416597,0.000017873632,0.000053651816,0.00007104547,0.5562916],"genre_scores_gemma":[0.9947949,0.00061213254,0.00012750633,0.00023273804,0.000070672606,0.000004829223,0.0000053059584,0.000017737675,0.004134067],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99792695,0.0012629994,0.00003035151,0.000096048236,0.00026174236,0.0004219184],"domain_scores_gemma":[0.99716383,0.0019350332,0.00033834713,0.00020944956,0.0001736517,0.00017967151],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016441842,0.00041425452,0.00022814856,0.002919741,0.008955666,0.012995617,0.00078395405,0.0013769357,0.004065235],"category_scores_gemma":[0.0034404409,0.0003027101,0.00028851815,0.002841364,0.037088197,0.003703011,0.0076124985,0.0023877,0.00029889424],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000645763,0.000024739085,0.003045699,0.00017123921,0.000009509203,0.00077393034,0.25481308,0.0002589082,0.0007910511,0.72080356,0.0027183725,0.016525375],"study_design_scores_gemma":[0.000016711734,0.000099973746,0.018589264,0.0007872244,0.00005079703,0.0013437513,0.64596254,0.0006999265,0.0019886068,0.10540962,0.22497913,0.000072497685],"about_ca_topic_score_codex":0.010741849,"about_ca_topic_score_gemma":0.013963285,"teacher_disagreement_score":0.012995617,"about_ca_system_score_codex":0.0053144987,"about_ca_system_score_gemma":0.0024110142,"threshold_uncertainty_score":0.038559556},"labels":[],"label_agreement":null},{"id":"W2941043882","doi":"10.7202/1055840ar","title":"De la poésie à l'écran","year":2018,"lang":"fr","type":"article","venue":"Captures","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.019038414681252044,"score_gpt":0.24251854842027634,"score_spread":0.2234801337390243,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2941043882","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07990712,0.011183383,0.0059857313,0.06335972,0.0032930835,0.000050266462,0.00036121858,0.000120058015,0.8357393],"genre_scores_gemma":[0.6337655,0.006885576,0.0019488703,0.0030482234,0.0011794693,0.000037950802,0.00011914875,0.000115392104,0.35289973],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995528,0.00020758866,0.000008153175,0.00006780477,0.00010402071,0.000059631333],"domain_scores_gemma":[0.99918073,0.00038196883,0.00011659678,0.000080777936,0.0001247734,0.000115005736],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007654083,0.0002836123,0.00013847376,0.00059339503,0.0028890548,0.0039000192,0.00026269202,0.00086548156,0.019835113],"category_scores_gemma":[0.0029948088,0.00015906047,0.00011737466,0.00066055637,0.0036827773,0.0038224894,0.001321291,0.0026435808,0.0013560803],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008988191,0.00003417029,0.0024474217,0.00014824365,0.000009785126,0.0004100904,0.04704619,0.00012065787,0.00090670236,0.7909648,0.10663079,0.051191423],"study_design_scores_gemma":[0.0000037220884,0.000024477013,0.004815349,0.00015769621,0.000004024337,0.00023975683,0.0096532125,0.00011616783,0.0003419948,0.011572873,0.97305906,0.000011699551],"about_ca_topic_score_codex":0.009343934,"about_ca_topic_score_gemma":0.021412302,"teacher_disagreement_score":0.019835113,"about_ca_system_score_codex":0.0014396112,"about_ca_system_score_gemma":0.0008326275,"threshold_uncertainty_score":0.06635505},"labels":[],"label_agreement":null},{"id":"W2941674701","doi":"","title":"Two versions of the road back home: native cinema in the USA and Canada Two versions of the road back home: native cinema in the USA and Canada","year":2010,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Geography; Art history; Media studies; History; Sociology","score_opus":0.109699280299734,"score_gpt":0.40403530183269243,"score_spread":0.29433602153295846,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2941674701","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10283961,0.0061053503,0.002060208,0.020464033,0.012142014,0.00049426843,0.011850631,0.0010287889,0.8430151],"genre_scores_gemma":[0.42972544,0.005882748,0.003792505,0.0040581264,0.0017739643,0.00030123227,0.0045682755,0.0012469501,0.5486508],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918157,0.000103718245,0.000014727753,0.00007741543,0.00034569998,0.00027687676],"domain_scores_gemma":[0.99798775,0.00020933992,0.000036398545,0.000100782934,0.0008559199,0.0008098488],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071262155,0.00057057315,0.00027989192,0.0018377693,0.0077987127,0.0055126925,0.0008642384,0.0011834054,0.046695307],"category_scores_gemma":[0.0021834935,0.00034363254,0.00028899906,0.0021804692,0.0021136166,0.0012555909,0.0022710834,0.0025544954,0.0032435716],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025920142,0.00013041896,0.0018464158,0.00030828317,0.000021832933,0.00080024824,0.04666053,0.0002860487,0.0037318666,0.009042197,0.8801024,0.056810495],"study_design_scores_gemma":[0.00001887365,0.00003131303,0.016764838,0.00023011018,0.000017957054,0.00029463135,0.03780588,0.00020375127,0.00090563594,0.00024271959,0.94341815,0.000066226305],"about_ca_topic_score_codex":0.8910938,"about_ca_topic_score_gemma":0.97149134,"teacher_disagreement_score":0.10890621,"about_ca_system_score_codex":0.016515385,"about_ca_system_score_gemma":0.013980299,"threshold_uncertainty_score":0.21909511},"labels":[],"label_agreement":null},{"id":"W2943112357","doi":"10.15353/kinema.vi.1322","title":"Installation of the Exotic","year":2015,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Service (business); Visual arts; Multimedia; Public domain; Diversity (politics); Computer science; Media studies; Art; Sociology; History; Business; Archaeology","score_opus":0.09864739744780379,"score_gpt":0.2691561458545963,"score_spread":0.1705087484067925,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2943112357","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.036746077,0.0009725188,0.01266869,0.0022657618,0.0006990055,0.000068032525,0.0004492875,0.0007867057,0.94534385],"genre_scores_gemma":[0.6281086,0.0018659388,0.01976419,0.00212128,0.0007675308,0.0001137273,0.0010313978,0.0013082811,0.34491903],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988825,0.00025248437,0.000049746952,0.00026826427,0.00034782186,0.00019918299],"domain_scores_gemma":[0.9987872,0.00016525974,0.00010625424,0.00046457723,0.00017493904,0.00030184296],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011300773,0.0006146298,0.00043488227,0.001315307,0.0041404474,0.006602367,0.00086222484,0.0014081916,0.08701141],"category_scores_gemma":[0.0023122355,0.00058042904,0.00067395024,0.0010956128,0.0046340623,0.0057718805,0.007527152,0.002319761,0.011964446],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00052424095,0.00016346696,0.005381393,0.0006622367,0.0000423783,0.003068375,0.016224526,0.0008738962,0.014163561,0.6461692,0.11141916,0.20130754],"study_design_scores_gemma":[0.000014334124,0.00011113984,0.0045911167,0.00017823945,0.00002037113,0.0021731579,0.0027149245,0.00033988946,0.0011251215,0.015302308,0.9733848,0.000044678414],"about_ca_topic_score_codex":0.0020473816,"about_ca_topic_score_gemma":0.003536728,"teacher_disagreement_score":0.08701141,"about_ca_system_score_codex":0.0012950796,"about_ca_system_score_gemma":0.0008697971,"threshold_uncertainty_score":0.29108214},"labels":[],"label_agreement":null},{"id":"W2944781846","doi":"10.7202/1058467ar","title":"Introduction. The Mediality of Concealment: Material Practices and Symbolic Operativity","year":2019,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Camouflage; Politics; Steganography; Encryption; The Symbolic; Sociology; Aesthetics; Computer science; Psychology; Art; Artificial intelligence; Image (mathematics); Political science; Psychoanalysis; Law; Computer security","score_opus":0.03582798343019438,"score_gpt":0.28556885329153503,"score_spread":0.24974086986134064,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2944781846","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029587457,0.12688501,0.06859579,0.15053152,0.024445733,0.00010601194,0.0008805003,0.0002796474,0.5986883],"genre_scores_gemma":[0.56423575,0.10290578,0.025710037,0.02000606,0.055247135,0.00022729157,0.0006517974,0.0005891661,0.23042697],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99930537,0.00028125197,0.000037760652,0.00014373782,0.00018489845,0.00004694614],"domain_scores_gemma":[0.99719006,0.0021052377,0.00017709757,0.00021808938,0.0002296832,0.00007980859],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00097272836,0.00050844357,0.00032618662,0.0011576032,0.0017794762,0.0037956147,0.0006083504,0.0019901774,0.018222451],"category_scores_gemma":[0.0038999617,0.00018032985,0.0003567082,0.0010669209,0.007529293,0.00591858,0.0017884371,0.003304052,0.002016667],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019439749,0.000013958223,0.00041991082,0.00016786576,0.0000047450844,0.0000743691,0.003461324,0.00015035068,0.00031662753,0.927862,0.040125243,0.027384171],"study_design_scores_gemma":[0.000004518905,0.0000369552,0.001322075,0.00052109297,0.0000071438903,0.000389651,0.0017209463,0.00044624248,0.000518487,0.31143793,0.6835736,0.000021421649],"about_ca_topic_score_codex":0.001222875,"about_ca_topic_score_gemma":0.0010393165,"teacher_disagreement_score":0.018222451,"about_ca_system_score_codex":0.0015883702,"about_ca_system_score_gemma":0.0006997862,"threshold_uncertainty_score":0.060960174},"labels":[],"label_agreement":null},{"id":"W2944939769","doi":"","title":"{[#!GUARDA VEDERE$]} Little Woods 2019 FILM COMPLETO SCARICARE HD","year":2019,"lang":"en","type":"article","venue":"OSF Preprints (OSF Preprints)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Psychology","score_opus":0.02147228912267006,"score_gpt":0.2303452628664391,"score_spread":0.20887297374376906,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2944939769","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00089717004,0.00047313242,0.00046987372,0.0025367725,0.0019361704,0.0000753793,0.0043036165,0.0015806616,0.98772717],"genre_scores_gemma":[0.0042289286,0.00037700118,0.00031970828,0.0005155589,0.000281605,0.000037528825,0.0012530189,0.0009219681,0.99206465],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998604,0.000017889652,0.00000430935,0.000027535965,0.00005251626,0.000037347083],"domain_scores_gemma":[0.9995018,0.000085705295,0.000022381411,0.00006602322,0.00016886363,0.00015524762],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025193967,0.0005331003,0.00033294215,0.00080438174,0.0015650578,0.004217594,0.00073989475,0.0010912556,0.871545],"category_scores_gemma":[0.0015861252,0.0003453954,0.00032119025,0.00070406066,0.0003578499,0.00220029,0.0017201205,0.0014031483,0.64030504],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019410578,0.0000067628825,0.00005628965,0.000029375782,0.0000011213147,0.000021595168,0.000058714173,0.000007152898,0.00008718585,0.001282827,0.98521125,0.013218315],"study_design_scores_gemma":[0.000004743215,0.0000052646346,0.0004765218,0.000039005663,0.000001063281,0.000028793685,0.00012042087,0.000018397475,0.00007690635,0.00015738691,0.9990681,0.0000035398382],"about_ca_topic_score_codex":0.009510098,"about_ca_topic_score_gemma":0.028089019,"teacher_disagreement_score":0.12845498,"about_ca_system_score_codex":0.00084094703,"about_ca_system_score_gemma":0.000369636,"threshold_uncertainty_score":0.18322545},"labels":[],"label_agreement":null},{"id":"W2945367904","doi":"10.4000/communication.9586","title":"Tim MARKHAM et Scott RODGERS (dir.) (2017), Conditions of Mediation: Phenomenological Perspectives on Media","year":2019,"lang":"en","type":"article","venue":"Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Mediation; Psychology; Psychoanalysis; Humanities; Sociology; Philosophy; Social science","score_opus":0.044040174512106234,"score_gpt":0.2669910475347973,"score_spread":0.22295087302269107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2945367904","genre_codex":"review","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003957656,0.52571654,0.0046898597,0.43266147,0.011009311,0.00003565027,0.00057818193,0.00008244087,0.02126898],"genre_scores_gemma":[0.12736705,0.67944574,0.0056469664,0.07751504,0.016913166,0.0002304081,0.00057201856,0.00040519488,0.09190429],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978688,0.0011854402,0.000090761445,0.00028235448,0.0004268354,0.00014579676],"domain_scores_gemma":[0.9957819,0.003121323,0.0003623425,0.00009630502,0.00037506007,0.00026306152],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032830986,0.0011684669,0.00090794975,0.0019280262,0.0034357833,0.008757997,0.0009535767,0.004603579,0.017620165],"category_scores_gemma":[0.009979357,0.00079247035,0.00043240946,0.0028604376,0.004677192,0.014545904,0.0025577426,0.0055164606,0.0054695806],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010751948,0.000034773366,0.0010364152,0.001021383,0.00003471773,0.00016748635,0.020981658,0.00018948197,0.00027297455,0.12857178,0.76924026,0.07834161],"study_design_scores_gemma":[0.000027538506,0.000018923167,0.0025424461,0.0014404502,0.00002797036,0.00024136357,0.012733769,0.00024469825,0.00039030952,0.07565242,0.90659606,0.00008402587],"about_ca_topic_score_codex":0.018189773,"about_ca_topic_score_gemma":0.026703637,"teacher_disagreement_score":0.018189773,"about_ca_system_score_codex":0.00281076,"about_ca_system_score_gemma":0.002562412,"threshold_uncertainty_score":0.058945358},"labels":[],"label_agreement":null},{"id":"W2946298152","doi":"10.3968/10990","title":"Gender Roles and the Institution of Family: A Cultural Interpretation of Double Indemnity (1944)","year":2019,"lang":"en","type":"article","venue":"Canadian social science","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indemnity; Interpretation (philosophy); Character (mathematics); Institution; Perspective (graphical); Sociology; Gender studies; Cultural institution; Social institution; Political science; Law; Media studies; Social science; Art; Linguistics; Visual arts; Philosophy","score_opus":0.03610466198601253,"score_gpt":0.24463672624649635,"score_spread":0.20853206426048382,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2946298152","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20045072,0.009108062,0.00491464,0.03096033,0.0006376831,0.00002663332,0.00004740546,0.00001508497,0.7538395],"genre_scores_gemma":[0.9892202,0.0011325013,0.00030992195,0.00064795086,0.000098761,0.000012017527,0.000004459914,0.0000069486077,0.008567279],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99829084,0.0012125045,0.000023432909,0.000102167396,0.00014318958,0.00022782556],"domain_scores_gemma":[0.9989774,0.00063098024,0.0001213674,0.00006006793,0.00009502283,0.00011523218],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018831822,0.0003553456,0.00015993069,0.0011115305,0.0066454615,0.003522486,0.0005394768,0.0012399247,0.0024913873],"category_scores_gemma":[0.002564442,0.00012917009,0.00013297674,0.00060908345,0.03597837,0.0036541184,0.0022397789,0.0017870859,0.00011410672],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000145216145,0.000009174158,0.00077615824,0.000013260102,0.000002166957,0.00022472788,0.12932265,0.000056228226,0.00010967664,0.8613153,0.0024924928,0.0056636548],"study_design_scores_gemma":[0.00002611903,0.00005439024,0.00873151,0.00044656664,0.000012627762,0.0006240813,0.18802962,0.000356322,0.00060400815,0.33674628,0.46433267,0.00003580325],"about_ca_topic_score_codex":0.022258,"about_ca_topic_score_gemma":0.016326254,"teacher_disagreement_score":0.022258,"about_ca_system_score_codex":0.0053996635,"about_ca_system_score_gemma":0.0014761138,"threshold_uncertainty_score":0.044256926},"labels":[],"label_agreement":null},{"id":"W2948174456","doi":"","title":"Inception Movie Timeline","year":2018,"lang":"en","type":"article","venue":"MacEwan University Student Research Proceedings","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"MacEwan University","funders":"","keywords":"Timeline; Computer science; History","score_opus":0.14620601511556572,"score_gpt":0.34321718853478206,"score_spread":0.19701117341921634,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2948174456","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05021923,0.0021135749,0.0016402769,0.002919053,0.0057399776,0.00032214864,0.1665366,0.0036469446,0.76686215],"genre_scores_gemma":[0.13146412,0.002054315,0.002237014,0.0013136454,0.002883047,0.00023307215,0.15544757,0.0021468634,0.70222044],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998253,0.00001076724,0.0000066517996,0.000029287772,0.00008586763,0.000042235406],"domain_scores_gemma":[0.99883693,0.00010090352,0.000074031974,0.00006704453,0.0006154373,0.00030562858],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022929827,0.00044584507,0.0002072486,0.0026188118,0.0011278915,0.0015420471,0.00026924108,0.00050050137,0.18368717],"category_scores_gemma":[0.0014883811,0.00015131496,0.00015139347,0.0016685401,0.00010443318,0.0009272913,0.0005307442,0.0006579787,0.059424132],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028399238,0.00002844099,0.002460321,0.00015953838,0.0000047129756,0.00013178965,0.00024017798,0.000053593198,0.0012700848,0.0013577312,0.95335805,0.0406516],"study_design_scores_gemma":[0.000017569477,0.000036801834,0.02402323,0.00007072049,0.000006066205,0.000094058814,0.0002903641,0.00015026487,0.0007525297,0.00011355217,0.97443455,0.000010177047],"about_ca_topic_score_codex":0.016548077,"about_ca_topic_score_gemma":0.03629266,"teacher_disagreement_score":0.18368717,"about_ca_system_score_codex":0.000719499,"about_ca_system_score_gemma":0.00045851764,"threshold_uncertainty_score":0.6144948},"labels":[],"label_agreement":null},{"id":"W2948869664","doi":"10.1093/oxfordhb/9780190229108.013.22","title":"The Musicality of Canadian Cinema","year":2019,"lang":"en","type":"reference-entry","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Narrative; Musicality; Popular music; Visual arts; Aesthetics; Animation; Art; Sociology; Media studies; Literature","score_opus":0.058117327911515956,"score_gpt":0.22652951787861017,"score_spread":0.16841218996709423,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2948869664","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09852768,0.025456596,0.0026616678,0.027712489,0.0008262244,0.000048673213,0.0010980547,0.00010351218,0.8435651],"genre_scores_gemma":[0.92352474,0.016292669,0.0012773842,0.0011432661,0.00027342493,0.000019088366,0.00024366041,0.00006711989,0.057158623],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99836546,0.00025252654,0.00003099955,0.00016429114,0.0007726871,0.00041417175],"domain_scores_gemma":[0.99824345,0.00034302118,0.000112653404,0.00006922533,0.00087845954,0.00035317664],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011014007,0.00039581527,0.00024978872,0.0032925836,0.009952513,0.011804174,0.0007705002,0.0007339092,0.0154803535],"category_scores_gemma":[0.0047880705,0.00021894152,0.00019673862,0.0047448934,0.0065645324,0.0014483243,0.0015974218,0.0011474912,0.000602483],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012959092,0.000029810342,0.011671311,0.00048108105,0.00003621197,0.0005436924,0.057113178,0.00078686705,0.0013203645,0.65286636,0.100285724,0.17473581],"study_design_scores_gemma":[0.0000054677103,0.000011858761,0.032855354,0.00048192314,0.00002795979,0.00022715167,0.027965005,0.00039340364,0.00025660658,0.008546892,0.92917454,0.00005381404],"about_ca_topic_score_codex":0.97301835,"about_ca_topic_score_gemma":0.9822171,"teacher_disagreement_score":0.0621536,"about_ca_system_score_codex":0.0621536,"about_ca_system_score_gemma":0.043403566,"threshold_uncertainty_score":0.450958},"labels":[],"label_agreement":null},{"id":"W294975352","doi":"","title":"Canadian Cinema in the Age of Globalization","year":2001,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; The Imaginary; Media studies; Drama; Jury; Order (exchange); History; Sociology; Art history; Law; Art; Political science; Literature; Psychology; Psychoanalysis","score_opus":0.030960383622164554,"score_gpt":0.22491332587817645,"score_spread":0.1939529422560119,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W294975352","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019144079,0.023193324,0.0008989145,0.10078384,0.0040944046,0.00004430266,0.0005437606,0.00025496268,0.85104245],"genre_scores_gemma":[0.49860936,0.023708792,0.0017275078,0.015978482,0.0012521081,0.000061177576,0.00048836996,0.00035221016,0.457822],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981102,0.0002960841,0.000023272254,0.0002070897,0.00068602856,0.0006772987],"domain_scores_gemma":[0.9979353,0.00020634927,0.000074462216,0.00009997307,0.00084926875,0.00083469826],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012057194,0.00088843744,0.00034246236,0.0021870816,0.02331441,0.0130723845,0.0013293922,0.0023908904,0.054376096],"category_scores_gemma":[0.0032592244,0.00035201703,0.0003044275,0.0031419788,0.008941761,0.0039652446,0.0044940556,0.0036672975,0.0028515307],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043116434,0.000016277208,0.0011003491,0.0001812526,0.00000950678,0.00045015718,0.06629468,0.00010335591,0.0005750393,0.19037934,0.70081335,0.040033583],"study_design_scores_gemma":[0.0000016858023,0.0000020168332,0.0010161253,0.00008118763,0.0000043398186,0.000059231494,0.014023417,0.000028350038,0.00005201675,0.0012835719,0.9834373,0.0000108785725],"about_ca_topic_score_codex":0.9599444,"about_ca_topic_score_gemma":0.98449844,"teacher_disagreement_score":0.07717312,"about_ca_system_score_codex":0.07717312,"about_ca_system_score_gemma":0.052808598,"threshold_uncertainty_score":0.5599328},"labels":[],"label_agreement":null},{"id":"W2950903281","doi":"10.3366/jbctv.2019.0481","title":"Wainwright's West Yorkshire: Affect and Landscape in the Television Drama of Sally Wainwright","year":2019,"lang":"en","type":"article","venue":"Journal of British Cinema and Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":15,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Wainwright; Drama; Beauty; Theme (computing); Art; Narrative; Romance; Visual arts; History; Art history; Geography; Sociology; Media studies; Literature; Aesthetics; Archaeology","score_opus":0.009676944973632019,"score_gpt":0.20722524759996327,"score_spread":0.19754830262633125,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2950903281","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7773785,0.004827492,0.0005411164,0.020121535,0.0007760824,0.000026211548,0.0001785989,0.00006920479,0.19608133],"genre_scores_gemma":[0.9500242,0.0010535155,0.00013626672,0.0017059605,0.00009465945,0.000019102497,0.000042236097,0.00008784693,0.04683627],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9996407,0.00014635947,0.000004296439,0.000045655932,0.000061909,0.000101040205],"domain_scores_gemma":[0.9997106,0.00012923586,0.000027405365,0.000011373423,0.00003251285,0.00008874631],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003935636,0.00030044044,0.00018125557,0.00045477742,0.0073857037,0.0047043585,0.00043923935,0.0010168072,0.0064843427],"category_scores_gemma":[0.00088942895,0.00027925087,0.00009545487,0.00047714653,0.006973154,0.0018705113,0.002429173,0.002716145,0.0005114782],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010251025,0.000030394993,0.0033068676,0.00006734208,0.00001403435,0.0016770861,0.91483194,0.00008300298,0.0027459143,0.015262684,0.052225225,0.009653114],"study_design_scores_gemma":[0.000011455588,0.00003151878,0.015686681,0.00014583256,0.000011756733,0.00038384623,0.62888324,0.00009433508,0.00050893426,0.0007835722,0.35342664,0.000032210053],"about_ca_topic_score_codex":0.24410777,"about_ca_topic_score_gemma":0.51692307,"teacher_disagreement_score":0.24410777,"about_ca_system_score_codex":0.0056638974,"about_ca_system_score_gemma":0.0010558099,"threshold_uncertainty_score":0.48537385},"labels":[],"label_agreement":null},{"id":"W2952828712","doi":"10.1093/oxfordhb/9780190229108.013.2","title":"Canadian Cinema and the Intellectual Milieu","year":2019,"lang":"en","type":"reference-entry","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of British Columbia","funders":"","keywords":"Movie theater; Mythology; Art history; Empire; Work (physics); Sociology; Art; Aesthetics; Literature; History; Archaeology","score_opus":0.02771164289723231,"score_gpt":0.20521387315181908,"score_spread":0.17750223025458678,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2952828712","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024893116,0.011901436,0.00018257946,0.020264816,0.00041786995,0.000020338619,0.00039696298,0.000043748667,0.9418791],"genre_scores_gemma":[0.78075266,0.016221838,0.00048655766,0.0028136778,0.00044877795,0.000021033518,0.00035663904,0.000094480616,0.19880421],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99782133,0.00033602773,0.00003793577,0.00024290994,0.00077242055,0.00078931096],"domain_scores_gemma":[0.9961318,0.00064670894,0.00019672984,0.00015260832,0.0016567421,0.0012153365],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001393136,0.0004380151,0.0003106662,0.005441713,0.021055695,0.018078739,0.0012939816,0.0011944148,0.037862092],"category_scores_gemma":[0.0051374906,0.00021743492,0.00020462803,0.006449193,0.012550349,0.0024978516,0.0033152874,0.0017308877,0.0013532025],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004581455,0.00003090875,0.0027014788,0.00018037454,0.00001579993,0.00052813074,0.05059948,0.0001537102,0.00020200723,0.72059375,0.16121426,0.063734256],"study_design_scores_gemma":[0.0000054995294,0.0000050770836,0.0046862345,0.00019948545,0.0000085418515,0.00007116388,0.015880557,0.000064060165,0.00005807124,0.00648415,0.97251976,0.000017392918],"about_ca_topic_score_codex":0.9753602,"about_ca_topic_score_gemma":0.9822075,"teacher_disagreement_score":0.11043358,"about_ca_system_score_codex":0.11043358,"about_ca_system_score_gemma":0.07989302,"threshold_uncertainty_score":0.80125546},"labels":[],"label_agreement":null},{"id":"W2953309455","doi":"10.22215/etd/2006-07782","title":"Upstairs, downstairs: locating Gosford Park within the critical and cultural context of British (heritage) cinema","year":2006,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University; Canadian Heritage","funders":"","keywords":"Movie theater; Context (archaeology); Humanities; Art; Art history; Visual arts; Cartography; Geography; Archaeology","score_opus":0.017917545002638858,"score_gpt":0.24230324332046688,"score_spread":0.224385698317828,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2953309455","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9310712,0.0017450884,0.00045539808,0.0024426654,0.000044087177,0.000024864376,0.0001703187,0.000012736934,0.0640337],"genre_scores_gemma":[0.99205714,0.0006363561,0.0002561472,0.000079329744,0.000012897843,0.000005642071,0.000068299436,0.000009722849,0.006874446],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959904,0.00015741473,0.0000075062057,0.000046031364,0.000048648773,0.00014143517],"domain_scores_gemma":[0.9984138,0.00069764315,0.0003037126,0.00004528833,0.0001990683,0.00034044634],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005108621,0.00013962036,0.00012528685,0.001757029,0.0034666243,0.0047498792,0.00038255204,0.00067549123,0.010852354],"category_scores_gemma":[0.0041884445,0.00017225461,0.000072704985,0.0029183533,0.002564003,0.002306897,0.0018172855,0.00067371747,0.000493849],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022104567,0.000038192553,0.09572622,0.00031342945,0.000015416448,0.0030797946,0.78835446,0.000120549936,0.0018823028,0.021668635,0.014849469,0.07373047],"study_design_scores_gemma":[0.000002547608,0.000020557518,0.19695851,0.00024633063,0.000015109036,0.0002856423,0.75364435,0.00013450532,0.0002526845,0.00084649,0.04757956,0.000013690683],"about_ca_topic_score_codex":0.3711758,"about_ca_topic_score_gemma":0.76568335,"teacher_disagreement_score":0.3711758,"about_ca_system_score_codex":0.0039042765,"about_ca_system_score_gemma":0.002510606,"threshold_uncertainty_score":0.7380306},"labels":[],"label_agreement":null},{"id":"W2953511200","doi":"","title":"Guest family film: reel 2. Farm, 1975; Cotton Picking, July 1978; Cotton Picking, July 1978; Cotton Picking, Martha In Australia, 1981; Alberta's Wedding, April 1975","year":2019,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Reel; Geography; Art; Visual arts","score_opus":0.03157889835506152,"score_gpt":0.24609441183134054,"score_spread":0.214515513476279,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2953511200","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0065547284,0.015792934,0.00024648223,0.028432108,0.01873868,0.00014218832,0.0035354206,0.00022453339,0.92633295],"genre_scores_gemma":[0.008757498,0.001173708,0.000056134104,0.000948161,0.0006044707,0.000014044653,0.0002605714,0.000052033036,0.9881334],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99984777,0.000012832941,0.0000030617282,0.00001993176,0.000054061427,0.0000621847],"domain_scores_gemma":[0.9995466,0.00007143524,0.00001383766,0.000011733806,0.00023454746,0.000121873825],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003628494,0.0007973227,0.00028565706,0.00097260467,0.006528914,0.003078241,0.00064981804,0.0022189228,0.21873637],"category_scores_gemma":[0.0011514341,0.00036249642,0.00022104326,0.0009868038,0.00047411275,0.001159934,0.00059405965,0.0025870563,0.035977088],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022697615,0.000010371746,0.00010183227,0.000017752725,9.226805e-7,0.00007420483,0.00023611162,0.000015925812,0.000051778672,0.0009410911,0.9953949,0.0031323906],"study_design_scores_gemma":[0.000006937278,0.000009581179,0.0031352926,0.000070071976,0.000003482492,0.00003109455,0.0010704088,0.000026678197,0.00010650609,0.00015395817,0.99538165,0.0000042893435],"about_ca_topic_score_codex":0.28805166,"about_ca_topic_score_gemma":0.6866915,"teacher_disagreement_score":0.28805166,"about_ca_system_score_codex":0.004619599,"about_ca_system_score_gemma":0.0028382945,"threshold_uncertainty_score":0.7317461},"labels":[],"label_agreement":null},{"id":"W2953992564","doi":"10.82308/52265","title":"Digital cinematic technology and the democratization of independent cinema","year":2007,"lang":"en","type":"article","venue":"eScholarship@McGill (McGill)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; McGill University","keywords":"Movie theater; Exhibition; Democratization; Production (economics); Digital media; Projection (relational algebra); Visual arts; Computer graphics (images); Computer science; Multimedia; Art; Political science; World Wide Web; Politics; Democracy","score_opus":0.013455903636901459,"score_gpt":0.20177992352542548,"score_spread":0.188324019888524,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2953992564","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5184357,0.0016601247,0.006106725,0.0049059954,0.000094942574,0.000054538094,0.000097294425,0.00004312714,0.4686015],"genre_scores_gemma":[0.9933935,0.0002630239,0.00033201586,0.00007220883,0.000048556954,0.000007537439,0.000018048091,0.000007584192,0.0058575063],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987398,0.00062120764,0.00003572422,0.00018454512,0.00017034526,0.00024839633],"domain_scores_gemma":[0.9951681,0.002023799,0.0011739801,0.0007988414,0.00028367815,0.0005517028],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013823754,0.00019384833,0.00016639366,0.0014255837,0.0019524847,0.004368218,0.00041006558,0.00051192817,0.01357911],"category_scores_gemma":[0.0060759466,0.00017892438,0.00018522645,0.0011280801,0.005761145,0.003195202,0.0023961826,0.001086894,0.0005366967],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014806345,0.00019755139,0.016467167,0.00012504526,0.00003904926,0.00036192982,0.016624171,0.0020179357,0.0021592278,0.89569324,0.0047395723,0.06142699],"study_design_scores_gemma":[0.000100670986,0.00021789646,0.1736415,0.00040926447,0.000058664944,0.0010776612,0.03852868,0.0070136427,0.0042884313,0.42036656,0.35421798,0.000079216305],"about_ca_topic_score_codex":0.002231307,"about_ca_topic_score_gemma":0.0033575932,"teacher_disagreement_score":0.01357911,"about_ca_system_score_codex":0.0018169545,"about_ca_system_score_gemma":0.0009637401,"threshold_uncertainty_score":0.045426607},"labels":[],"label_agreement":null},{"id":"W2954039375","doi":"10.5038/1911-9933.13.2.1636","title":"Film Review: The Uncondemned","year":2019,"lang":"en","type":"article","venue":"Genocide Studies and Prevention","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Genocide; History; Political science; Law","score_opus":0.04084092631555101,"score_gpt":0.2713461831466562,"score_spread":0.2305052568311052,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2954039375","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00029431892,0.58204895,0.00021609862,0.2000466,0.2125409,0.00004117598,0.00034558488,0.00003029919,0.0044361562],"genre_scores_gemma":[0.0071915826,0.49097654,0.0007087468,0.16198498,0.31875446,0.00011981382,0.0006424732,0.000113381415,0.019508064],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99131787,0.0023156025,0.001622946,0.0011971317,0.0029304188,0.0006161739],"domain_scores_gemma":[0.90463567,0.024018064,0.008397463,0.0044417065,0.05148516,0.0070219217],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.012922869,0.0009807728,0.002070278,0.0082393745,0.0022385377,0.008190563,0.0023973351,0.010147937,0.013765632],"category_scores_gemma":[0.06377695,0.00069654785,0.0010983439,0.006240854,0.0036200823,0.0072621997,0.003368213,0.0071199113,0.007485287],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005436925,0.000018821054,0.00020006433,0.0028898488,0.000047854934,0.00006918656,0.00006936328,0.000019038427,0.0001269453,0.0020211218,0.9391228,0.055360623],"study_design_scores_gemma":[0.000017359784,0.000025391288,0.0008190599,0.0074643283,0.00006999356,0.00018714766,0.00017720931,0.000031345713,0.000066908106,0.0013867061,0.9897371,0.00001747086],"about_ca_topic_score_codex":0.006023202,"about_ca_topic_score_gemma":0.02006926,"teacher_disagreement_score":0.013765632,"about_ca_system_score_codex":0.0054972745,"about_ca_system_score_gemma":0.010885003,"threshold_uncertainty_score":0.06834346},"labels":[],"label_agreement":null},{"id":"W2954497953","doi":"10.1080/14682737.2019.1584466","title":"Cinema of Crisis and the Documentary Impulse: The UPF Masters in Creative Documentary","year":2019,"lang":"en","type":"article","venue":"Hispanic Research Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Movie theater; Realm; Legitimacy; Film industry; Capitalism; Sociology; Media studies; State (computer science); Aesthetics; Political science; History; Law; Art history; Art; Politics","score_opus":0.036011273266930856,"score_gpt":0.3004720699589503,"score_spread":0.26446079669201944,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2954497953","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45537943,0.012043525,0.0047488743,0.044062555,0.0005826877,0.00010468387,0.00019647235,0.000072008785,0.48280975],"genre_scores_gemma":[0.98641044,0.0016013997,0.00048743119,0.0007049143,0.00024204569,0.000029128325,0.00004239076,0.000040356223,0.010441959],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99701166,0.0017909713,0.000058945032,0.00025906324,0.00042822468,0.00045106089],"domain_scores_gemma":[0.98804736,0.008036004,0.0015076341,0.000572131,0.00079811167,0.0010387347],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003971059,0.00033321013,0.00032165542,0.0017649763,0.00405056,0.015467705,0.0009570449,0.0022406431,0.015394369],"category_scores_gemma":[0.014015951,0.00025064516,0.00020452935,0.0016846322,0.010831668,0.007299609,0.0045168414,0.0028789833,0.0007537722],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023948176,0.0002867777,0.016006485,0.00045473594,0.00003166802,0.0018307745,0.23545945,0.0005964539,0.0005390509,0.65933007,0.028575655,0.056649394],"study_design_scores_gemma":[0.00008504253,0.00014376304,0.037061464,0.0014789004,0.00003462281,0.0009790683,0.468583,0.0019665272,0.0006753513,0.09070739,0.3982162,0.00006870343],"about_ca_topic_score_codex":0.009189525,"about_ca_topic_score_gemma":0.008627265,"teacher_disagreement_score":0.015467705,"about_ca_system_score_codex":0.008529696,"about_ca_system_score_gemma":0.0020029664,"threshold_uncertainty_score":0.061887562},"labels":[],"label_agreement":null},{"id":"W2954704095","doi":"10.15353/kinema.vi.1073","title":"Five Easy Pieces","year":2004,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Pluralism (philosophy); Promotion (chess); Art; Media studies; Aesthetics; Sociology; Political science; Epistemology; Philosophy; Law","score_opus":0.03223781623357672,"score_gpt":0.2644448798432033,"score_spread":0.2322070636096266,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2954704095","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00449366,0.018373618,0.021578435,0.0968329,0.0505276,0.00040967792,0.0017375041,0.0012263051,0.80482036],"genre_scores_gemma":[0.03646278,0.01380882,0.016448122,0.024367085,0.0115391435,0.0003255997,0.0019185861,0.0010142764,0.8941156],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99844104,0.00035015945,0.00010877984,0.00020750122,0.0006304042,0.0002621468],"domain_scores_gemma":[0.99673235,0.0007222886,0.00012854906,0.0005278242,0.0011778725,0.0007111286],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020547211,0.0017979599,0.00058226805,0.0024532953,0.0067298515,0.010905922,0.0015435037,0.003083163,0.20825604],"category_scores_gemma":[0.0099976575,0.0006283269,0.0008788367,0.001636758,0.0033374524,0.010059555,0.0069316635,0.0057669133,0.06478022],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001534075,0.00005165462,0.00033907878,0.00038895823,0.000012691123,0.00023541816,0.002368207,0.00012103423,0.0008959824,0.19555695,0.66040444,0.13947204],"study_design_scores_gemma":[0.000004674142,0.00002202679,0.00021010888,0.00018405328,0.0000038805547,0.00009587512,0.0010771761,0.000031953394,0.00011274335,0.014815269,0.9834336,0.000008667143],"about_ca_topic_score_codex":0.0028309503,"about_ca_topic_score_gemma":0.004660046,"teacher_disagreement_score":0.20825604,"about_ca_system_score_codex":0.0021826148,"about_ca_system_score_gemma":0.0019574426,"threshold_uncertainty_score":0.69668585},"labels":[],"label_agreement":null},{"id":"W2955648753","doi":"","title":"American Roulette (Russian Roulette with a Twist)","year":2019,"lang":"en","type":"article","venue":"MacEwan University Student Research Proceedings","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"MacEwan University","funders":"","keywords":"Roulette; Twist; Mathematics; Geometry","score_opus":0.05632791416455579,"score_gpt":0.28858181333402527,"score_spread":0.23225389916946948,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2955648753","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00491399,0.014676864,0.0011092471,0.04641165,0.046688553,0.000054006505,0.000872455,0.00045414845,0.88481903],"genre_scores_gemma":[0.015565766,0.0016744002,0.00037645688,0.0033974724,0.0027853453,0.000029348408,0.00017350845,0.00018373376,0.97581404],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949837,0.00007441849,0.000019858664,0.00015533916,0.00013170797,0.00012033402],"domain_scores_gemma":[0.9996455,0.000042746695,0.000024352756,0.000053493583,0.00014172828,0.000092236485],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00064575416,0.00066695304,0.00039936212,0.0011290644,0.0051803957,0.0047597606,0.00050926814,0.0023454644,0.076759785],"category_scores_gemma":[0.0015007121,0.00033668918,0.00031961652,0.0009314327,0.0013322447,0.0027912718,0.0020101364,0.003559494,0.034059346],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032737662,0.000011456566,0.00017364511,0.000025867877,0.000002444523,0.000074841264,0.00028738577,0.000026285637,0.00017124329,0.0593706,0.9189267,0.020896867],"study_design_scores_gemma":[0.0000015237307,0.0000029786352,0.0003960883,0.000018658578,8.4236814e-7,0.000028531225,0.0000629452,0.000011109757,0.00005461951,0.001106224,0.99831295,0.0000035617345],"about_ca_topic_score_codex":0.02498162,"about_ca_topic_score_gemma":0.050060898,"teacher_disagreement_score":0.076759785,"about_ca_system_score_codex":0.0021982556,"about_ca_system_score_gemma":0.0016432609,"threshold_uncertainty_score":0.25678706},"labels":[],"label_agreement":null},{"id":"W2956382970","doi":"10.1093/oxfordhb/9780190229108.013.1","title":"Three Canadian Film Policy Frameworks","year":2019,"lang":"en","type":"reference-entry","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"Movie theater; Exhibition; Filmmaking; Bureaucracy; Political science; Cultural policy; Film studies; Media studies; State (computer science); Distribution (mathematics); Sociology; Art; Visual arts; Politics; Law","score_opus":0.03538149484638935,"score_gpt":0.23743162697340991,"score_spread":0.20205013212702055,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2956382970","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010632576,0.010616086,0.0024303198,0.081137635,0.0007208206,0.00022308517,0.001899083,0.0001549987,0.89218545],"genre_scores_gemma":[0.5053362,0.031463936,0.014514534,0.042923115,0.0006610078,0.00075599906,0.0022768422,0.00023884542,0.4018294],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9939383,0.00064554316,0.00016310668,0.0006656574,0.0026218304,0.001965472],"domain_scores_gemma":[0.995096,0.00069295923,0.00016505539,0.00016833506,0.0027604275,0.0011172243],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037524626,0.000992886,0.00041263443,0.0050410596,0.01675093,0.017566955,0.0025211438,0.0046667703,0.019294564],"category_scores_gemma":[0.008075845,0.0005630747,0.0006645138,0.006791125,0.006839009,0.00315886,0.0031217975,0.0042803907,0.0010426805],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.000011901863,0.00001220063,0.0004837536,0.000093771145,0.0000056117196,0.00010235961,0.0016270983,0.00045479974,0.000110920584,0.94017774,0.047771696,0.00914817],"study_design_scores_gemma":[0.00001928812,0.000008731801,0.0035006725,0.00046541303,0.000022584101,0.00006500324,0.0046309773,0.0006336735,0.00020136594,0.0352338,0.9551543,0.00006428031],"about_ca_topic_score_codex":0.98692584,"about_ca_topic_score_gemma":0.9878044,"teacher_disagreement_score":0.7811942,"about_ca_system_score_codex":0.21880579,"about_ca_system_score_gemma":0.2700689,"threshold_uncertainty_score":0.9060745},"labels":[],"label_agreement":null},{"id":"W2958867847","doi":"10.33178/alpha.17.11","title":"Surface and light","year":2019,"lang":"en","type":"article","venue":"Alphaville Journal of Film and Screen Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Situated; Dirt; Exhibition; Urbanity; Embodied cognition; Visual arts; Fantasy; Movie theater; Space (punctuation); Art; Aesthetics; Computer science; Engineering; Artificial intelligence; Geography; Cartography; Literature","score_opus":0.020505315685790157,"score_gpt":0.21407182775840586,"score_spread":0.19356651207261572,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2958867847","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06541453,0.0024393534,0.018079972,0.007158628,0.00083353906,0.0001276641,0.00020180651,0.0002517878,0.9054927],"genre_scores_gemma":[0.7467059,0.0019712674,0.005856285,0.0018956825,0.00023713925,0.00009553527,0.00014990228,0.00051257014,0.24257581],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989208,0.0002673528,0.000026608313,0.00019807451,0.00041468517,0.00017256312],"domain_scores_gemma":[0.9993749,0.00024065195,0.000036738795,0.00014046265,0.000112799156,0.000094421484],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006875982,0.00037582248,0.0003643439,0.0012383879,0.005041282,0.009284425,0.0010270806,0.0024185288,0.04028066],"category_scores_gemma":[0.002560457,0.00024938036,0.00068833743,0.0010867127,0.0064678947,0.004150144,0.0052848593,0.00240893,0.005215203],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021317655,0.0001822269,0.0044313124,0.0007191423,0.00002858722,0.0040648403,0.07933496,0.0015869025,0.010696979,0.67322654,0.06481363,0.1607017],"study_design_scores_gemma":[0.000017249089,0.000092416216,0.002710942,0.00039770966,0.000014844667,0.0018890975,0.039708097,0.0008307654,0.0028502587,0.038941648,0.91250753,0.000039573206],"about_ca_topic_score_codex":0.003223195,"about_ca_topic_score_gemma":0.004617782,"teacher_disagreement_score":0.04028066,"about_ca_system_score_codex":0.0018115746,"about_ca_system_score_gemma":0.0008772417,"threshold_uncertainty_score":0.13475227},"labels":[],"label_agreement":null},{"id":"W2962849065","doi":"10.3138/cjfs.26.2.br5","title":"Hollywood Aesthetic: Pleasure in American Cinema","year":2017,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":41,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hollywood; Movie theater; Pleasure; Art; Aesthetics; Art history; Psychology","score_opus":0.07270218893931013,"score_gpt":0.27350307595818807,"score_spread":0.20080088701887794,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2962849065","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1353522,0.006370589,0.0023957381,0.025071379,0.0011981985,0.000024935169,0.00007746247,0.000071999086,0.82943755],"genre_scores_gemma":[0.9630549,0.0009676062,0.0003365396,0.0011624403,0.0005792121,0.000009940665,0.000017093538,0.000058864174,0.033813383],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9990965,0.00046271557,0.0000147085475,0.0000750978,0.00017929396,0.00017177455],"domain_scores_gemma":[0.9976876,0.0009644678,0.00019340785,0.00015027853,0.00033533163,0.000669069],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012521776,0.00030435552,0.00019240685,0.0011682175,0.0058585447,0.010376502,0.00045093114,0.0013127882,0.01896963],"category_scores_gemma":[0.00485275,0.00019737067,0.0001563123,0.0011646105,0.007775079,0.0040458287,0.002829158,0.0030444146,0.00063546584],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019733387,0.00011646629,0.0056214924,0.00020075821,0.000018345196,0.0007526359,0.15315296,0.000114696304,0.0011330434,0.6697749,0.0896474,0.07926998],"study_design_scores_gemma":[0.000034271976,0.000103370985,0.02620619,0.000466454,0.000040038245,0.0015541712,0.15080348,0.00051843666,0.0007159436,0.103361905,0.71614003,0.000055676628],"about_ca_topic_score_codex":0.0059730667,"about_ca_topic_score_gemma":0.013987136,"teacher_disagreement_score":0.01896963,"about_ca_system_score_codex":0.002422251,"about_ca_system_score_gemma":0.0012277763,"threshold_uncertainty_score":0.063459694},"labels":[],"label_agreement":null},{"id":"W2964699483","doi":"","title":"\"Von Frisch's Ten Little Housemates\"","year":2013,"lang":"en","type":"article","venue":"Dalhousie review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.031101322312181996,"score_gpt":0.233538399980983,"score_spread":0.202437077668801,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2964699483","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005711639,0.34360862,0.0015086337,0.44138828,0.022431714,0.000029095456,0.0004559545,0.000110616405,0.18475549],"genre_scores_gemma":[0.14729305,0.1826715,0.0014828007,0.08843554,0.008015322,0.00006179703,0.00028324206,0.00013424321,0.57162243],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905413,0.00028744244,0.0000332099,0.00015959615,0.00022670599,0.00023888315],"domain_scores_gemma":[0.99900764,0.00025964575,0.000070941576,0.000096250325,0.00029537323,0.00027013206],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018189264,0.0006963979,0.00031184932,0.0019849006,0.0036253836,0.0060038576,0.0007845183,0.0038607658,0.016528348],"category_scores_gemma":[0.0043573794,0.00027583845,0.00021264207,0.0010987013,0.0070451046,0.004800283,0.0028252916,0.003814603,0.0038558014],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029365747,0.000012950665,0.00021130055,0.00011135818,0.0000047042176,0.00005191988,0.00094106706,0.00005697527,0.00013903096,0.23259737,0.68792325,0.077920675],"study_design_scores_gemma":[0.0000021119235,0.0000038805238,0.00035691677,0.00018925892,0.0000021696035,0.00003786944,0.00047592443,0.000018595292,0.000101370555,0.005707845,0.9930983,0.0000057918583],"about_ca_topic_score_codex":0.086136535,"about_ca_topic_score_gemma":0.13281357,"teacher_disagreement_score":0.086136535,"about_ca_system_score_codex":0.00795096,"about_ca_system_score_gemma":0.009347046,"threshold_uncertainty_score":0.17127031},"labels":[],"label_agreement":null},{"id":"W296782715","doi":"","title":"Montreal Student Film Festival : expérimentations","year":2004,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Art; Media studies; Sociology","score_opus":0.009759285131836801,"score_gpt":0.18114339884633077,"score_spread":0.17138411371449397,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W296782715","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9142543,0.00061562646,0.0022678245,0.00086128974,0.00023531784,0.008360539,0.007071725,0.00017755067,0.06615582],"genre_scores_gemma":[0.92822653,0.00055382785,0.006113221,0.00096634706,0.00030494464,0.013343878,0.006131993,0.000121932775,0.044237323],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9913697,0.004719602,0.00043878044,0.0011323992,0.0013793309,0.0009601634],"domain_scores_gemma":[0.94183207,0.038482815,0.003781425,0.0055646836,0.006895046,0.0034439364],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009495408,0.0015769536,0.0009795695,0.001532266,0.0075925747,0.0038163299,0.003015358,0.0027218834,0.036847048],"category_scores_gemma":[0.04595633,0.00097416487,0.000732302,0.0022323616,0.0018633548,0.0020375533,0.002236749,0.001999529,0.004593299],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.061934173,0.16102138,0.20624565,0.006991544,0.0019296621,0.003622061,0.10809877,0.03333348,0.03233008,0.05577951,0.13920827,0.18950541],"study_design_scores_gemma":[0.019833181,0.034289837,0.5416804,0.0011446273,0.0025377905,0.00040815512,0.05530983,0.01588682,0.027452622,0.014224052,0.28615385,0.0010788025],"about_ca_topic_score_codex":0.26241848,"about_ca_topic_score_gemma":0.3366387,"teacher_disagreement_score":0.26241848,"about_ca_system_score_codex":0.007975067,"about_ca_system_score_gemma":0.0051415497,"threshold_uncertainty_score":0.52178204},"labels":[],"label_agreement":null},{"id":"W2969063819","doi":"10.5117/9789089647542","title":"Technology and Film Scholarship","year":2021,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; Historiography; Movie theater; Film studies; Field (mathematics); Art history; History; Engineering; Media studies; Political science; Sociology; Archaeology; Law","score_opus":0.03311552066399063,"score_gpt":0.21568233308872997,"score_spread":0.18256681242473935,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969063819","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003284257,0.08744406,0.0011777858,0.015310824,0.0028698186,0.000012582009,0.00007172579,0.00003990143,0.8897889],"genre_scores_gemma":[0.120723486,0.1429878,0.0011897632,0.0033295196,0.0046053533,0.000053043546,0.00019589679,0.00012206457,0.7267931],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993523,0.00025555908,0.00002700154,0.00008033221,0.00020194707,0.00008286097],"domain_scores_gemma":[0.99905854,0.00055206503,0.000050245966,0.00008334416,0.0001278305,0.00012805562],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00066194276,0.00043820887,0.0002992478,0.002518429,0.0035865698,0.008894297,0.00062137685,0.0017948886,0.04365848],"category_scores_gemma":[0.0024322383,0.0001824419,0.00022265356,0.0028958789,0.0050484217,0.006949124,0.0022971346,0.0020175176,0.0062428713],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008905926,0.0000192069,0.00014250107,0.00014516177,0.0000029135938,0.000083532956,0.004043129,0.00010014133,0.00012824136,0.8773764,0.07210001,0.045849793],"study_design_scores_gemma":[0.0000021353924,0.000008018203,0.00020498496,0.00032863408,0.0000019033389,0.000086691696,0.0015949318,0.00006487436,0.000084915504,0.04688571,0.95073396,0.0000031300171],"about_ca_topic_score_codex":0.0035326048,"about_ca_topic_score_gemma":0.005328166,"teacher_disagreement_score":0.04365848,"about_ca_system_score_codex":0.0035715625,"about_ca_system_score_gemma":0.0015887113,"threshold_uncertainty_score":0.14605212},"labels":[],"label_agreement":null},{"id":"W2969558013","doi":"10.2478/ausfm-2019-0006","title":"Shadows Illuminated. Understanding German Expressionist Cinema through the Lens of Contemporary Filmmaking Practices","year":2019,"lang":"en","type":"article","venue":"Acta Universitatis Sapientiae Film and Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Regina","funders":"","keywords":"Filmmaking; Movie theater; German; Mainstream; Realm; Art; Visual arts; Aesthetics; History; Political science","score_opus":0.12074126511898031,"score_gpt":0.2901055978355213,"score_spread":0.169364332716541,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969558013","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34662437,0.012196994,0.018733887,0.020250509,0.00041356913,0.000056131987,0.00020418833,0.00011601736,0.6014043],"genre_scores_gemma":[0.9909031,0.0012966915,0.0006116483,0.00021268212,0.000063669875,0.000010375184,0.00001622055,0.000022043418,0.006863686],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99838626,0.0010275375,0.00003611496,0.00017363708,0.0001457325,0.00023084885],"domain_scores_gemma":[0.9982418,0.0011661904,0.00023338103,0.00014126295,0.00010344671,0.000113938855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026183173,0.00039535743,0.00023952124,0.0022718096,0.0039504264,0.015155085,0.0006419016,0.0012829675,0.0055931625],"category_scores_gemma":[0.0029082696,0.0002552134,0.00019087813,0.0019508693,0.023165591,0.005846379,0.0027497513,0.0017143241,0.0003772635],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025857495,0.000019676336,0.00086349493,0.00008218694,0.0000073128526,0.00023168928,0.20677684,0.0002192557,0.00038877642,0.77597475,0.0024837498,0.012926369],"study_design_scores_gemma":[0.000017151442,0.00004531102,0.008008397,0.00064782717,0.000032514305,0.0005612905,0.3872026,0.0016128386,0.0012140478,0.16954805,0.4310804,0.000029604133],"about_ca_topic_score_codex":0.0065763127,"about_ca_topic_score_gemma":0.007308567,"teacher_disagreement_score":0.015155085,"about_ca_system_score_codex":0.00523339,"about_ca_system_score_gemma":0.0012157515,"threshold_uncertainty_score":0.03797108},"labels":[],"label_agreement":null},{"id":"W2969853151","doi":"10.2478/ausfm-2019-0004","title":"From Weimar to Winnipeg: German Expressionism and Guy Maddin","year":2019,"lang":"en","type":"article","venue":"Acta Universitatis Sapientiae Film and Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Winnipeg","funders":"","keywords":"German; Anachronism; Movie theater; Allegory; Art history; Art; Weimar Republic; Politics; Narrative; History; Visual arts; Literature; Law; Archaeology; Political science","score_opus":0.019660496670250927,"score_gpt":0.23243644513213296,"score_spread":0.21277594846188203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969853151","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8674481,0.004759691,0.0003377865,0.025607752,0.00014821847,0.00001528232,0.00014436172,0.000024164246,0.10151466],"genre_scores_gemma":[0.99563855,0.0005162746,0.00005645855,0.0004189542,0.000012777918,0.000001911608,0.000013312996,0.000006087385,0.003335615],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9992636,0.00036604644,0.000014563557,0.00007545685,0.00007481253,0.00020561651],"domain_scores_gemma":[0.99951255,0.00017855028,0.000108742366,0.00003204318,0.00004613439,0.00012192257],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00074093905,0.00023720427,0.00014672003,0.00060310203,0.0033055786,0.004361678,0.0003556971,0.0007014969,0.0043925303],"category_scores_gemma":[0.0014247627,0.0001569445,0.00006116001,0.00108878,0.005235518,0.0010501397,0.0025153714,0.00093203195,0.00022557846],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002885033,0.000071801245,0.016117567,0.00026469555,0.000043186403,0.0051144753,0.6754148,0.00025860345,0.0022196223,0.21420307,0.038786896,0.04721679],"study_design_scores_gemma":[0.00002193876,0.00006288537,0.048066773,0.00035613606,0.000032971097,0.0014572516,0.3950036,0.00024135296,0.0009019643,0.00737961,0.5464348,0.000040736355],"about_ca_topic_score_codex":0.06717976,"about_ca_topic_score_gemma":0.09998639,"teacher_disagreement_score":0.93282026,"about_ca_system_score_codex":0.0063824872,"about_ca_system_score_gemma":0.0012435924,"threshold_uncertainty_score":0.13357747},"labels":[],"label_agreement":null},{"id":"W2969866585","doi":"10.1093/oxfordhb/9780190229108.013.23","title":"The World Navigated","year":2019,"lang":"en","type":"reference-entry","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Interactivity; Citizen journalism; Documentary film; Sociology; Visual arts; Media studies; Multimedia; Computer science; Art; World Wide Web","score_opus":0.04116459211027935,"score_gpt":0.24415313652341852,"score_spread":0.20298854441313918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2969866585","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02824765,0.0031876427,0.0064896164,0.018109875,0.00082756527,0.000038027974,0.00049916306,0.00012595292,0.9424745],"genre_scores_gemma":[0.7157738,0.004440796,0.0033169466,0.003714444,0.0002131955,0.00006013627,0.00053502683,0.0003293906,0.27161613],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99763715,0.00075910153,0.000042889336,0.0003894194,0.00063537067,0.00053606235],"domain_scores_gemma":[0.999009,0.00017974632,0.000057554018,0.00015030001,0.00030250568,0.0003009527],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010712463,0.00047393018,0.00038999476,0.0012567557,0.009173275,0.018013768,0.0009171889,0.0016893157,0.024407266],"category_scores_gemma":[0.0027149338,0.00021528742,0.0003418501,0.0017757313,0.016118452,0.008135202,0.0070604985,0.0027510277,0.003268151],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033132026,0.000015297164,0.0015951503,0.00009077626,0.000016932774,0.0004478601,0.14162032,0.00020404118,0.0006704918,0.78611207,0.036858622,0.032335404],"study_design_scores_gemma":[0.000003649078,0.000007956559,0.00077024853,0.00018572746,0.000008151351,0.00015146092,0.042888395,0.00008364035,0.0001652255,0.02387885,0.9318379,0.000018700794],"about_ca_topic_score_codex":0.29586598,"about_ca_topic_score_gemma":0.2892001,"teacher_disagreement_score":0.29586598,"about_ca_system_score_codex":0.0116621535,"about_ca_system_score_gemma":0.012538508,"threshold_uncertainty_score":0.5882877},"labels":[],"label_agreement":null},{"id":"W2970007755","doi":"10.15353/kinema.vi.1107","title":"Mary Pickford and Questions of National Identity During WWI","year":2005,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; KISS (TNC); Movie theater; Identity (music); National identity; Key (lock); Art; Girl; Performance art; Penny; History; Media studies; Sociology; Law; Political science; Aesthetics; Psychology; Archaeology; Politics","score_opus":0.034245909598562885,"score_gpt":0.28514947884867425,"score_spread":0.25090356925011137,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970007755","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03732242,0.031271398,0.00023689761,0.6890661,0.0022118548,0.0000183943,0.00018201553,0.000016238657,0.23967464],"genre_scores_gemma":[0.77568233,0.015499337,0.00023247473,0.085221365,0.0019283432,0.000044588814,0.00008821575,0.00006412828,0.12123918],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9975395,0.00071890093,0.000031608975,0.00017319342,0.00045436434,0.0010823727],"domain_scores_gemma":[0.9979625,0.0006271244,0.00017974322,0.000057112662,0.00047696577,0.0006966425],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00276248,0.000401371,0.0003975942,0.001376867,0.037283354,0.010712894,0.0011896448,0.009494247,0.0067202323],"category_scores_gemma":[0.0057243407,0.0003157116,0.00029699135,0.0019351884,0.020873044,0.005569859,0.002764092,0.006968216,0.0006127706],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055203844,0.000024978066,0.004083034,0.000054363227,0.0000091154525,0.00063139864,0.178215,0.00007471652,0.00010693016,0.33581787,0.46821514,0.012712227],"study_design_scores_gemma":[0.000010345089,0.0000068735535,0.0115279555,0.0003570375,0.000007364843,0.00016236762,0.21044384,0.000060604114,0.000087649016,0.019828267,0.7574541,0.00005355057],"about_ca_topic_score_codex":0.90077525,"about_ca_topic_score_gemma":0.94491166,"teacher_disagreement_score":0.099224746,"about_ca_system_score_codex":0.04335482,"about_ca_system_score_gemma":0.022034407,"threshold_uncertainty_score":0.31456274},"labels":[],"label_agreement":null},{"id":"W2970086555","doi":"10.15353/kinema.vi.1201","title":"The Romantic Conventions of the \"Haunted Melodrama\"","year":2009,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Romance; Literature; Art; Comedy; Mythology; Paradise; Purgatory; Tragedy (event); Subject (documents); Movie theater; Subject matter; Philosophy; Art history; Law","score_opus":0.026836293286836236,"score_gpt":0.25978570945712975,"score_spread":0.23294941617029352,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970086555","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12241571,0.007891838,0.013106871,0.018484471,0.0009163414,0.000055985103,0.00014016319,0.00010043988,0.8368882],"genre_scores_gemma":[0.9705328,0.0008689081,0.0021941892,0.00080068636,0.00017054443,0.00003969418,0.000038893842,0.00004723696,0.025307091],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99807775,0.0013391828,0.00005178146,0.00019878372,0.00021359354,0.00011890482],"domain_scores_gemma":[0.99916303,0.00032740858,0.00012491025,0.00019694102,0.000088341534,0.00009934628],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011245394,0.00031489454,0.00019562525,0.0006153103,0.003584183,0.004718817,0.0005924979,0.001084978,0.005143528],"category_scores_gemma":[0.004225275,0.00017137975,0.00012649086,0.00047718838,0.013960312,0.0029734292,0.0028735606,0.0023917458,0.0008220338],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027330305,0.0000065544023,0.00043612378,0.000033439614,0.000003078368,0.00014159,0.022832215,0.000042409407,0.00034002916,0.9604585,0.0060217544,0.009656964],"study_design_scores_gemma":[0.000021393862,0.00006269791,0.005334361,0.00036598335,0.000009244863,0.0014461476,0.028450806,0.0006448387,0.0009631059,0.19712077,0.765534,0.000046705994],"about_ca_topic_score_codex":0.0011167742,"about_ca_topic_score_gemma":0.0019519429,"teacher_disagreement_score":0.005143528,"about_ca_system_score_codex":0.0013191773,"about_ca_system_score_gemma":0.00046544016,"threshold_uncertainty_score":0.017206788},"labels":[],"label_agreement":null},{"id":"W2970095256","doi":"10.15353/kinema.vi.1253","title":"Istanbul International Film Festival 2012","year":2012,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Film festival; Movie theater; Attendance; Martial arts; The arts; Art; Happening; Visual arts; History; Art history; Media studies; Ancient history; Performance art; Political science; Sociology; Law","score_opus":0.045082632439700294,"score_gpt":0.28378092035460284,"score_spread":0.23869828791490255,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970095256","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.038418766,0.036518786,0.0010322816,0.022727242,0.047213003,0.00033733936,0.017558966,0.0010092938,0.83518434],"genre_scores_gemma":[0.14293884,0.012858775,0.0015267478,0.0021037755,0.0036760864,0.00024896438,0.013553391,0.00055584137,0.82253754],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994331,0.000091611015,0.00002544737,0.00008926723,0.00015648115,0.00020405061],"domain_scores_gemma":[0.99952686,0.000023566106,0.000030474308,0.000034982775,0.0001948765,0.00018920618],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012294534,0.0014940433,0.00047137696,0.0014831892,0.0043790755,0.0067135044,0.0008320121,0.0013055961,0.12939909],"category_scores_gemma":[0.0011822118,0.00032934072,0.00045650188,0.0011908471,0.0008478743,0.001657605,0.0026511918,0.0018826266,0.03458355],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002455153,0.000087395194,0.0007509164,0.00031111724,0.000015907015,0.00037346355,0.0010920493,0.00011684947,0.0004710359,0.006137139,0.959499,0.030899605],"study_design_scores_gemma":[0.000013642091,0.000024315252,0.0042402004,0.0001775172,0.0000046718105,0.000119905955,0.0010743156,0.0000505964,0.00024822826,0.000282361,0.9937541,0.000010089138],"about_ca_topic_score_codex":0.010777178,"about_ca_topic_score_gemma":0.026363032,"teacher_disagreement_score":0.12939909,"about_ca_system_score_codex":0.0032023538,"about_ca_system_score_gemma":0.0018871417,"threshold_uncertainty_score":0.43288308},"labels":[],"label_agreement":null},{"id":"W2970103417","doi":"10.15353/kinema.vi.969","title":"Scopic Drive, Time Travel, and Film Spectatorship","year":2001,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dream; Wonder; Movie theater; Art history; Subject (documents); Art; Face (sociological concept); Sociology; Philosophy; Psychology; Social science; Epistemology","score_opus":0.030605693851205155,"score_gpt":0.2532405102120466,"score_spread":0.22263481636084143,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970103417","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19955283,0.017223533,0.0010266438,0.05866062,0.0013337649,0.0000261305,0.00020820787,0.00006679692,0.7219014],"genre_scores_gemma":[0.9431959,0.003245357,0.0001584344,0.002012289,0.0007258316,0.00001528095,0.000049015205,0.00006230476,0.050535582],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987035,0.00079776684,0.00002313808,0.00010736288,0.00015994719,0.00020834226],"domain_scores_gemma":[0.99670994,0.0015262753,0.00044678632,0.00015156525,0.00037685593,0.00078854844],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011603428,0.00028229176,0.00022777842,0.001303739,0.005222538,0.007159144,0.0005427879,0.0013717153,0.01776118],"category_scores_gemma":[0.0058369325,0.00017511929,0.0001702702,0.0011732901,0.009237384,0.0046811826,0.0037569322,0.002345106,0.00077656936],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018042624,0.00008992687,0.00768244,0.0001961907,0.000040887135,0.0010780675,0.25918406,0.00015078225,0.00046155805,0.53008515,0.15577121,0.04507936],"study_design_scores_gemma":[0.000038926082,0.00008458783,0.01182217,0.00045383707,0.000020190253,0.0009262767,0.18216541,0.00023254701,0.00032387755,0.032918565,0.7709682,0.000045508594],"about_ca_topic_score_codex":0.011911519,"about_ca_topic_score_gemma":0.017247982,"teacher_disagreement_score":0.01776118,"about_ca_system_score_codex":0.002327295,"about_ca_system_score_gemma":0.00083276635,"threshold_uncertainty_score":0.05941701},"labels":[],"label_agreement":null},{"id":"W2970103503","doi":"10.15353/kinema.vi.1191","title":"Interview with Elem Klimov","year":2008,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Tribute; Favourite; Film director; Biography; Wife; Art; History; Art history; Movie theater; Law; Political science","score_opus":0.06678881402876978,"score_gpt":0.2564374416441736,"score_spread":0.1896486276154038,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970103503","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01292529,0.028587053,0.00031716513,0.86308587,0.0137926685,0.000105858264,0.0008685805,0.00007736119,0.0802401],"genre_scores_gemma":[0.118347906,0.01898464,0.00038292195,0.51769066,0.0065599903,0.00054470997,0.0005590871,0.00015983231,0.33677024],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99890447,0.00033545832,0.000037398087,0.00015822795,0.00027848504,0.0002858743],"domain_scores_gemma":[0.9973978,0.0006826419,0.000211622,0.00004162223,0.0009088292,0.0007574703],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016316335,0.0004457129,0.0007814141,0.0011288265,0.0061119585,0.0027663263,0.00083838793,0.005103376,0.062694855],"category_scores_gemma":[0.0073865918,0.00039303923,0.00023955826,0.0014670024,0.0012175895,0.0038540545,0.002119121,0.00789539,0.018903453],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019782061,0.000024955645,0.0007334967,0.00006854401,0.0000016617568,0.00031006028,0.0032595436,0.00002229181,0.00008230264,0.0011462776,0.98617584,0.008155371],"study_design_scores_gemma":[0.000012165303,0.000021537857,0.0033903879,0.0005518297,0.0000029030525,0.0005577054,0.030793136,0.000048043592,0.00008565709,0.0007188891,0.96379185,0.0000259218],"about_ca_topic_score_codex":0.014312147,"about_ca_topic_score_gemma":0.021339923,"teacher_disagreement_score":0.062694855,"about_ca_system_score_codex":0.0038555427,"about_ca_system_score_gemma":0.0024998875,"threshold_uncertainty_score":0.20973516},"labels":[],"label_agreement":null},{"id":"W2970121601","doi":"10.15353/kinema.vi.1195","title":"Times BFI Film Festival 2007","year":2008,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Girl; Film festival; Atmosphere (unit); Feature film; Art; Art history; Feature (linguistics); Film industry; Visual arts; Media studies; Sociology; Geography; Movie theater; Psychology; Meteorology; Philosophy","score_opus":0.047183332624991726,"score_gpt":0.26262152692873325,"score_spread":0.21543819430374153,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970121601","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009212116,0.0067822183,0.00028670434,0.016252846,0.013411086,0.00017721027,0.010770938,0.0005746659,0.94253206],"genre_scores_gemma":[0.019337434,0.0026212255,0.0003965267,0.0012750004,0.001172232,0.000099383185,0.0061064144,0.00031076284,0.9686811],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994966,0.000037836373,0.000013918268,0.00005536371,0.00024634373,0.00014981255],"domain_scores_gemma":[0.9991258,0.00007156244,0.000053381707,0.000049202867,0.00036764628,0.00033241833],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00090434076,0.00057038665,0.00027080224,0.0018449102,0.0046589426,0.005893331,0.00071203604,0.0014369704,0.26678988],"category_scores_gemma":[0.002073878,0.0002896672,0.0003541467,0.0013192784,0.00048002077,0.0018549036,0.0018127762,0.0019539366,0.058010444],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004167458,0.000016246686,0.00013029487,0.00005164082,0.000001977759,0.0000587639,0.00022351182,0.000012096677,0.00013085797,0.0020067375,0.987412,0.009914107],"study_design_scores_gemma":[0.0000044693757,0.000010690131,0.0010567538,0.00007147661,0.0000012704527,0.00003069887,0.00034974475,0.000015539992,0.000099132616,0.000114687544,0.9982414,0.0000041977933],"about_ca_topic_score_codex":0.041129407,"about_ca_topic_score_gemma":0.17166747,"teacher_disagreement_score":0.26678988,"about_ca_system_score_codex":0.003633562,"about_ca_system_score_gemma":0.0018741728,"threshold_uncertainty_score":0.89250106},"labels":[],"label_agreement":null},{"id":"W2970163156","doi":"10.15353/kinema.vi.1087","title":"Cannes 2005 Report","year":2005,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Attendance; Closing (real estate); Style (visual arts); Art history; Art; Media studies; History; Visual arts; Advertising; Sociology; Law; Political science; Business","score_opus":0.036144382796006694,"score_gpt":0.2748737293306387,"score_spread":0.23872934653463201,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970163156","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0026392443,0.00747553,0.00048058454,0.02411482,0.011053276,0.00053091685,0.08469347,0.0010353128,0.8679769],"genre_scores_gemma":[0.0065562217,0.003315231,0.0007647111,0.0059020743,0.0008167361,0.00031565293,0.04235742,0.00039696135,0.93957496],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99682695,0.00018959215,0.00015950375,0.0004606538,0.001902803,0.00046051282],"domain_scores_gemma":[0.99649787,0.00021841281,0.00019182019,0.00029177903,0.002096244,0.0007038131],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00269522,0.0010785712,0.0005400821,0.0036175824,0.0030983253,0.0070419423,0.0023240137,0.0031615368,0.27102417],"category_scores_gemma":[0.0064503937,0.00052366935,0.0006694513,0.003417513,0.0004172625,0.001980103,0.0021334805,0.0026364168,0.14193252],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003368029,0.000013759419,0.00021968677,0.000047368354,0.0000021740914,0.00003792639,0.000025484196,0.000019356501,0.000049675757,0.0022090592,0.99018526,0.007156502],"study_design_scores_gemma":[0.0000031542177,0.000004511689,0.00096991594,0.000050968138,0.0000015554466,0.000019671194,0.000042885396,0.00001099759,0.00006880847,0.00011227881,0.9987105,0.0000046338796],"about_ca_topic_score_codex":0.14253047,"about_ca_topic_score_gemma":0.15262736,"teacher_disagreement_score":0.27102417,"about_ca_system_score_codex":0.008940362,"about_ca_system_score_gemma":0.023092788,"threshold_uncertainty_score":0.90666616},"labels":[],"label_agreement":null},{"id":"W2970175203","doi":"10.15353/kinema.vi.917","title":"Berlinale 2000 Report","year":2000,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"German; Art history; Ticket; Art; History; Archaeology","score_opus":0.03269107865837661,"score_gpt":0.2649247545242147,"score_spread":0.2322336758658381,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970175203","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023704842,0.00538993,0.0006485161,0.006292511,0.006648678,0.00030222055,0.08159617,0.0010540268,0.89569736],"genre_scores_gemma":[0.0056531006,0.0022499503,0.00036363502,0.0010703433,0.00047798673,0.00026676414,0.03932922,0.00034941023,0.95023954],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99923563,0.000052411917,0.00004805819,0.00013964559,0.00037890096,0.00014543506],"domain_scores_gemma":[0.99900776,0.00007634088,0.00007578278,0.000115703035,0.00045308645,0.0002712817],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010031903,0.0010323805,0.0004577294,0.0026641784,0.0011790796,0.006241661,0.0016617656,0.0018809349,0.475397],"category_scores_gemma":[0.002821295,0.00054427213,0.00040828183,0.0027580855,0.00026053374,0.002595417,0.0023355414,0.0018008797,0.30409074],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007209405,0.00003331979,0.00032382467,0.00010018761,0.0000037317407,0.00005048311,0.000028291275,0.000049888586,0.00015323565,0.0040354184,0.96897227,0.026177347],"study_design_scores_gemma":[0.000004460869,0.000004872277,0.0009519865,0.000038351434,9.02008e-7,0.000015184255,0.000025133882,0.000011537679,0.000054805747,0.00013529645,0.998755,0.0000024615906],"about_ca_topic_score_codex":0.018617397,"about_ca_topic_score_gemma":0.017285485,"teacher_disagreement_score":0.475397,"about_ca_system_score_codex":0.0022685295,"about_ca_system_score_gemma":0.0038846964,"threshold_uncertainty_score":0.74828255},"labels":[],"label_agreement":null},{"id":"W2970197230","doi":"10.15353/kinema.vi.926","title":"Cannes 2001 Report","year":2001,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Art history; Ballad; Taste; George (robot); Humanities; Literature; Psychology; Poetry","score_opus":0.05554772725319973,"score_gpt":0.28657484650526205,"score_spread":0.23102711925206232,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970197230","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018037702,0.0032431998,0.0005185278,0.010513054,0.0043059983,0.00043150302,0.086308666,0.0008148941,0.89206046],"genre_scores_gemma":[0.0048465133,0.0025267198,0.000740292,0.0023998572,0.0004999454,0.00035670568,0.057132166,0.0004270762,0.9310708],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99687743,0.00020110529,0.00018961911,0.0005187986,0.0018152726,0.0003977133],"domain_scores_gemma":[0.99437827,0.00040587128,0.0002775986,0.0006129788,0.0035744768,0.00075083546],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.002665533,0.0010464541,0.0006058926,0.004724065,0.0029185072,0.007726298,0.0024431325,0.003033983,0.43390754],"category_scores_gemma":[0.008001715,0.0006107818,0.00059373275,0.0056382846,0.00040942378,0.0024870099,0.0020703163,0.0022558062,0.29053998],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039220737,0.000019305813,0.00038572904,0.00006023773,0.0000025705463,0.00003360462,0.00003490794,0.000028580234,0.00007157824,0.0029248707,0.98217,0.014229507],"study_design_scores_gemma":[0.0000031363645,0.0000035983294,0.0009350913,0.000044623153,0.0000013003383,0.000016690285,0.00003731502,0.000013596099,0.000057990797,0.00011710432,0.9987658,0.000003764043],"about_ca_topic_score_codex":0.10742909,"about_ca_topic_score_gemma":0.108614445,"teacher_disagreement_score":0.43390754,"about_ca_system_score_codex":0.0069216327,"about_ca_system_score_gemma":0.014785776,"threshold_uncertainty_score":0.8074622},"labels":[],"label_agreement":null},{"id":"W2970206039","doi":"10.15353/kinema.vi.1280","title":"Méliès’ A Trip to the Moon in Colour","year":2012,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sight; History; Art; Visual arts; Advertising; Business; Optics; Physics","score_opus":0.05520493735341718,"score_gpt":0.28496901307626105,"score_spread":0.22976407572284385,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970206039","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.034050565,0.008244973,0.0007333486,0.16830023,0.030871637,0.00009644728,0.0013142329,0.00039885542,0.75598973],"genre_scores_gemma":[0.07593443,0.0021909873,0.00058342895,0.01567018,0.0015346638,0.000022363089,0.00028462187,0.00029613724,0.90348303],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995764,0.00009574166,0.000007166914,0.00006148985,0.000101791746,0.00015744058],"domain_scores_gemma":[0.9995302,0.00003988449,0.000018681756,0.00002466702,0.00008890987,0.00029766696],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005779061,0.0004622787,0.00025826975,0.00040067217,0.00745782,0.0038515946,0.0004157216,0.0018427066,0.09135657],"category_scores_gemma":[0.0013525655,0.0002417928,0.00040701282,0.00040708348,0.0015059019,0.0021893273,0.0028492066,0.004118469,0.020332573],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007659904,0.00002994248,0.0004752975,0.000046117282,0.000007706839,0.0009916893,0.0046414235,0.000023497909,0.00037136802,0.0076617124,0.9710326,0.014642074],"study_design_scores_gemma":[0.000004711686,0.000017717071,0.001165492,0.00004093742,0.0000020681587,0.00036491823,0.0035064204,0.000013718779,0.00007884026,0.00036614703,0.99443096,0.000007958955],"about_ca_topic_score_codex":0.027302127,"about_ca_topic_score_gemma":0.1322272,"teacher_disagreement_score":0.09135657,"about_ca_system_score_codex":0.0019466283,"about_ca_system_score_gemma":0.00096352847,"threshold_uncertainty_score":0.30561817},"labels":[],"label_agreement":null},{"id":"W2970206595","doi":"10.15353/kinema.vi.1173","title":"Report on Canadian Film Archives","year":2007,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dominion; Pleading; Government (linguistics); History; Media studies; Political science; Visual arts; Art; Law; Sociology","score_opus":0.03404779510018823,"score_gpt":0.27151013809238606,"score_spread":0.23746234299219782,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970206595","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009766463,0.010923072,0.00075258827,0.028952312,0.005590719,0.001803579,0.1378398,0.0011151253,0.8032564],"genre_scores_gemma":[0.038593724,0.016328609,0.002455976,0.0042104986,0.00074385805,0.0008279885,0.075244844,0.00053011935,0.8610644],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9891502,0.0004031264,0.0003800887,0.0005939753,0.0073331753,0.002139444],"domain_scores_gemma":[0.97217,0.0006642282,0.0004664355,0.00076964067,0.021649458,0.004280165],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037295495,0.0015794841,0.00068818656,0.017871004,0.015408441,0.012292713,0.0036095695,0.0022619006,0.22207767],"category_scores_gemma":[0.012614575,0.0007441956,0.0010890891,0.016506458,0.0009964496,0.0027067221,0.0036635639,0.0027362145,0.03635743],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043508,0.000033865068,0.0017530733,0.00026280832,0.000012173521,0.00016557322,0.0004995262,0.00006753306,0.00030059883,0.007107985,0.9606261,0.029127253],"study_design_scores_gemma":[0.0000038751746,0.000004739576,0.0050140386,0.00009819464,0.000008087024,0.000035282003,0.00089508254,0.000032548964,0.00020262113,0.00011312658,0.99357647,0.00001585838],"about_ca_topic_score_codex":0.9729278,"about_ca_topic_score_gemma":0.97748405,"teacher_disagreement_score":0.22207767,"about_ca_system_score_codex":0.061884638,"about_ca_system_score_gemma":0.19132333,"threshold_uncertainty_score":0.7429238},"labels":[],"label_agreement":null},{"id":"W2970220495","doi":"10.15353/kinema.vi.1234","title":"Inside The Room and Beyond","year":2011,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cult; Mainstream; Movie theater; Variety (cybernetics); Media studies; Sociology; Visual arts; Aesthetics; Art; Political science; Law; Computer science","score_opus":0.058991832230276674,"score_gpt":0.2510184454663198,"score_spread":0.19202661323604311,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970220495","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009392343,0.013728467,0.004425368,0.08734416,0.0067174165,0.000030782943,0.00020657541,0.00024273468,0.8779121],"genre_scores_gemma":[0.4379853,0.01488023,0.0027979007,0.04239273,0.005169716,0.0000924958,0.00025767382,0.0007768642,0.49564716],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973902,0.0012221374,0.000054211952,0.000489707,0.0004513462,0.0003924525],"domain_scores_gemma":[0.99628097,0.0009712905,0.00021095709,0.00052106334,0.0005781861,0.0014375458],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018254832,0.0005685079,0.00045117296,0.00062922586,0.008497089,0.01638116,0.000890878,0.002808597,0.06823724],"category_scores_gemma":[0.006559596,0.00031567487,0.00037016525,0.0004651738,0.012115517,0.016476851,0.006849066,0.0056840098,0.012168961],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000068333065,0.00004217698,0.00080644136,0.00023266557,0.000014202195,0.0003549051,0.039694853,0.000085102314,0.0008942592,0.45386308,0.44471946,0.059224475],"study_design_scores_gemma":[0.000003581981,0.000013434511,0.0006050306,0.00023700728,0.0000041599046,0.00012329193,0.011128173,0.000037390797,0.0000977616,0.013258768,0.9744811,0.000010382297],"about_ca_topic_score_codex":0.009119982,"about_ca_topic_score_gemma":0.011561708,"teacher_disagreement_score":0.06823724,"about_ca_system_score_codex":0.0029690473,"about_ca_system_score_gemma":0.0029021008,"threshold_uncertainty_score":0.22827631},"labels":[],"label_agreement":null},{"id":"W2970236903","doi":"10.15353/kinema.vi.1090","title":"The Christ-figure in Popular Films","year":2005,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Pulpit; Entertainment; Aesthetics; Everyday life; Visual media; Feature (linguistics); Discernment; Art; Resource (disambiguation); Sociology; Visual arts; Law; Philosophy; Computer science; Theology; Political science","score_opus":0.028983739595854544,"score_gpt":0.26484494165947337,"score_spread":0.23586120206361882,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970236903","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28046516,0.0056400616,0.0008441544,0.034255095,0.0011574349,0.00002429689,0.00027204896,0.000053280906,0.67728853],"genre_scores_gemma":[0.95787483,0.0018594322,0.00019728714,0.0014995601,0.00047146284,0.000008594816,0.00006851983,0.000052232834,0.037968013],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99853814,0.0008409507,0.000026305801,0.00013246859,0.00022920892,0.0002329166],"domain_scores_gemma":[0.9982901,0.0006687466,0.00029748402,0.00012473519,0.00023812066,0.00038069361],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011638497,0.00016538052,0.00014591447,0.0009238722,0.006373863,0.008170243,0.0004525201,0.0012356474,0.013861896],"category_scores_gemma":[0.004974168,0.00021395854,0.00009545177,0.0012871865,0.0045959856,0.0039058859,0.0022326792,0.0015176248,0.00092508295],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019138522,0.00015727297,0.012577366,0.00021362498,0.000027892696,0.0013853881,0.30268398,0.00009327326,0.00084962195,0.39114907,0.22185123,0.06881996],"study_design_scores_gemma":[0.000013027923,0.000032471788,0.021097422,0.00030539208,0.000014855444,0.00045036268,0.18345627,0.0001008275,0.0004577119,0.008550124,0.7855032,0.000018258434],"about_ca_topic_score_codex":0.015096751,"about_ca_topic_score_gemma":0.038971312,"teacher_disagreement_score":0.015096751,"about_ca_system_score_codex":0.0030581641,"about_ca_system_score_gemma":0.00076373434,"threshold_uncertainty_score":0.046372652},"labels":[],"label_agreement":null},{"id":"W2970243295","doi":"10.3138/cjfs.28.1.2018-0021","title":"Up-to-Speed Cinema: An Elucidation of Griffith’s 1909 Contribution to Montage and Representation, through the Ratio of Shots to Camera Setups","year":2019,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Representation (politics); Computer graphics (images); Art; Computer science; Computer vision; Artificial intelligence; Art history; Political science","score_opus":0.0404337375949722,"score_gpt":0.2798709275832388,"score_spread":0.23943718998826657,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970243295","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40322548,0.002415881,0.057309058,0.0062251803,0.00042881587,0.00016219937,0.00035418948,0.0005335707,0.5293456],"genre_scores_gemma":[0.95911807,0.00088885846,0.015505544,0.00020368934,0.00007514301,0.000037770697,0.000061585015,0.00023470627,0.023874521],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99908376,0.00040432333,0.000022271253,0.00017084277,0.0002042372,0.00011456144],"domain_scores_gemma":[0.9977368,0.0012586665,0.0001976031,0.00035226595,0.0002908611,0.00016383856],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015178547,0.00044123444,0.00014484595,0.0018138489,0.0018069965,0.004941154,0.00078588567,0.0007688789,0.008694074],"category_scores_gemma":[0.00664352,0.00039046127,0.00021296856,0.0010320575,0.004669983,0.003709418,0.0027915863,0.0012701009,0.0007756737],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020199096,0.000046738573,0.011794282,0.00043056507,0.000023840126,0.0013517389,0.45873585,0.0009804439,0.03032966,0.31026226,0.011891963,0.17395058],"study_design_scores_gemma":[0.00003400331,0.00026597868,0.11457724,0.00082609773,0.00011239305,0.0029091206,0.14901806,0.0075176363,0.016327033,0.07018892,0.6380373,0.00018615132],"about_ca_topic_score_codex":0.012059402,"about_ca_topic_score_gemma":0.028046533,"teacher_disagreement_score":0.012059402,"about_ca_system_score_codex":0.0022715295,"about_ca_system_score_gemma":0.00086883287,"threshold_uncertainty_score":0.029084623},"labels":[],"label_agreement":null},{"id":"W2970267917","doi":"10.15353/kinema.vi.967","title":"The Existential Framework of Zentropa's Narrative","year":2001,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Existentialism; Mainstream; Idealism; Portrait; Movie theater; Aesthetics; Art; Art history; Sociology; Literature; Philosophy; Epistemology; Theology","score_opus":0.032895753662218925,"score_gpt":0.2811912634992874,"score_spread":0.2482955098370685,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970267917","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.064961426,0.0053578783,0.012352116,0.031329673,0.00041974508,0.000053549455,0.00013323763,0.00007259551,0.8853198],"genre_scores_gemma":[0.9730883,0.001287173,0.0018069049,0.0014815461,0.000080204205,0.00005513916,0.00004760297,0.00003526393,0.022117924],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978397,0.0013817424,0.000043587057,0.00025210343,0.00020264732,0.00028019524],"domain_scores_gemma":[0.99927324,0.00033135765,0.00007173865,0.000065166096,0.00009059712,0.00016784765],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019984704,0.00045498178,0.00025067505,0.00089483516,0.009423729,0.0087189805,0.0008321489,0.0023482377,0.0040011103],"category_scores_gemma":[0.0026337437,0.0002494653,0.00023051133,0.0010024828,0.03599533,0.0080041,0.004831283,0.003221109,0.0005032852],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009172743,0.00000554261,0.00008708418,0.000018860525,0.0000013711898,0.00013749022,0.059097897,0.00005970306,0.00007306341,0.9359644,0.0027448288,0.0018005868],"study_design_scores_gemma":[0.000015185033,0.000018647333,0.00054106384,0.00027274553,0.000008730574,0.00060721085,0.107385255,0.0005525737,0.00020719843,0.49561903,0.39474532,0.00002706354],"about_ca_topic_score_codex":0.009441938,"about_ca_topic_score_gemma":0.0076027885,"teacher_disagreement_score":0.009441938,"about_ca_system_score_codex":0.00486196,"about_ca_system_score_gemma":0.0030987214,"threshold_uncertainty_score":0.035276175},"labels":[],"label_agreement":null},{"id":"W2970285066","doi":"10.15353/kinema.vi.1275","title":"Reversal of Gender Roles in Twin Peaks and Fire Walk with Me","year":2012,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Cult; Television series; Human sexuality; Reading (process); Sociology; Gender studies; Perspective (graphical); Twin cities; Psychoanalysis; History; Psychology; Art; Literature; Media studies; Law; Political science; Visual arts; Archaeology","score_opus":0.03662916406216342,"score_gpt":0.25629082152962085,"score_spread":0.21966165746745742,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970285066","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.88123524,0.0006292407,0.00078404765,0.0061738645,0.00024234602,0.000025399471,0.00005194301,0.000017430533,0.11084054],"genre_scores_gemma":[0.99132264,0.00012454049,0.00009585602,0.000267544,0.000025058725,0.0000126819095,0.0000123208565,0.000018226525,0.008121157],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99837327,0.0007892959,0.00002748452,0.00014810784,0.00026861072,0.00039322276],"domain_scores_gemma":[0.99697864,0.0011052075,0.0005906899,0.00016573489,0.00028446867,0.0008751946],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016184603,0.0002301549,0.00030579028,0.00079181406,0.0059676045,0.0042049666,0.00064267754,0.0011142424,0.010557071],"category_scores_gemma":[0.005940827,0.000274046,0.0001630545,0.0006060269,0.010050143,0.0023734686,0.0032823668,0.0023240226,0.0006712951],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00047496008,0.0002431299,0.031114578,0.00006825204,0.000012803564,0.002302383,0.8368743,0.000059651422,0.0025653385,0.08525723,0.013274247,0.027753137],"study_design_scores_gemma":[0.000030007854,0.00009551039,0.058782753,0.000112299116,0.000007664597,0.00096303335,0.8634096,0.00012731859,0.0009878649,0.009263711,0.066179715,0.000040495674],"about_ca_topic_score_codex":0.013094956,"about_ca_topic_score_gemma":0.028798599,"teacher_disagreement_score":0.013094956,"about_ca_system_score_codex":0.002406645,"about_ca_system_score_gemma":0.0010604716,"threshold_uncertainty_score":0.035316944},"labels":[],"label_agreement":null},{"id":"W2970297790","doi":"10.15353/kinema.vi.992","title":"Conversations with Gerald Pratley (3)","year":2002,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mediocrity principle; Enthusiasm; Sister; Art history; Conversation; Corporation; Adventure; Media studies; Performance art; Art; History; Law; Political science; Sociology; Philosophy; Theology","score_opus":0.05036756986127261,"score_gpt":0.2424342418309833,"score_spread":0.1920666719697107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970297790","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00410801,0.021803249,0.0005507081,0.8779549,0.0326787,0.000041937936,0.00016589179,0.00014804477,0.06254849],"genre_scores_gemma":[0.07193143,0.02078318,0.0010943935,0.41471815,0.014340323,0.00022207823,0.00018177023,0.00043610833,0.47629258],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99846905,0.0006304093,0.000050421128,0.00024434942,0.0003903512,0.00021528396],"domain_scores_gemma":[0.9956073,0.0014441286,0.00028547712,0.00015069779,0.0009787495,0.0015335754],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003208657,0.00067128136,0.00061668764,0.000994108,0.007487838,0.0057404893,0.00094876275,0.0054589096,0.039188456],"category_scores_gemma":[0.01434485,0.0004087977,0.00033025944,0.0010458132,0.0023147087,0.00534575,0.0031785502,0.008573825,0.011019411],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011746845,0.00001577685,0.00015647277,0.000027012731,0.000002181648,0.00015565181,0.0030038904,0.000011808857,0.00010319381,0.0024112125,0.98587763,0.008223406],"study_design_scores_gemma":[0.0000028143363,0.000007713889,0.00043650385,0.00008309029,0.0000019340475,0.00019126621,0.004690407,0.000021459577,0.000058739526,0.00060929864,0.99388725,0.000009544587],"about_ca_topic_score_codex":0.010756868,"about_ca_topic_score_gemma":0.020774437,"teacher_disagreement_score":0.039188456,"about_ca_system_score_codex":0.002991331,"about_ca_system_score_gemma":0.0022393428,"threshold_uncertainty_score":0.13109839},"labels":[],"label_agreement":null},{"id":"W2970353313","doi":"10.15353/kinema.vi.1274","title":"Aspects of Contemporary Irish Horror Cinema","year":2012,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Irish; Art; Aesthetics; Art history; History; Philosophy; Linguistics","score_opus":0.06748172632859714,"score_gpt":0.28729331706856565,"score_spread":0.2198115907399685,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970353313","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23454948,0.014556735,0.00039260756,0.019684767,0.0011554261,0.00006273692,0.00026999714,0.000034999004,0.72929317],"genre_scores_gemma":[0.9532454,0.005970988,0.00018241136,0.0014170003,0.00073790626,0.00003151333,0.00011874669,0.000059267535,0.03823674],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918336,0.000291936,0.000017622238,0.00007692682,0.00015750706,0.00027267906],"domain_scores_gemma":[0.9993831,0.00015796263,0.00009764389,0.000031237985,0.00015102685,0.0001789045],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009350886,0.0003196293,0.00017229895,0.0011936005,0.006831495,0.0072564166,0.00076996,0.0013756538,0.011562956],"category_scores_gemma":[0.0018638063,0.00021777148,0.00016743597,0.0016770198,0.0066989786,0.0019893926,0.002223445,0.0021491824,0.000724146],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003775846,0.00017645086,0.00976398,0.00075915654,0.00002958031,0.0031256208,0.58846337,0.0004467037,0.0017690655,0.17663598,0.14340386,0.07504863],"study_design_scores_gemma":[0.000014048711,0.000042048032,0.032385986,0.00049411133,0.000010362713,0.00080485607,0.30339488,0.00012552386,0.00018415057,0.0028403993,0.659664,0.000039612514],"about_ca_topic_score_codex":0.064058185,"about_ca_topic_score_gemma":0.1550991,"teacher_disagreement_score":0.064058185,"about_ca_system_score_codex":0.008405304,"about_ca_system_score_gemma":0.0023047458,"threshold_uncertainty_score":0.12737066},"labels":[],"label_agreement":null},{"id":"W2970353948","doi":"10.15353/kinema.vi.1207","title":"Shot Transitions and Narrative Logic in Hitchcock's Rope","year":2009,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Shot (pellet); Narrative; Rope; Hollywood; Aesthetics; Neutrality; Movie theater; Movement (music); Epistemology; Computer science; Sociology; Art; Visual arts; Literature; Philosophy; Art history; Algorithm","score_opus":0.052795529885397194,"score_gpt":0.2882740463018732,"score_spread":0.235478516416476,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970353948","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3586451,0.0032588164,0.027093053,0.0063471585,0.00010569683,0.00009834661,0.00010715591,0.00012668967,0.604218],"genre_scores_gemma":[0.98670924,0.00022611469,0.0015355356,0.000116869036,0.000015748083,0.000018356268,0.000018525574,0.000013112068,0.011346586],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99870396,0.00078986376,0.00003609364,0.00016898617,0.00012915894,0.00017196288],"domain_scores_gemma":[0.9987876,0.00071268936,0.00015592336,0.0000717202,0.00013888786,0.0001332365],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013715749,0.00023819398,0.00017498076,0.0010182147,0.0048289313,0.008636377,0.00068883126,0.0013530279,0.0061132913],"category_scores_gemma":[0.0034792607,0.0002837548,0.00018446699,0.0008145607,0.01600027,0.005646217,0.0024682812,0.001668019,0.0003125705],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005462194,0.00001636962,0.00039759255,0.000025735399,0.000003112616,0.00028018182,0.03405984,0.0003764395,0.00022777796,0.9572793,0.0009982453,0.0062808646],"study_design_scores_gemma":[0.00006883558,0.00019064893,0.005029793,0.00022322136,0.000026032823,0.0005915609,0.07902552,0.0040065646,0.0020080747,0.78070456,0.12802544,0.00009969347],"about_ca_topic_score_codex":0.016320558,"about_ca_topic_score_gemma":0.013316907,"teacher_disagreement_score":0.016320558,"about_ca_system_score_codex":0.0062428857,"about_ca_system_score_gemma":0.0011184094,"threshold_uncertainty_score":0.045295537},"labels":[],"label_agreement":null},{"id":"W2970375131","doi":"10.15353/kinema.vi.1155","title":"Werner Herzog and the Aesthetics of the Grotesque","year":2007,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Ideology; Mythology; Aesthetics; Mainstream; German; Mysticism; Art; Consciousness; Literature; Art history; History; Philosophy; Politics; Epistemology","score_opus":0.02339839505221416,"score_gpt":0.24766148311367514,"score_spread":0.22426308806146097,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970375131","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.032390296,0.036595087,0.0042103957,0.100863345,0.0029190227,0.000026548074,0.0000721836,0.000082611514,0.82284045],"genre_scores_gemma":[0.8470944,0.008947547,0.0022593609,0.009019396,0.0020434528,0.000043759726,0.00004020013,0.0002510621,0.13030076],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983393,0.0010414318,0.00002404552,0.00017421457,0.00022980277,0.00019113503],"domain_scores_gemma":[0.99941194,0.0003428508,0.00005546027,0.00004926852,0.00006404084,0.000076281656],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013021574,0.00055203994,0.00020705267,0.0010573554,0.004929497,0.0073138652,0.0004920294,0.0021523435,0.007092263],"category_scores_gemma":[0.0028544676,0.00024392935,0.00015896327,0.0006984084,0.016088104,0.0054105935,0.002147838,0.0022478784,0.0010942833],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030670868,0.000012829016,0.00017112255,0.000037582824,0.0000032373323,0.00009813771,0.011802155,0.00011915036,0.00016638792,0.92960227,0.04522063,0.012735695],"study_design_scores_gemma":[0.000015452726,0.000019876883,0.0005456024,0.00017688604,0.0000053659264,0.0002519994,0.013243525,0.0002918375,0.00027862203,0.28729275,0.6978552,0.000022974617],"about_ca_topic_score_codex":0.004836414,"about_ca_topic_score_gemma":0.007391023,"teacher_disagreement_score":0.0073138652,"about_ca_system_score_codex":0.003275955,"about_ca_system_score_gemma":0.0011227134,"threshold_uncertainty_score":0.023768842},"labels":[],"label_agreement":null},{"id":"W2970439695","doi":"10.15353/kinema.vi.1165","title":"57th Berlinale 2007","year":2007,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Pride; Service (business); Executive director; Publicity; Center (category theory); Accreditation; Advertising; Art history; Visual arts; Management; Art; Business; Political science; Marketing; Law; Economics","score_opus":0.03865547602461881,"score_gpt":0.2794000734968746,"score_spread":0.24074459747225582,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970439695","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0032151362,0.017121421,0.0010468796,0.008769946,0.014216136,0.00010759651,0.003952873,0.0005585205,0.9510115],"genre_scores_gemma":[0.0112374835,0.0038653705,0.00049599004,0.001180804,0.001428247,0.00007268914,0.0020416924,0.00022504423,0.97945285],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991014,0.000074291376,0.000042316304,0.00017822016,0.00042190164,0.00018198724],"domain_scores_gemma":[0.9993319,0.00006714983,0.00005415074,0.00010197689,0.00023060232,0.00021413132],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010471018,0.00094644923,0.00052936113,0.0021741074,0.0015461147,0.009147882,0.0010937403,0.00247827,0.39277756],"category_scores_gemma":[0.0021791696,0.0004155348,0.00063176436,0.001108209,0.0007032489,0.0029558996,0.0029780993,0.0021715413,0.17572038],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007087918,0.00005155218,0.00030233435,0.00011709495,0.000008720038,0.00015929985,0.000060873674,0.00008348742,0.000363853,0.02246125,0.91935027,0.056970373],"study_design_scores_gemma":[0.000004669185,0.000010165267,0.00084839197,0.00008757591,0.0000020217483,0.00006637392,0.000037405614,0.000039653,0.00013849909,0.0007244587,0.9980361,0.000004733902],"about_ca_topic_score_codex":0.0051136175,"about_ca_topic_score_gemma":0.011128455,"teacher_disagreement_score":0.39277756,"about_ca_system_score_codex":0.0024733522,"about_ca_system_score_gemma":0.0015561086,"threshold_uncertainty_score":0.8661291},"labels":[],"label_agreement":null},{"id":"W2970451043","doi":"10.15353/kinema.vi.910","title":"Innovations at Cannes","year":2000,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jury; Competition (biology); Management; Political science; Art; Law; Economics","score_opus":0.037910422437752556,"score_gpt":0.2629469736113755,"score_spread":0.22503655117362292,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970451043","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004407379,0.014286849,0.0014498229,0.12126036,0.023388447,0.00008108537,0.00035979782,0.00081460434,0.83395165],"genre_scores_gemma":[0.013579125,0.0022630405,0.00054654235,0.008207765,0.0011123418,0.000027498314,0.00009876455,0.00022377483,0.9739411],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969656,0.00042321498,0.00005785344,0.0005097139,0.0015259405,0.00051772094],"domain_scores_gemma":[0.9973164,0.0003100145,0.00012113857,0.00021429968,0.0008381163,0.0011999011],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002305065,0.0006085577,0.0002268125,0.001123466,0.006174651,0.010885927,0.00087248435,0.0053841798,0.110306054],"category_scores_gemma":[0.0062353527,0.00032840983,0.00038211734,0.001130044,0.0025788292,0.0027155445,0.0031695792,0.005066508,0.028483206],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024456376,0.000024223255,0.00022396601,0.000038834623,0.0000017544038,0.00012455556,0.00088200695,0.000046231446,0.00027683025,0.039256256,0.92031443,0.038786598],"study_design_scores_gemma":[0.0000010260507,0.0000026065247,0.00014348794,0.000013518249,4.24523e-7,0.000014464911,0.00011890701,0.000007644042,0.000040163755,0.0002713062,0.9993839,0.0000025967145],"about_ca_topic_score_codex":0.06158518,"about_ca_topic_score_gemma":0.16259915,"teacher_disagreement_score":0.110306054,"about_ca_system_score_codex":0.008612522,"about_ca_system_score_gemma":0.009918487,"threshold_uncertainty_score":0.3690105},"labels":[],"label_agreement":null},{"id":"W2970454889","doi":"10.15353/kinema.vi.1241","title":"Cecil B. DeMille and the Art ofApplied Suggestibility","year":2011,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Film director; Hollywood; Suggestibility; Movie theater; Criticism; Narrative; Humanism; Art; Art history; Literature; Psychology; Law; Political science; Social psychology","score_opus":0.05700128506195114,"score_gpt":0.2429873550911289,"score_spread":0.18598607002917777,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970454889","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.035770252,0.1315654,0.005557609,0.3865574,0.004251439,0.00006345741,0.000096602686,0.00012275594,0.43601507],"genre_scores_gemma":[0.84986556,0.033717323,0.0030058078,0.021003826,0.0023031486,0.00009346228,0.000031974036,0.00016059603,0.08981831],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972178,0.0020087631,0.000050349394,0.00018323926,0.00040436874,0.00013538882],"domain_scores_gemma":[0.9924246,0.006230185,0.00028459574,0.00020988137,0.0006923718,0.00015838885],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028803167,0.0003495482,0.00022892734,0.0013990586,0.0051403623,0.008254303,0.0006059293,0.0026909807,0.004102683],"category_scores_gemma":[0.007963012,0.0002359445,0.00012826074,0.00063953665,0.011783999,0.005328845,0.0015474587,0.005105844,0.0004470827],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058920272,0.000028812443,0.00042683253,0.00019259627,0.0000064563897,0.00044333466,0.027287336,0.00015124309,0.00040060625,0.7685474,0.17606674,0.026389733],"study_design_scores_gemma":[0.000010739139,0.000024823226,0.0008576752,0.0006375555,0.000005494245,0.0005390552,0.01159884,0.0002936984,0.00069403916,0.0465861,0.93872035,0.000031622534],"about_ca_topic_score_codex":0.009702578,"about_ca_topic_score_gemma":0.017938191,"teacher_disagreement_score":0.009702578,"about_ca_system_score_codex":0.0045286813,"about_ca_system_score_gemma":0.0011447748,"threshold_uncertainty_score":0.032858074},"labels":[],"label_agreement":null},{"id":"W2970456944","doi":"10.15353/kinema.vi.928","title":"Murnau's Nosferatu","year":2001,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Lust; Innocence; Symbol (formal); Literature; Art; Silence; Vampire; Remorse; History; Psychoanalysis; Aesthetics; Psychology; Philosophy","score_opus":0.04466592072451973,"score_gpt":0.269278412310326,"score_spread":0.2246124915858063,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970456944","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0776127,0.025741,0.0010723363,0.117634565,0.0093698185,0.00004731284,0.00019691455,0.0001671895,0.76815814],"genre_scores_gemma":[0.6036307,0.005279536,0.0008583224,0.0102520995,0.001988758,0.00006948355,0.00009202679,0.00013689464,0.3776921],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991404,0.0003722168,0.000012091804,0.0001155532,0.00015260153,0.00020711137],"domain_scores_gemma":[0.9992379,0.00018106561,0.00012881322,0.000053079995,0.00014772142,0.0002514998],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007271113,0.00055373786,0.00031618148,0.00062045513,0.009679577,0.0045737494,0.00053897826,0.0019370826,0.013066511],"category_scores_gemma":[0.005086297,0.00021401077,0.00018265567,0.00037532605,0.003921879,0.0031509958,0.0034371791,0.0026060615,0.0017326577],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014760923,0.00004916323,0.0028912812,0.00015569231,0.000012424557,0.0014757018,0.063676916,0.00007210838,0.000308728,0.35236856,0.5138132,0.0650286],"study_design_scores_gemma":[0.0000036669653,0.000016147456,0.0024696053,0.00013971401,0.0000027507422,0.00042380337,0.009688871,0.000049173585,0.00009384643,0.0050565675,0.982044,0.000011933966],"about_ca_topic_score_codex":0.021318937,"about_ca_topic_score_gemma":0.06023679,"teacher_disagreement_score":0.021318937,"about_ca_system_score_codex":0.0036268996,"about_ca_system_score_gemma":0.0015633553,"threshold_uncertainty_score":0.04371178},"labels":[],"label_agreement":null},{"id":"W2970462737","doi":"10.3138/cjfs.28.1.2019-0011","title":"<i>Damaged Goods</i>: Motion Pictures, Syphilis, and Maritime Audiences","year":2019,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Mount Saint Vincent University","funders":"","keywords":"Humanities; Art","score_opus":0.02370725714162386,"score_gpt":0.21774984965987162,"score_spread":0.19404259251824776,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970462737","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.875842,0.010570802,0.00023391983,0.023011426,0.00030630027,0.000038417722,0.000320435,0.0000094514535,0.08966726],"genre_scores_gemma":[0.9794114,0.0038118423,0.00010422139,0.0006089541,0.00023581593,0.000015916381,0.000059508966,0.000007190467,0.015745144],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9995827,0.00020025033,0.000017042068,0.000024259898,0.000079975674,0.00009576903],"domain_scores_gemma":[0.99824846,0.0008001583,0.00046336759,0.000053168715,0.00019937576,0.00023547428],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00086302095,0.00022866839,0.00014744188,0.0013121595,0.0021906674,0.0033755118,0.00029212245,0.00093052123,0.019198343],"category_scores_gemma":[0.0038074611,0.00018207765,0.00016933405,0.0010287189,0.0014874154,0.0016377962,0.0013636351,0.001025589,0.0005948549],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00074145687,0.00053067313,0.33906513,0.0012007067,0.000085039705,0.0027897332,0.47427708,0.0001888069,0.0030602664,0.035427596,0.048759438,0.09387405],"study_design_scores_gemma":[0.000016766424,0.00020613841,0.46198195,0.0008415867,0.00006298437,0.0011968765,0.40081877,0.00016721083,0.00083002436,0.0019388548,0.13190147,0.00003741008],"about_ca_topic_score_codex":0.030476099,"about_ca_topic_score_gemma":0.053911023,"teacher_disagreement_score":0.030476099,"about_ca_system_score_codex":0.0016766295,"about_ca_system_score_gemma":0.00059788785,"threshold_uncertainty_score":0.06422478},"labels":[],"label_agreement":null},{"id":"W2970512617","doi":"10.15353/kinema.vi.1026","title":"Film Classics Series Vol. 1 &amp; 2","year":2003,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cabinet (room); Art history; Art; Series (stratigraphy); Classics; History; Archaeology; Geology; Paleontology","score_opus":0.04690610945999303,"score_gpt":0.26641898336598374,"score_spread":0.21951287390599072,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970512617","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008847373,0.028985875,0.00048239366,0.0057822554,0.011200314,0.000077259065,0.0036192127,0.00027329425,0.9486947],"genre_scores_gemma":[0.0050733727,0.013876512,0.00039748754,0.0011296713,0.0032658556,0.00005696307,0.001637654,0.00024116291,0.97432137],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995509,0.00005403342,0.000026860702,0.00006815563,0.00024869622,0.00005141366],"domain_scores_gemma":[0.9990615,0.00018767358,0.000075036325,0.00010610841,0.0003592728,0.00021034124],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00041691077,0.00094087346,0.0005778075,0.0044085225,0.002416044,0.0075243493,0.0007090992,0.0008656395,0.33669668],"category_scores_gemma":[0.0024539323,0.00037693928,0.00044253308,0.0046839295,0.00075607933,0.0027674483,0.0014510377,0.0017074359,0.13108476],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020834286,0.000014379406,0.000089426554,0.00013872665,0.0000026019584,0.00003423422,0.0001333363,0.00003539434,0.000117845746,0.0070474627,0.956055,0.036310665],"study_design_scores_gemma":[0.0000014783674,0.0000035147389,0.00029913615,0.000077930126,0.0000011636154,0.000032612825,0.00006159169,0.000013889679,0.00003420129,0.00069830375,0.99877423,0.0000021052936],"about_ca_topic_score_codex":0.008784479,"about_ca_topic_score_gemma":0.016969139,"teacher_disagreement_score":0.33669668,"about_ca_system_score_codex":0.0024663636,"about_ca_system_score_gemma":0.0016488261,"threshold_uncertainty_score":0.9461217},"labels":[],"label_agreement":null},{"id":"W2970523949","doi":"10.15353/kinema.vi.1182","title":"Subtle Varieties of Love within Cecil B. DeMille's Samson and Delilah (1949)","year":2008,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hollywood; EPIC; Art; Art history; Ten Commandments; Filmmaking; Apostle; Cleopatra; Literature; Movie theater; Theology; Philosophy","score_opus":0.054261566560774625,"score_gpt":0.2506797117179199,"score_spread":0.19641814515714529,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970523949","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07481462,0.07601095,0.0013539044,0.09169807,0.0018276498,0.000032946922,0.00017370346,0.000019596846,0.75406855],"genre_scores_gemma":[0.8883611,0.020832874,0.0004564492,0.00768831,0.0017984576,0.00003999024,0.00006036048,0.000026317486,0.0807362],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991284,0.00048346832,0.000009942857,0.00011127642,0.0001433655,0.00012357628],"domain_scores_gemma":[0.9990276,0.0005424789,0.00009796819,0.00003433266,0.0001334831,0.00016410468],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008300577,0.0002727375,0.00023946962,0.0009374995,0.004187657,0.0050486946,0.00035786405,0.0010030675,0.008128752],"category_scores_gemma":[0.0023803115,0.00012485488,0.00010942717,0.0010117495,0.0070518255,0.0026274095,0.001992082,0.0023952548,0.0005236846],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006613297,0.000052240797,0.004164341,0.00009878048,0.000008098295,0.000473024,0.046721295,0.00013825369,0.000137185,0.7196922,0.18170235,0.046746176],"study_design_scores_gemma":[0.000008808244,0.00002970445,0.012017316,0.0003380586,0.000003013155,0.00036057466,0.01446325,0.00012551612,0.000053237367,0.040595703,0.9319832,0.000021586286],"about_ca_topic_score_codex":0.026669646,"about_ca_topic_score_gemma":0.0544407,"teacher_disagreement_score":0.026669646,"about_ca_system_score_codex":0.0055257026,"about_ca_system_score_gemma":0.001084526,"threshold_uncertainty_score":0.053028822},"labels":[],"label_agreement":null},{"id":"W2970545815","doi":"10.15353/kinema.vi.1242","title":"The Films of Julian Schnabel","year":2011,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Art; Painting; Postmodernism; Art history; Visual arts; Literature; Movie theater","score_opus":0.06737287318281503,"score_gpt":0.2579015851789525,"score_spread":0.19052871199613747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970545815","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08090304,0.04233576,0.0017704415,0.43441835,0.008130369,0.000045793615,0.00044205564,0.00014114482,0.4318129],"genre_scores_gemma":[0.8179028,0.01803613,0.0011714903,0.029719997,0.0039030001,0.00006310836,0.00018126573,0.00021372954,0.12880847],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99885964,0.0005601515,0.000020113373,0.00012791321,0.00029220656,0.00013997912],"domain_scores_gemma":[0.99771726,0.0013206075,0.00022483901,0.0001087352,0.00039462995,0.00023394143],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010018011,0.0003355924,0.00014829803,0.0009794057,0.006478306,0.0037296042,0.00053988985,0.0013321,0.003295782],"category_scores_gemma":[0.008142759,0.00017442273,0.00012141423,0.0010631871,0.0065709758,0.0034500596,0.0019267328,0.0039809574,0.00048010473],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009953781,0.000015425489,0.0006685868,0.000082861676,0.00000998455,0.00069430063,0.07188469,0.00013711846,0.0005981408,0.25425294,0.65278125,0.01877513],"study_design_scores_gemma":[0.00000435375,0.000008301131,0.0016703943,0.00014764682,0.0000051801253,0.00035975466,0.028773293,0.00011590809,0.00045981476,0.014166345,0.9542611,0.000027888573],"about_ca_topic_score_codex":0.037132494,"about_ca_topic_score_gemma":0.067804605,"teacher_disagreement_score":0.037132494,"about_ca_system_score_codex":0.0052115354,"about_ca_system_score_gemma":0.0023921395,"threshold_uncertainty_score":0.07383275},"labels":[],"label_agreement":null},{"id":"W2970546826","doi":"10.15353/kinema.vi.1178","title":"Cinema and Visual Studies in the Digital Era Blue","year":2008,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Merge (version control); The arts; Digital media; Visual arts; Art; Media studies; Sociology; Computer science; World Wide Web","score_opus":0.08176433568399033,"score_gpt":0.3061882179976898,"score_spread":0.22442388231369947,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970546826","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03263929,0.16381821,0.0010297782,0.20644441,0.0045996634,0.000014379164,0.00014444828,0.000055774442,0.5912541],"genre_scores_gemma":[0.7857912,0.054659635,0.0008522473,0.026629727,0.010445697,0.00003971966,0.00010520091,0.000085615226,0.12139091],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989826,0.000650587,0.000018425011,0.000092592054,0.00013216205,0.0001234964],"domain_scores_gemma":[0.9975649,0.0014740815,0.00020868944,0.00015283779,0.000247367,0.00035216767],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013118277,0.00023066302,0.00016296685,0.0014211647,0.0029647877,0.008081546,0.00033073584,0.0016301406,0.015164396],"category_scores_gemma":[0.0035645408,0.00009305236,0.00010629671,0.0014396474,0.008945016,0.0045093345,0.0022866065,0.0020812727,0.00076997577],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002762308,0.000035663088,0.0007961488,0.00020362533,0.000005717222,0.000089861576,0.028385585,0.000032656702,0.00023887608,0.7518722,0.18112676,0.037185226],"study_design_scores_gemma":[0.000010395046,0.000016747652,0.003466374,0.00051253603,0.000004405806,0.00015337097,0.01360854,0.000060364586,0.000107817985,0.04551019,0.9365426,0.0000067206092],"about_ca_topic_score_codex":0.006752076,"about_ca_topic_score_gemma":0.009735424,"teacher_disagreement_score":0.015164396,"about_ca_system_score_codex":0.0026877923,"about_ca_system_score_gemma":0.0013486659,"threshold_uncertainty_score":0.05072999},"labels":[],"label_agreement":null},{"id":"W2970554056","doi":"10.15353/kinema.vi.1069","title":"Berlinale 2004 Report","year":2004,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Favourite; Cult; Hollywood; George (robot); Art history; Performance art; Art; Period (music); History; Philosophy; Theology; Aesthetics","score_opus":0.03746007424885758,"score_gpt":0.27231998823893144,"score_spread":0.23485991399007386,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970554056","genre_codex":"other","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013585736,0.0037098555,0.00039596553,0.0058483477,0.008234887,0.00031328885,0.038184293,0.0007407263,0.9412141],"genre_scores_gemma":[0.002944042,0.0013022945,0.00028237785,0.0011544579,0.0004011973,0.00021590474,0.01690376,0.0002471911,0.9765488],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989617,0.000086525004,0.000043812914,0.00016555806,0.0005396484,0.00020274734],"domain_scores_gemma":[0.9989122,0.00008338457,0.0000676024,0.00015515172,0.00052036793,0.00026125176],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010306387,0.0007953122,0.0005185595,0.0020547828,0.0019358856,0.006187924,0.0018231198,0.002004807,0.54192936],"category_scores_gemma":[0.0031098286,0.00054949353,0.0005084707,0.0022410983,0.0003142773,0.0020334716,0.0027031526,0.0023094807,0.32330334],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033563632,0.000020834827,0.00021749223,0.000068799374,0.0000029283892,0.000038840775,0.000025233714,0.000021788448,0.000080482794,0.0023150844,0.9801369,0.017038144],"study_design_scores_gemma":[0.0000029868286,0.0000036159622,0.0007032298,0.000035851703,8.2771976e-7,0.000016255088,0.000038578466,0.0000067575816,0.000037351863,0.00010057362,0.9990514,0.0000025174438],"about_ca_topic_score_codex":0.022956789,"about_ca_topic_score_gemma":0.028020186,"teacher_disagreement_score":0.54192936,"about_ca_system_score_codex":0.002536373,"about_ca_system_score_gemma":0.0043051643,"threshold_uncertainty_score":0.6533822},"labels":[],"label_agreement":null},{"id":"W2970565219","doi":"10.15353/kinema.vi.1121","title":"Soft and Hard: Intimations Insinuations Implications","year":2006,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Conversation; Movie theater; Project commissioning; Subject (documents); Channel (broadcasting); Service (business); Visual arts; Media studies; Space (punctuation); Art history; Art; Publishing; Engineering; Sociology; History; Telecommunications; Computer science; Library science; Literature; Business; Communication","score_opus":0.03790242587301228,"score_gpt":0.2683292952478141,"score_spread":0.23042686937480183,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970565219","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.031180304,0.0028672277,0.0053237486,0.2298142,0.0030330536,0.0000627916,0.00010369708,0.00006644162,0.7275485],"genre_scores_gemma":[0.84933305,0.0014414038,0.0013022595,0.034644917,0.0026298927,0.00015533852,0.00006013724,0.00021141497,0.110221565],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9850573,0.0073383916,0.0004580493,0.0017704306,0.0027241507,0.0026517636],"domain_scores_gemma":[0.98072976,0.009030852,0.0017896525,0.0015867772,0.0024392626,0.0044237],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008483166,0.000896642,0.00059288344,0.0016153005,0.013043207,0.016221246,0.0017087319,0.0055754106,0.043103267],"category_scores_gemma":[0.028819226,0.00047832736,0.00053762674,0.0013546222,0.049126953,0.021517131,0.019264659,0.013885733,0.003926475],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059747363,0.00006837544,0.0008814599,0.00004192426,0.000006812164,0.00025144196,0.020960504,0.000056680372,0.00009617787,0.93804276,0.026894184,0.012639831],"study_design_scores_gemma":[0.00006327548,0.00003562856,0.0024957669,0.00024221218,0.000014052551,0.00029574506,0.039740097,0.0001686915,0.00031419194,0.7030165,0.25357133,0.000042480668],"about_ca_topic_score_codex":0.003754937,"about_ca_topic_score_gemma":0.003793989,"teacher_disagreement_score":0.043103267,"about_ca_system_score_codex":0.0060126996,"about_ca_system_score_gemma":0.0045207473,"threshold_uncertainty_score":0.14419484},"labels":[],"label_agreement":null},{"id":"W2970576315","doi":"10.15353/kinema.vi.1238","title":"Toronto International Film Festival 2011","year":2011,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; EPIC; Film festival; Drama; History; Special section; Media studies; Southeast asia; Inclusion (mineral); Geography; Art history; Ancient history; Visual arts; Art; Literature; Sociology; Gender studies","score_opus":0.06400553185229572,"score_gpt":0.26968281624721935,"score_spread":0.2056772843949236,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970576315","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016402315,0.01668098,0.00095458195,0.035669908,0.020461923,0.0002008334,0.0293845,0.00073227164,0.87951255],"genre_scores_gemma":[0.09878574,0.010975154,0.0009666734,0.002190143,0.0031916227,0.0001361848,0.014923718,0.0005085533,0.86832225],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993149,0.00006956642,0.000019895637,0.00008601373,0.0002825739,0.0002270636],"domain_scores_gemma":[0.99859816,0.0000836562,0.00006766473,0.00008307979,0.00047529172,0.0006921134],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008721432,0.0011084877,0.00035441032,0.00201794,0.007374498,0.007108332,0.0007509034,0.0010064413,0.15036605],"category_scores_gemma":[0.0017597091,0.0003563039,0.0004091456,0.0024458636,0.0013121914,0.0013290973,0.0026828183,0.0021630393,0.017005656],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035423072,0.000007996386,0.00027929526,0.000059409616,0.000004467729,0.000076298005,0.0010669894,0.000040863146,0.00012000568,0.0037603846,0.98828924,0.0062596146],"study_design_scores_gemma":[0.0000036234806,0.0000072024554,0.0027367687,0.00008644089,0.0000034314146,0.000027992413,0.0012988453,0.000029791347,0.000108677894,0.00015994677,0.9955304,0.0000069000826],"about_ca_topic_score_codex":0.5290289,"about_ca_topic_score_gemma":0.83308065,"teacher_disagreement_score":0.5290289,"about_ca_system_score_codex":0.016781729,"about_ca_system_score_gemma":0.0091503905,"threshold_uncertainty_score":0.9474895},"labels":[],"label_agreement":null},{"id":"W2970615827","doi":"10.15353/kinema.vi.1251","title":"The Success of Motion Pictures","year":2012,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Film industry; Value (mathematics); Mythology; Box office; Motion (physics); Motion picture; Advertising; Movie theater; Aesthetics; Visual arts; Engineering; Art; Business; Computer science; Artificial intelligence; Literature","score_opus":0.036285297939800745,"score_gpt":0.2751270884133256,"score_spread":0.23884179047352488,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970615827","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43483716,0.008155708,0.0027024949,0.007469161,0.00021958967,0.00007769683,0.00037280077,0.000053167263,0.54611224],"genre_scores_gemma":[0.9744194,0.0023590326,0.00065472064,0.00026085216,0.00011993908,0.000016066797,0.00012564955,0.0000282507,0.022016037],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905616,0.00033545805,0.000035711142,0.000089230845,0.0003338639,0.0001495958],"domain_scores_gemma":[0.9967616,0.0011960567,0.0008228122,0.00019243298,0.0005056255,0.00052152306],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012594884,0.00027452453,0.00012408412,0.001195659,0.0011125983,0.0033130886,0.00031927085,0.00080625375,0.0130228875],"category_scores_gemma":[0.011095414,0.00016902205,0.00013832688,0.0010834143,0.0014890756,0.0035632097,0.0020941503,0.0007159833,0.0015833118],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00060389325,0.00024218077,0.11899585,0.0004910744,0.00007890782,0.001914667,0.02000881,0.0010672933,0.0027167657,0.39474523,0.07518609,0.38394922],"study_design_scores_gemma":[0.000046749145,0.0006256017,0.34171724,0.0008758338,0.00008142854,0.0051555717,0.037702598,0.0046448098,0.0033321586,0.07295503,0.5327447,0.00011829199],"about_ca_topic_score_codex":0.0027370905,"about_ca_topic_score_gemma":0.003501844,"teacher_disagreement_score":0.0130228875,"about_ca_system_score_codex":0.0007483534,"about_ca_system_score_gemma":0.00029582507,"threshold_uncertainty_score":0.04356593},"labels":[],"label_agreement":null},{"id":"W2970616541","doi":"10.15353/kinema.vi.1244","title":"The Primacy of Practice?","year":2011,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Techne; Praxis; Nexus (standard); Critical theory; Sociology; Epistemology; The arts; Practice theory; Critical practice; Politics; Relation (database); Film theory; Social theory; Movie theater; Social science; Aesthetics; Visual arts; Political science; Art; Law","score_opus":0.06051754320848499,"score_gpt":0.28237173293623014,"score_spread":0.22185418972774515,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970616541","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015015194,0.042460162,0.027337788,0.40878436,0.0055857208,0.00013745544,0.00011612668,0.000111575624,0.5004517],"genre_scores_gemma":[0.93109536,0.011302535,0.0076482547,0.015867786,0.0060381535,0.0004231839,0.00008240853,0.00021023474,0.02733202],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9819889,0.01253376,0.0005521689,0.001696836,0.0022206337,0.0010075694],"domain_scores_gemma":[0.94807583,0.03822489,0.0025795773,0.0055229557,0.003965332,0.0016314652],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.018209562,0.001191587,0.00081598316,0.007662219,0.011085587,0.023087269,0.003164249,0.008165933,0.011271301],"category_scores_gemma":[0.044339042,0.0005511233,0.0005246366,0.0046520154,0.09668502,0.033226863,0.010537962,0.012545465,0.0010120388],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000047359704,0.0000054561765,0.000051111914,0.000037808193,0.0000013011356,0.00003083312,0.009923263,0.000021958676,0.000013294728,0.98384297,0.0035470666,0.00252012],"study_design_scores_gemma":[0.000012001607,0.000010608102,0.00017355707,0.0006932627,0.000003929934,0.00007599144,0.020139754,0.0002545335,0.0000803298,0.8184188,0.16012885,0.000008310829],"about_ca_topic_score_codex":0.0047948277,"about_ca_topic_score_gemma":0.0035765194,"teacher_disagreement_score":0.023087269,"about_ca_system_score_codex":0.014876719,"about_ca_system_score_gemma":0.007985735,"threshold_uncertainty_score":0.10793865},"labels":[],"label_agreement":null},{"id":"W2970630451","doi":"10.15353/kinema.vi.985","title":"1st Transylvanian International Film Festival in Cluj, Romania","year":2002,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dracula; Romanian; Art; Musical; History; Art history; Ancient history; Visual arts; Philosophy","score_opus":0.04878616509319833,"score_gpt":0.2567686065274253,"score_spread":0.20798244143422695,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970630451","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5123046,0.02855298,0.0010930159,0.015199616,0.009457162,0.0005013004,0.007728625,0.00021131746,0.4249514],"genre_scores_gemma":[0.7461607,0.005580317,0.0012625976,0.0020433932,0.0008509844,0.00016830454,0.0035989506,0.00018424235,0.24015056],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996383,0.00008272469,0.000012940516,0.000049242382,0.000057905676,0.00015879892],"domain_scores_gemma":[0.9996363,0.000029462379,0.000030626532,0.000026725116,0.00006354801,0.00021334316],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00087890547,0.00042605776,0.00031467728,0.0008194259,0.0034026562,0.0024842895,0.00042277118,0.0006768849,0.027388338],"category_scores_gemma":[0.0012705578,0.00025754608,0.00038806943,0.00069284864,0.00068577396,0.0008379574,0.002063465,0.001495812,0.0027512345],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0013687375,0.0006195946,0.0273744,0.0014413653,0.00016559995,0.005656914,0.02774665,0.00080673234,0.0039489307,0.037001118,0.73497516,0.15889475],"study_design_scores_gemma":[0.00007140804,0.00015249282,0.13697027,0.00051768305,0.000017913697,0.0005501762,0.013409763,0.00016946839,0.000624119,0.00042948776,0.8470597,0.000027487411],"about_ca_topic_score_codex":0.030592902,"about_ca_topic_score_gemma":0.098584734,"teacher_disagreement_score":0.030592902,"about_ca_system_score_codex":0.0021193207,"about_ca_system_score_gemma":0.0015739189,"threshold_uncertainty_score":0.09162313},"labels":[],"label_agreement":null},{"id":"W2970637939","doi":"10.15353/kinema.vi.1083","title":"Mannheim-Heidelberg 2003","year":2004,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Front (military); Silence; History; Art history; Media studies; Art; Humanities; Visual arts; Geography; Sociology","score_opus":0.03858578298383446,"score_gpt":0.26377346127791174,"score_spread":0.22518767829407726,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970637939","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023376914,0.03439148,0.0017027871,0.012750295,0.0061743716,0.00010921042,0.005065701,0.0008906112,0.9365778],"genre_scores_gemma":[0.0075169266,0.016460054,0.0010586829,0.00094351737,0.00054321595,0.000083846695,0.0025132187,0.00030896097,0.97057164],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995272,0.00004872402,0.000039618542,0.00014147951,0.00015376743,0.00008910051],"domain_scores_gemma":[0.99939716,0.00007635142,0.00006404087,0.00010328494,0.00016997526,0.00018905755],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005539979,0.001093645,0.0005428386,0.0013447484,0.00095435965,0.0047710114,0.0006889018,0.0014949534,0.5625182],"category_scores_gemma":[0.0015572669,0.00040317033,0.00026736275,0.0015248662,0.000643233,0.0028852138,0.0021641965,0.0016079779,0.45503834],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008840653,0.000044382898,0.00040859394,0.0002541592,0.0000074187174,0.00022162496,0.00015000915,0.00017022288,0.0007259187,0.017959204,0.7417315,0.2382385],"study_design_scores_gemma":[0.000005783672,0.000008633316,0.0006172796,0.00014692989,0.0000017468517,0.00012278372,0.00006708765,0.000036877886,0.00010708201,0.0008211946,0.998061,0.0000036792612],"about_ca_topic_score_codex":0.005548154,"about_ca_topic_score_gemma":0.010138128,"teacher_disagreement_score":0.5625182,"about_ca_system_score_codex":0.0016798171,"about_ca_system_score_gemma":0.0013013149,"threshold_uncertainty_score":0.62401474},"labels":[],"label_agreement":null},{"id":"W2970653168","doi":"10.15353/kinema.vi.1233","title":"Filmic Space and Real Time in Hitchcock’s Rope","year":2011,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Rope; Narrative; Space (punctuation); Focus (optics); Aesthetics; Abstraction; Art; Computer science; Philosophy; Epistemology; Literature; Physics","score_opus":0.04452258443797234,"score_gpt":0.24459628537399516,"score_spread":0.20007370093602284,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970653168","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36217335,0.030003345,0.008354352,0.046099823,0.0014144491,0.000060697465,0.00025212465,0.0001144462,0.55152744],"genre_scores_gemma":[0.95727146,0.0033416003,0.0007210952,0.0010224823,0.00022936035,0.000014667929,0.000026966722,0.00003952828,0.03733284],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994803,0.00029447992,0.000009823077,0.000060043283,0.000074014206,0.00008143372],"domain_scores_gemma":[0.9993424,0.00036284755,0.00008630879,0.000026930655,0.0000692205,0.00011238071],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00059844373,0.0002647697,0.00014167684,0.00067212025,0.0026231995,0.00615256,0.00030312594,0.0009293615,0.0064435517],"category_scores_gemma":[0.0024962125,0.0002018419,0.00013350185,0.0007326276,0.006724738,0.0035668176,0.0021002716,0.0014168863,0.00025911056],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017893822,0.000031176874,0.0015267064,0.00022395155,0.000018990058,0.0012666803,0.31023228,0.00039680823,0.0013311257,0.60765594,0.047286727,0.029850725],"study_design_scores_gemma":[0.000025102896,0.000097038,0.012325909,0.00054408296,0.000024205076,0.0009862852,0.19591741,0.000529248,0.00081423455,0.06801819,0.7206496,0.00006863644],"about_ca_topic_score_codex":0.021163607,"about_ca_topic_score_gemma":0.022796633,"teacher_disagreement_score":0.021163607,"about_ca_system_score_codex":0.0025846262,"about_ca_system_score_gemma":0.00061395357,"threshold_uncertainty_score":0.04208088},"labels":[],"label_agreement":null},{"id":"W2970664043","doi":"10.15353/kinema.vi.979","title":"Cannes 2002 Report","year":2002,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Memoir; Drama; Jury; Art history; Art; Interpretation (philosophy); Performance art; History; Visual arts; Law; Political science; Philosophy","score_opus":0.05805423036723321,"score_gpt":0.2608829837054011,"score_spread":0.20282875333816788,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970664043","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002276131,0.0043964903,0.00054892857,0.011285345,0.007102478,0.0005768216,0.07530254,0.001064211,0.8974471],"genre_scores_gemma":[0.005649788,0.0022492374,0.0007255146,0.003264668,0.0007344994,0.00038633877,0.04566909,0.00055244844,0.9407684],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99734455,0.00017349726,0.00013294228,0.00041135767,0.0015564035,0.00038128672],"domain_scores_gemma":[0.99628913,0.00025119135,0.0001925578,0.0003373222,0.0022738946,0.00065589853],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0022993125,0.0010638715,0.00055762834,0.0033703488,0.0028750997,0.0070670866,0.0022731363,0.003324322,0.35041803],"category_scores_gemma":[0.0059598316,0.0004948294,0.00058914616,0.0034200978,0.0003781329,0.0019714893,0.002093939,0.0021476613,0.21527155],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055663975,0.000022420167,0.00024632228,0.00006449478,0.0000026435998,0.000046870813,0.000033214394,0.000028680231,0.00010875064,0.0024921622,0.9853226,0.011576203],"study_design_scores_gemma":[0.0000044926446,0.0000043896607,0.0008060459,0.000041757274,0.0000013089037,0.000016441154,0.00003542444,0.000011775944,0.00007135918,0.00009422036,0.998909,0.000003819307],"about_ca_topic_score_codex":0.10816142,"about_ca_topic_score_gemma":0.113426104,"teacher_disagreement_score":0.35041803,"about_ca_system_score_codex":0.0054605487,"about_ca_system_score_gemma":0.012013104,"threshold_uncertainty_score":0.92654985},"labels":[],"label_agreement":null},{"id":"W2970669881","doi":"10.3138/cjfs.28.1.2019-0013","title":"Archiveology: Walter Benjamin and Archival Film Practices","year":2019,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":30,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Art history","score_opus":0.053317391897882864,"score_gpt":0.26015985991962376,"score_spread":0.2068424680217409,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970669881","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016503397,0.16770472,0.0057664174,0.43252015,0.007503317,0.00003525463,0.00027687263,0.0001298815,0.36956003],"genre_scores_gemma":[0.52553487,0.103333205,0.004285353,0.019778373,0.016703937,0.0000756869,0.00010823702,0.0007076704,0.3294726],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971123,0.0014538997,0.00012759742,0.00034215554,0.0007292256,0.00023481809],"domain_scores_gemma":[0.9920603,0.004794504,0.00045204166,0.0007349021,0.0013433911,0.0006149578],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0043861642,0.00048837846,0.00049568975,0.004739787,0.00820341,0.012482844,0.0011928196,0.0053050094,0.013387974],"category_scores_gemma":[0.01653928,0.00040900832,0.00018841421,0.0046718447,0.019627826,0.013996926,0.002686738,0.0046344935,0.0016164813],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017848723,0.000019968718,0.0003133827,0.00007626345,0.0000046628847,0.00007099308,0.01723449,0.00008664855,0.00008302949,0.7893988,0.16711372,0.025580235],"study_design_scores_gemma":[0.0000083531695,0.000007892279,0.0006370894,0.0004536652,0.000007536196,0.00011167563,0.013395851,0.00014509917,0.00016933601,0.16728178,0.81775916,0.000022564745],"about_ca_topic_score_codex":0.040958166,"about_ca_topic_score_gemma":0.051759355,"teacher_disagreement_score":0.040958166,"about_ca_system_score_codex":0.008034704,"about_ca_system_score_gemma":0.0032174706,"threshold_uncertainty_score":0.081439555},"labels":[],"label_agreement":null},{"id":"W2970700522","doi":"10.15353/kinema.vi.1248","title":"Profondeur de champ in Jean Renoir’s The Golden Coach","year":2012,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Studio; Context (archaeology); Art; Art history; Ideal (ethics); Residence; Humanities; History; Philosophy; Visual arts; Sociology; Archaeology; Demography; Epistemology","score_opus":0.048096757558887364,"score_gpt":0.27855076283226116,"score_spread":0.23045400527337379,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970700522","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08536184,0.006876084,0.005131907,0.03642216,0.0019394135,0.000050914063,0.00004085356,0.00016236799,0.8640143],"genre_scores_gemma":[0.68431634,0.0016544131,0.001746428,0.0034520908,0.0004876097,0.000034561257,0.000017408714,0.00031255017,0.30797866],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99667907,0.0016948266,0.000035268116,0.00050841045,0.0005731067,0.00050929],"domain_scores_gemma":[0.99771667,0.0007447565,0.00012577749,0.00013821163,0.0005987704,0.0006758279],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002572271,0.0004991129,0.00032458993,0.0011130701,0.011569006,0.009176565,0.00068318716,0.0023149156,0.010743963],"category_scores_gemma":[0.0059295655,0.0003664346,0.00024601648,0.0007097817,0.01964378,0.0032479824,0.0034915064,0.0042277635,0.0017319724],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000069033544,0.000033107117,0.0010361078,0.000036032772,0.0000059633885,0.0005028388,0.057986807,0.00033394285,0.00035393084,0.87079704,0.042437043,0.026408227],"study_design_scores_gemma":[0.0000053961217,0.000022968155,0.00060873374,0.00008620705,0.000001956244,0.00028591213,0.007948002,0.00020658865,0.00024328238,0.015981277,0.9745808,0.00002883653],"about_ca_topic_score_codex":0.05840075,"about_ca_topic_score_gemma":0.07982867,"teacher_disagreement_score":0.05840075,"about_ca_system_score_codex":0.010382811,"about_ca_system_score_gemma":0.0036247803,"threshold_uncertainty_score":0.11612165},"labels":[],"label_agreement":null},{"id":"W2970736115","doi":"10.15353/kinema.vi.927","title":"Film and the Digital","year":2001,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"George (robot); Focus (optics); Irish; Mathematics; Computer science; Epistemology; History; Philosophy; Artificial intelligence; Linguistics; Physics","score_opus":0.02928805197638514,"score_gpt":0.24809155135777816,"score_spread":0.218803499381393,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970736115","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017874612,0.032534268,0.0020700777,0.046999037,0.0025340857,0.000021948468,0.00020710936,0.00009072201,0.8976681],"genre_scores_gemma":[0.6363228,0.023742339,0.0018868108,0.011194128,0.0028065927,0.000048449103,0.0001775908,0.00022368567,0.32359758],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961287,0.00015271665,0.000010720234,0.000057251156,0.00008691198,0.00007962914],"domain_scores_gemma":[0.9994295,0.00027015439,0.00004906916,0.000078957986,0.00007585296,0.000096311356],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045774374,0.00031377346,0.00022047937,0.0010712082,0.0042911163,0.010832215,0.00047222245,0.0015781132,0.037159346],"category_scores_gemma":[0.0022866968,0.00015916394,0.0001992289,0.0011919298,0.0076567205,0.0085495915,0.0029879157,0.0022991332,0.0022720506],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039421342,0.000018131112,0.00017776668,0.00008218951,0.0000043123605,0.00016551609,0.0100344075,0.00007298843,0.00025502278,0.91013867,0.059725866,0.019285673],"study_design_scores_gemma":[0.00001322681,0.000013932083,0.00048763634,0.00026896558,0.0000054726515,0.00021454095,0.0073173465,0.00011752422,0.00022065273,0.11073756,0.88059205,0.000011084472],"about_ca_topic_score_codex":0.00882201,"about_ca_topic_score_gemma":0.009515755,"teacher_disagreement_score":0.037159346,"about_ca_system_score_codex":0.003667707,"about_ca_system_score_gemma":0.00089510635,"threshold_uncertainty_score":0.124310434},"labels":[],"label_agreement":null},{"id":"W2970764274","doi":"10.15353/kinema.vi.982","title":"Oneiric Metaphor in Film Theory","year":2002,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dream; nobody; Wizard of oz; Metaphor; Unconscious mind; Literature; Art; Content (measure theory); Film theory; Art history; Psychoanalysis; Philosophy; Psychology; Movie theater; Computer science; Linguistics","score_opus":0.054769771856635084,"score_gpt":0.25719362574880744,"score_spread":0.20242385389217235,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970764274","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012694736,0.020570489,0.025022479,0.031096796,0.0011758,0.000048083686,0.0001502083,0.000055679466,0.90918565],"genre_scores_gemma":[0.87787616,0.014157484,0.01008021,0.004942225,0.0018994239,0.00022515799,0.00015640103,0.00015278034,0.090510085],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99783057,0.0014905919,0.000051967087,0.00024677752,0.00020532595,0.00017479598],"domain_scores_gemma":[0.99764013,0.0015955496,0.00018234029,0.00014543372,0.0002521107,0.00018450797],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017792077,0.0007506051,0.0005049091,0.0021418324,0.004406928,0.005775234,0.001371108,0.0028865093,0.016230814],"category_scores_gemma":[0.0038424542,0.00031191384,0.00049955695,0.0019141784,0.017578991,0.009571972,0.0020159464,0.003735784,0.0014318976],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000026085802,0.0000043336195,0.000022220942,0.000015562151,8.58929e-7,0.000021155985,0.0010670382,0.000038194183,0.000007574259,0.9964191,0.0015829772,0.00081842195],"study_design_scores_gemma":[0.000017345796,0.000015002692,0.0001843128,0.000114977476,0.0000047822236,0.00014518556,0.0036034232,0.0008444537,0.00004123622,0.8934181,0.10160162,0.000009544033],"about_ca_topic_score_codex":0.0054182434,"about_ca_topic_score_gemma":0.0027521765,"teacher_disagreement_score":0.016230814,"about_ca_system_score_codex":0.005198092,"about_ca_system_score_gemma":0.0013080132,"threshold_uncertainty_score":0.054297507},"labels":[],"label_agreement":null},{"id":"W2970772046","doi":"10.15353/kinema.vi.965","title":"Five Filmmakers In Conversation with Gerald Pratley","year":2001,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mediocrity principle; Enthusiasm; Conversation; Art history; Sister; Corporation; Media studies; Adventure; Performance art; Art; History; Law; Sociology; Political science; Philosophy; Theology","score_opus":0.028670615503558282,"score_gpt":0.2525569936105999,"score_spread":0.22388637810704162,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970772046","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006694432,0.025429543,0.00054897193,0.87116075,0.03790607,0.000038322385,0.00017326634,0.00010407869,0.057944626],"genre_scores_gemma":[0.12859102,0.039670724,0.0017827308,0.3332908,0.0243959,0.00016211768,0.00026442847,0.00044766822,0.47139457],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.998654,0.0005432909,0.00005650768,0.00022268097,0.0003388725,0.0001846814],"domain_scores_gemma":[0.9947174,0.0021074307,0.00034253835,0.00013258905,0.0014256652,0.0012742851],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002165556,0.00057204225,0.00055848685,0.001259558,0.008261204,0.00643209,0.0008738904,0.0045005474,0.019574612],"category_scores_gemma":[0.015502884,0.00036457198,0.00025985128,0.0016418737,0.002364174,0.0048170025,0.0023099654,0.007377088,0.005325182],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001816955,0.00002244753,0.0003715087,0.00006261848,0.0000043785567,0.00028975346,0.007121425,0.000012401433,0.00013322908,0.004328738,0.97803056,0.009604821],"study_design_scores_gemma":[0.0000037686323,0.000008468715,0.0009956077,0.00013203885,0.000005955645,0.00019878474,0.014292389,0.000026401098,0.000107400796,0.0010008641,0.9832155,0.000012900964],"about_ca_topic_score_codex":0.012335787,"about_ca_topic_score_gemma":0.032461055,"teacher_disagreement_score":0.019574612,"about_ca_system_score_codex":0.0028302423,"about_ca_system_score_gemma":0.0016502473,"threshold_uncertainty_score":0.06548363},"labels":[],"label_agreement":null},{"id":"W2970779304","doi":"10.15353/kinema.vi.1101","title":"Women, Islam and Cinema","year":2005,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Islam; Patriarchy; Depiction; Subordination (linguistics); Politics; Rage (emotion); Gender studies; Atmosphere (unit); Sociology; Art; History; Media studies; Literature; Political science; Geography; Law; Psychology; Philosophy; Social psychology","score_opus":0.033429614249549405,"score_gpt":0.2550393120190821,"score_spread":0.22160969776953268,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970779304","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.027638104,0.16815168,0.0005753035,0.053570077,0.0031404484,0.000026382666,0.00011478221,0.000049865754,0.7467334],"genre_scores_gemma":[0.6935789,0.063353255,0.0005236933,0.00888131,0.004253824,0.000053318126,0.000072494666,0.000059850583,0.22922327],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994435,0.00035386096,0.000009911337,0.000045497894,0.000076404416,0.000070840724],"domain_scores_gemma":[0.99928266,0.00038004448,0.00009361142,0.000031390668,0.00008092174,0.00013137248],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006229227,0.00032577763,0.00015804572,0.00078646635,0.0034368446,0.0066457856,0.0002920885,0.0010474953,0.016066387],"category_scores_gemma":[0.0016955546,0.00013762774,0.00007711095,0.00080416136,0.0037988324,0.003125841,0.0014209949,0.0010002842,0.0013246911],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009291284,0.00006547748,0.0024208287,0.00049851544,0.000012248404,0.0003182685,0.09806871,0.00007170154,0.00075655873,0.46424252,0.3156998,0.117752604],"study_design_scores_gemma":[0.0000054476236,0.000018875571,0.0019902792,0.000394046,0.0000037846523,0.00018457048,0.019458514,0.000027900383,0.00009492397,0.008999326,0.9688172,0.0000050742],"about_ca_topic_score_codex":0.0034617353,"about_ca_topic_score_gemma":0.006949111,"teacher_disagreement_score":0.016066387,"about_ca_system_score_codex":0.0016364292,"about_ca_system_score_gemma":0.0007279703,"threshold_uncertainty_score":0.053747475},"labels":[],"label_agreement":null},{"id":"W2970800666","doi":"10.15353/kinema.vi.919","title":"Robert Bresson: Depth Behind Simplicity","year":2000,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Aside; Painting; Simplicity; Art history; Art; Comedy; Movie theater; Film director; Consistency (knowledge bases); History; Literature; Philosophy","score_opus":0.031087149032012002,"score_gpt":0.2699438274566101,"score_spread":0.2388566784245981,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970800666","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003356556,0.07360462,0.008701156,0.13852626,0.0037771068,0.000032822114,0.00014805172,0.00028601254,0.77156746],"genre_scores_gemma":[0.33147877,0.049922768,0.00907713,0.039469242,0.0057210373,0.00011853597,0.0002028162,0.0008566482,0.5631531],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973801,0.0012032769,0.00009140556,0.00048261406,0.0005579281,0.00028464483],"domain_scores_gemma":[0.99801314,0.0010755401,0.00014138772,0.00023218952,0.0003452389,0.00019246376],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025937993,0.0005469144,0.00046966385,0.0012732756,0.0044410876,0.009535582,0.00082143396,0.0035616544,0.029283263],"category_scores_gemma":[0.010045466,0.00040341367,0.00029125396,0.0010606181,0.01132534,0.009477532,0.0038283567,0.005504537,0.010413045],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001247978,0.0000036342826,0.000058719615,0.000025846426,0.0000021344606,0.00003760131,0.00089441903,0.000059774993,0.000042793767,0.89888203,0.089669734,0.010310824],"study_design_scores_gemma":[0.000008863041,0.0000064722426,0.00010737313,0.00013710921,0.0000025263303,0.00010286304,0.00037540295,0.00009892262,0.00008783018,0.22225584,0.7768082,0.000008603643],"about_ca_topic_score_codex":0.008683921,"about_ca_topic_score_gemma":0.008104394,"teacher_disagreement_score":0.029283263,"about_ca_system_score_codex":0.005239475,"about_ca_system_score_gemma":0.0017350479,"threshold_uncertainty_score":0.09796226},"labels":[],"label_agreement":null},{"id":"W2970805897","doi":"10.15353/kinema.vi.1055","title":"Boundary Crossing and the Construction of Cinematic Genre","year":2004,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Mythology; German; Film genre; The Imaginary; Film theory; Art; Film studies; Meaning (existential); Identity (music); Literature; Aesthetics; Art history; Philosophy; Linguistics; Epistemology; Psychoanalysis; Psychology","score_opus":0.025101743492780406,"score_gpt":0.2562314746389465,"score_spread":0.2311297311461661,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970805897","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12660806,0.0061494745,0.019940907,0.012591836,0.0005922174,0.00009750098,0.000045424797,0.00006474811,0.83390987],"genre_scores_gemma":[0.9840866,0.00081928994,0.00312887,0.00052465266,0.00023756016,0.000056448465,0.000032014304,0.000045437493,0.011069061],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9948059,0.003316144,0.00014330666,0.00060899556,0.0005600729,0.0005656182],"domain_scores_gemma":[0.9948638,0.0026347667,0.000608427,0.0006395886,0.0005413033,0.00071221543],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0049888007,0.00052746735,0.00041165363,0.0033762595,0.008477897,0.015841858,0.001418,0.0029061849,0.0064871386],"category_scores_gemma":[0.009509672,0.00039440958,0.00043410732,0.0014203558,0.046611734,0.013730641,0.006732453,0.0036098217,0.00041942293],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009987891,0.0000085177135,0.00023835215,0.000024539873,0.0000012257234,0.00005077487,0.030753631,0.00004908693,0.00013467307,0.965151,0.00043638403,0.0031418018],"study_design_scores_gemma":[0.0000409174,0.000090433394,0.0032957557,0.0006365753,0.00001746778,0.0005421752,0.08269378,0.0014689132,0.0007863253,0.7371591,0.1732192,0.000049438004],"about_ca_topic_score_codex":0.004061742,"about_ca_topic_score_gemma":0.0025656072,"teacher_disagreement_score":0.015841858,"about_ca_system_score_codex":0.006054104,"about_ca_system_score_gemma":0.0015526799,"threshold_uncertainty_score":0.04392582},"labels":[],"label_agreement":null},{"id":"W2970809203","doi":"10.15353/kinema.vi.908","title":"Digital Video and 'e-cinema'","year":2000,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Misnomer; Filmmaking; Digital era; Digital media; Merge (version control); The arts; Media studies; Mainstream; Shadow (psychology); Advertising; Visual arts; Sociology; Art; Business; Political science; Computer science; Psychology; World Wide Web; The Internet","score_opus":0.024596642643593358,"score_gpt":0.24379087193969876,"score_spread":0.2191942292961054,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970809203","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017111225,0.16025412,0.005188576,0.08049042,0.0043853032,0.00003220698,0.00032201808,0.00007401212,0.73214215],"genre_scores_gemma":[0.5970148,0.08445896,0.0029645069,0.010747601,0.007126225,0.00004931681,0.00031047725,0.00007846128,0.2972497],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99923027,0.00029517457,0.000022914357,0.00008294232,0.00025906143,0.00010972396],"domain_scores_gemma":[0.998599,0.00068153517,0.00016723924,0.00008271848,0.00021760084,0.00025188946],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009696438,0.00025682247,0.00015919916,0.0013934387,0.0013248156,0.007704227,0.00038383022,0.0022785207,0.030906837],"category_scores_gemma":[0.0031478505,0.00014632115,0.000119191456,0.0018335057,0.0041453145,0.0075043426,0.0013977102,0.001566143,0.0023737892],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039626906,0.000033062097,0.00079722644,0.00015906642,0.000003892367,0.000096508375,0.0026030762,0.00007620882,0.00020372047,0.80203,0.087159924,0.106797665],"study_design_scores_gemma":[0.0000104474775,0.000035346933,0.0044222306,0.00037166537,0.000005000426,0.0003589578,0.0028774946,0.000309873,0.00025149502,0.08293302,0.9084068,0.000017641598],"about_ca_topic_score_codex":0.007835548,"about_ca_topic_score_gemma":0.0074916524,"teacher_disagreement_score":0.030906837,"about_ca_system_score_codex":0.002268588,"about_ca_system_score_gemma":0.00093518756,"threshold_uncertainty_score":0.103393614},"labels":[],"label_agreement":null},{"id":"W2970839047","doi":"10.15353/kinema.vi.1007","title":"Seeing Beyond: Movies, Visions, and Values","year":2002,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Vision; Criticism; Humanism; Cover (algebra); Morality; Art; Movie theater; Art history; Literature; Aesthetics; Philosophy; Sociology; Epistemology; Theology","score_opus":0.042703421480903864,"score_gpt":0.2568736362243513,"score_spread":0.2141702147434474,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970839047","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013515661,0.054685503,0.0009063555,0.05019795,0.012584256,0.000030917097,0.0010318375,0.00020987605,0.86683774],"genre_scores_gemma":[0.23487385,0.06908467,0.001877029,0.012710341,0.017020263,0.000098013894,0.0020551707,0.0005662715,0.66171443],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99957126,0.00016079872,0.000019733356,0.000046470188,0.00013364645,0.00006793864],"domain_scores_gemma":[0.99937314,0.00016485895,0.00005715212,0.000054774075,0.00015514473,0.00019496214],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00046957927,0.00039230048,0.00025009993,0.0013339206,0.0033858938,0.008830699,0.00035829263,0.00078025594,0.034426022],"category_scores_gemma":[0.0021439928,0.00017503148,0.00013304295,0.0020632884,0.0013772991,0.0048981723,0.0013284885,0.0016297431,0.0047398633],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004689682,0.000026853719,0.00087988755,0.00020402567,0.000006485251,0.000100452475,0.010002194,0.000046654506,0.0004014549,0.11438409,0.75964427,0.11425679],"study_design_scores_gemma":[0.0000015553198,0.000006560117,0.0013306186,0.00016805074,0.0000020017112,0.00004487505,0.0020689873,0.000015829455,0.000029099061,0.0021820709,0.994146,0.000004271323],"about_ca_topic_score_codex":0.006789321,"about_ca_topic_score_gemma":0.010300865,"teacher_disagreement_score":0.034426022,"about_ca_system_score_codex":0.001701418,"about_ca_system_score_gemma":0.0008099137,"threshold_uncertainty_score":0.115166545},"labels":[],"label_agreement":null},{"id":"W2970845372","doi":"10.15353/kinema.vi.1022","title":"St. Petersburg 2003","year":2003,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"St petersburg; History; Art history; Ancient history; Archaeology","score_opus":0.03870046650711277,"score_gpt":0.2601499157765728,"score_spread":0.22144944926946003,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970845372","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0077464525,0.017486272,0.0006249597,0.013931665,0.00828982,0.00013128264,0.014527515,0.00037203575,0.9368901],"genre_scores_gemma":[0.022909945,0.009578142,0.00052331894,0.0009246004,0.00049698254,0.00007324595,0.0043051066,0.00015084476,0.9610378],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996984,0.000019825791,0.000016309728,0.00007837477,0.0001302033,0.000056798028],"domain_scores_gemma":[0.9997193,0.000021039434,0.000026447713,0.000026949989,0.00011538058,0.00009090939],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002834036,0.00086872984,0.00027589317,0.0012544099,0.0016839723,0.0039369813,0.0004747244,0.0010717426,0.25871408],"category_scores_gemma":[0.0009798729,0.0004039663,0.00021901855,0.0011129545,0.00034841074,0.0015239241,0.0014947513,0.0010401758,0.122090206],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000080579775,0.000029588455,0.00092145795,0.0002134837,0.000009797565,0.00023515099,0.00015459216,0.00016290763,0.00053743477,0.017025787,0.87792796,0.10270119],"study_design_scores_gemma":[0.000003835349,0.0000068603913,0.0020037657,0.0000646876,0.0000019271488,0.00006535362,0.00005608649,0.000028878203,0.00015065166,0.0004099775,0.9972046,0.0000032651917],"about_ca_topic_score_codex":0.023248948,"about_ca_topic_score_gemma":0.057097204,"teacher_disagreement_score":0.25871408,"about_ca_system_score_codex":0.0023018683,"about_ca_system_score_gemma":0.0028637513,"threshold_uncertainty_score":0.86548483},"labels":[],"label_agreement":null},{"id":"W2970855899","doi":"10.15353/kinema.vi.915","title":"Alexander Dovzhenko's Cinematic Visions","year":2000,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Vision; Filmmaking; Power (physics); Film director; Art; Absolute (philosophy); Order (exchange); Art history; Literature; Philosophy; Movie theater; Theology","score_opus":0.037234281343766794,"score_gpt":0.2703193710283827,"score_spread":0.23308508968461591,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970855899","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0845562,0.055653885,0.009898465,0.118380405,0.0033676948,0.000046449593,0.00039199076,0.00010578227,0.7275991],"genre_scores_gemma":[0.9244189,0.012306216,0.0015908759,0.0038426311,0.0013133097,0.000038722093,0.000101916936,0.000050519462,0.05633683],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959046,0.00019507727,0.000015202553,0.000055736476,0.000069772665,0.00007370819],"domain_scores_gemma":[0.9994711,0.0002665497,0.000070938964,0.000032569227,0.00006420173,0.00009460527],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00084867456,0.0002945853,0.00015429009,0.0012799937,0.0023466954,0.004087359,0.00038201318,0.0011366762,0.0029913539],"category_scores_gemma":[0.0015906427,0.00013485909,0.00011337504,0.000590445,0.009310162,0.003152314,0.0019136592,0.0021620237,0.00045266416],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017101771,0.0000070800115,0.00026419057,0.000022023327,0.0000011652361,0.000034141118,0.0050201644,0.00011918683,0.000079484635,0.9751256,0.014325135,0.00498469],"study_design_scores_gemma":[0.000019564905,0.00001501085,0.0022017974,0.000169754,0.0000054631646,0.00021856067,0.0042644483,0.00035825305,0.0003022273,0.30900446,0.6834245,0.000015991149],"about_ca_topic_score_codex":0.0043788906,"about_ca_topic_score_gemma":0.003457755,"teacher_disagreement_score":0.0043788906,"about_ca_system_score_codex":0.0034729424,"about_ca_system_score_gemma":0.0011420747,"threshold_uncertainty_score":0.025198042},"labels":[],"label_agreement":null},{"id":"W2970873284","doi":"10.15353/kinema.vi.1104","title":"Berlinale 2005: Special Report","year":2005,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Thursday; Attendance; Tribute; Exhibition; Theme (computing); History; Art history; Accreditation; Art; Media studies; Economic history; Political science; Law; Sociology","score_opus":0.035990750618729576,"score_gpt":0.2722979498363954,"score_spread":0.2363071992176658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970873284","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0058084186,0.042348947,0.0016663934,0.01794289,0.044579342,0.0008384068,0.13900517,0.0026614824,0.74514896],"genre_scores_gemma":[0.0112488875,0.01621956,0.000968977,0.0017576697,0.0037155969,0.00035437266,0.06829151,0.00064450287,0.896799],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99923503,0.0000703466,0.000058848407,0.00010737117,0.00038989697,0.00013849657],"domain_scores_gemma":[0.9980088,0.00014495065,0.00018678572,0.00020736549,0.00084620964,0.00060589693],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001408389,0.0010566873,0.00047572755,0.0032251044,0.0009591833,0.0060635796,0.0013952425,0.0012501427,0.32718006],"category_scores_gemma":[0.003079296,0.00047534925,0.00044404122,0.0031478114,0.00024612114,0.002620147,0.0022052566,0.0011780058,0.17114218],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047337904,0.000032385997,0.0003645597,0.00017196489,0.0000037154152,0.000047931182,0.00002833928,0.000050625033,0.00011107462,0.00097194366,0.9714777,0.02669237],"study_design_scores_gemma":[0.000003401053,0.0000086070395,0.0016867862,0.000097944816,0.0000018289601,0.000030048484,0.00004025198,0.000013593564,0.00006767973,0.00007954257,0.9979674,0.000002903368],"about_ca_topic_score_codex":0.010719384,"about_ca_topic_score_gemma":0.013849386,"teacher_disagreement_score":0.32718006,"about_ca_system_score_codex":0.0018517361,"about_ca_system_score_gemma":0.0040260963,"threshold_uncertainty_score":0.959696},"labels":[],"label_agreement":null},{"id":"W2970875396","doi":"10.15353/kinema.vi.1085","title":"The Chaplin collection DVDs","year":2004,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dozen; Art; Art history","score_opus":0.032829541644056284,"score_gpt":0.2613320059780128,"score_spread":0.22850246433395655,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970875396","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0034637316,0.004769774,0.00066536246,0.003011053,0.0032872655,0.0001524044,0.012109222,0.0010362193,0.97150505],"genre_scores_gemma":[0.0121765975,0.0023827548,0.0010508993,0.00077204837,0.0012040487,0.00010730371,0.008932068,0.0006003465,0.9727739],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996822,0.000048578775,0.000008955141,0.000046589837,0.00016712984,0.000046662004],"domain_scores_gemma":[0.99940634,0.00008357497,0.000028425433,0.000061898856,0.0002112529,0.00020851872],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00032153339,0.00048667454,0.0002843921,0.0018085092,0.0012862919,0.0032587857,0.000505847,0.00045670298,0.4629816],"category_scores_gemma":[0.0016545274,0.0002436611,0.0001925768,0.002112992,0.0002441881,0.0009125541,0.001259447,0.0009711082,0.1312298],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002733209,0.0000074962236,0.000100022124,0.00004702244,0.0000012730868,0.000025720261,0.000049845574,0.000013489279,0.00014567519,0.0014713733,0.9690467,0.029064044],"study_design_scores_gemma":[0.0000046285622,0.00000722744,0.0006737936,0.000027989614,8.164492e-7,0.00003179146,0.00004511222,0.000021494257,0.00010236477,0.00023206872,0.99885046,0.0000022828676],"about_ca_topic_score_codex":0.007976652,"about_ca_topic_score_gemma":0.020945508,"teacher_disagreement_score":0.4629816,"about_ca_system_score_codex":0.0011175489,"about_ca_system_score_gemma":0.000893931,"threshold_uncertainty_score":0.76599157},"labels":[],"label_agreement":null},{"id":"W2970883504","doi":"10.15353/kinema.vi.1300","title":"Comic Ironic Modes in New Romanian Cinema","year":2014,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Irony; Movie theater; Absurdity; Romanian; Literature; Objectivity (philosophy); Criticism; Comics; Art; Realism; Existentialism; Aesthetics; Philosophy; Epistemology; Linguistics","score_opus":0.034327498392382465,"score_gpt":0.2545177891528676,"score_spread":0.22019029076048513,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970883504","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13257189,0.0072949873,0.006220993,0.012405086,0.00064288185,0.00004666014,0.000055864744,0.00011121638,0.8406504],"genre_scores_gemma":[0.9666187,0.0010340586,0.0012762748,0.00058810966,0.00030307408,0.000030272813,0.000019670135,0.00008241884,0.030047402],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99783945,0.001558438,0.00004154095,0.00016275885,0.00022739811,0.0001703333],"domain_scores_gemma":[0.9987947,0.0006414339,0.00015262104,0.00017794876,0.00013029395,0.000102959784],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002267128,0.00041996266,0.0002484631,0.0011396012,0.0035459693,0.006967385,0.0005056173,0.0011616406,0.0060279113],"category_scores_gemma":[0.0037963921,0.0002649697,0.00021230802,0.0006114123,0.012991739,0.0035545758,0.0023613058,0.0025727223,0.00060331105],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046074485,0.000028149596,0.00075589796,0.00010748928,0.000006568754,0.00045949753,0.15071118,0.00014046318,0.0005137464,0.81823003,0.012024895,0.01697594],"study_design_scores_gemma":[0.00004328791,0.000062223575,0.005657787,0.00063717365,0.000017930304,0.001516358,0.08138842,0.0011719987,0.00096167147,0.09072311,0.8177733,0.00004678508],"about_ca_topic_score_codex":0.0014657283,"about_ca_topic_score_gemma":0.0028518357,"teacher_disagreement_score":0.006967385,"about_ca_system_score_codex":0.0032509225,"about_ca_system_score_gemma":0.00051549263,"threshold_uncertainty_score":0.023587227},"labels":[],"label_agreement":null},{"id":"W2970886889","doi":"10.15353/kinema.vi.1217","title":"The Language and Genealogy of Early Spy Cinema","year":2010,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; HERO; German; Folklore; Literature; Ideology; Mythology; Legend; Espionage; Art; Modernity; History; Art history; Philosophy; Law; Politics","score_opus":0.020488547172613843,"score_gpt":0.26340062614557397,"score_spread":0.24291207897296013,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970886889","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85902715,0.007922631,0.0015966917,0.002624005,0.00016302835,0.00004689184,0.00020156885,0.00003285156,0.12838523],"genre_scores_gemma":[0.9931722,0.0010873581,0.00022785594,0.00006071949,0.00006636167,0.000010347757,0.000036300444,0.000011086161,0.0053276746],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99926,0.00036815953,0.000030913023,0.00014395628,0.00008682465,0.00011006764],"domain_scores_gemma":[0.99834883,0.0010616918,0.00019640558,0.00008762115,0.00019079355,0.000114745395],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012077068,0.00017843676,0.00016938846,0.0027802244,0.0029169328,0.0029469836,0.00039889905,0.0005483389,0.0043214983],"category_scores_gemma":[0.0037071242,0.00020888828,0.00008460168,0.0014873283,0.0054673245,0.0022303616,0.0013152362,0.0012493273,0.00026732168],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022480405,0.00007482003,0.016116805,0.00026115056,0.000017607274,0.0018520617,0.5923146,0.00034507216,0.0036069965,0.30982047,0.005500503,0.06986516],"study_design_scores_gemma":[0.0000391873,0.0003997124,0.16269241,0.0012287042,0.000039184128,0.0028283596,0.18897025,0.0012295137,0.004838834,0.026556114,0.6110808,0.00009682731],"about_ca_topic_score_codex":0.008051196,"about_ca_topic_score_gemma":0.008710845,"teacher_disagreement_score":0.008051196,"about_ca_system_score_codex":0.0037637758,"about_ca_system_score_gemma":0.00061627926,"threshold_uncertainty_score":0.027308285},"labels":[],"label_agreement":null},{"id":"W2970889311","doi":"10.15353/kinema.vi.1239","title":"Pierre Étaix 5-DVD SET","year":2011,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Comedy; Genius; Art; Art history; Visual arts; Performance art; Literature; Humanities","score_opus":0.09441823557750131,"score_gpt":0.2749597038632985,"score_spread":0.18054146828579717,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970889311","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001012128,0.0013558564,0.0010992539,0.0019181111,0.0023005658,0.00008969927,0.0028806396,0.0014999269,0.98784375],"genre_scores_gemma":[0.00785734,0.00090659613,0.0007590148,0.0005731517,0.00089568575,0.000040804236,0.0015947436,0.0005843541,0.9867883],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996995,0.000034356173,0.000005836031,0.00003889944,0.000172254,0.00004928514],"domain_scores_gemma":[0.9995704,0.00005488215,0.000011763284,0.0000388824,0.00014703748,0.00017693499],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00030678837,0.00045754245,0.00024991782,0.00085131614,0.0010428508,0.0030951,0.00045848114,0.0010018421,0.6643739],"category_scores_gemma":[0.0010099164,0.00021312598,0.00023444074,0.0005856759,0.00023141243,0.0011546902,0.0012464182,0.0015606929,0.3404576],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007018787,0.000016030219,0.00010835562,0.0000599813,0.0000031216673,0.0001601003,0.000064527274,0.00010420866,0.0008391508,0.007470124,0.94906616,0.04203804],"study_design_scores_gemma":[0.0000063760654,0.0000055999417,0.00017132692,0.000013923128,4.7425323e-7,0.000053043485,0.000013365145,0.00005930207,0.00015435953,0.00027878463,0.99924123,0.0000022964236],"about_ca_topic_score_codex":0.0050751376,"about_ca_topic_score_gemma":0.010707149,"teacher_disagreement_score":0.33562613,"about_ca_system_score_codex":0.0012887439,"about_ca_system_score_gemma":0.00065084104,"threshold_uncertainty_score":0.4787299},"labels":[],"label_agreement":null},{"id":"W2970914969","doi":"10.15353/kinema.vi.929","title":"Topographies of Defeat","year":2001,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hollywood; Masculinity; Jungle; Treasure; History; Art; Comedy; Art history; Literature; Aesthetics; Gender studies; Sociology; Archaeology","score_opus":0.041808267505973974,"score_gpt":0.2649472588479457,"score_spread":0.2231389913419717,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970914969","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.028928908,0.010862735,0.0014740352,0.026930505,0.00061801483,0.000014713681,0.0002545116,0.000053243828,0.9308633],"genre_scores_gemma":[0.89249665,0.006461836,0.00035916845,0.0034164698,0.00047186547,0.000024941028,0.00014622674,0.00016141523,0.09646152],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985019,0.0005719525,0.000023953004,0.00018197,0.00025480232,0.0004654577],"domain_scores_gemma":[0.99876523,0.00059859327,0.00013024663,0.00010124104,0.00018619197,0.000218467],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009207715,0.00045274853,0.00032117404,0.0027418884,0.012176145,0.009287961,0.00073480216,0.00220575,0.020421533],"category_scores_gemma":[0.0024622292,0.0002966314,0.00022971885,0.0031688411,0.026591133,0.0048403903,0.0040679756,0.0037140592,0.0018856404],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026233063,0.000005825854,0.00050173316,0.000052587675,0.0000062231666,0.00027804638,0.06528052,0.00006654136,0.00009323856,0.8600655,0.066564634,0.0070588877],"study_design_scores_gemma":[0.000006625641,0.000008507078,0.0020465325,0.00025596452,0.000006696528,0.00023387572,0.051615313,0.000104021616,0.00015936152,0.060732577,0.88481444,0.000016149203],"about_ca_topic_score_codex":0.061608013,"about_ca_topic_score_gemma":0.06830928,"teacher_disagreement_score":0.061608013,"about_ca_system_score_codex":0.009789652,"about_ca_system_score_gemma":0.0020194233,"threshold_uncertainty_score":0.12249881},"labels":[],"label_agreement":null},{"id":"W2970941856","doi":"10.15353/kinema.vi.1290","title":"A Brief History of the USDA Motion Picture Service to 1943","year":2013,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Filmmaking; Government (linguistics); Agency (philosophy); Service (business); Motion picture; Political science; Variety (cybernetics); Media studies; Public relations; Library science; History; Sociology; Business; Movie theater; Social science; Art history; Marketing","score_opus":0.03241686905259549,"score_gpt":0.2278453963284675,"score_spread":0.195428527275872,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970941856","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016789642,0.08711576,0.0023782083,0.048284866,0.027929684,0.00034504445,0.0067101275,0.00063097157,0.8249263],"genre_scores_gemma":[0.015445887,0.09609406,0.002595897,0.020385927,0.009866769,0.00033708886,0.0063156025,0.0009226556,0.8480361],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99771404,0.00037222248,0.00013186387,0.00032351958,0.0011497221,0.00030853148],"domain_scores_gemma":[0.9972773,0.00047000407,0.00013985377,0.00014950271,0.001468185,0.00049513293],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023352304,0.0008209121,0.00031758932,0.005563278,0.0035482007,0.006648632,0.0011991799,0.0029249347,0.1445405],"category_scores_gemma":[0.0066877618,0.0005396388,0.0004487483,0.0077030174,0.0015946826,0.0058403234,0.0025760992,0.0043368726,0.06705047],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032041313,0.000040723236,0.00024332998,0.00023592742,0.0000030856336,0.00014183583,0.00037844444,0.000047558828,0.00030773197,0.017354961,0.8933881,0.087826304],"study_design_scores_gemma":[4.155825e-7,0.0000020887126,0.00016891328,0.00005589624,2.7759583e-7,0.000013685687,0.000035496992,0.0000028183467,0.000019433002,0.00016081889,0.9995383,0.0000018236084],"about_ca_topic_score_codex":0.06355353,"about_ca_topic_score_gemma":0.04881041,"teacher_disagreement_score":0.1445405,"about_ca_system_score_codex":0.008751297,"about_ca_system_score_gemma":0.0073026326,"threshold_uncertainty_score":0.48353618},"labels":[],"label_agreement":null},{"id":"W2970959760","doi":"10.15353/kinema.vi.1277","title":"The Cinema and Real Time","year":2012,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Relation (database); Art; Art history; Computer science","score_opus":0.02982034508674659,"score_gpt":0.2608979985243933,"score_spread":0.23107765343764675,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970959760","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15900107,0.030818237,0.0034476665,0.044375584,0.0007978682,0.000036146503,0.00017981652,0.000028663257,0.7613149],"genre_scores_gemma":[0.979477,0.0063785333,0.00052628265,0.0014735548,0.00039813475,0.000022140955,0.000033173514,0.000025820435,0.011665435],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985083,0.0009421396,0.000027412687,0.00015190826,0.00018544435,0.00018480225],"domain_scores_gemma":[0.9932613,0.004836424,0.00076630723,0.000228007,0.0004086315,0.0004993885],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012355661,0.00021747888,0.0001922099,0.0013872174,0.0027191383,0.00909019,0.0004654546,0.0010913709,0.012755302],"category_scores_gemma":[0.007627311,0.00018671845,0.00021434975,0.002293852,0.008976762,0.006938484,0.0022039192,0.0022918405,0.0005511254],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051503466,0.00002972718,0.0035327936,0.00009661201,0.000008517614,0.00014205843,0.03674552,0.00013080446,0.00012342106,0.9339407,0.009836759,0.015361555],"study_design_scores_gemma":[0.000044657256,0.00008695245,0.026386408,0.00077430316,0.000039856874,0.0005402887,0.09877713,0.00093958364,0.00026379424,0.30722606,0.5648756,0.00004537301],"about_ca_topic_score_codex":0.008708046,"about_ca_topic_score_gemma":0.005868142,"teacher_disagreement_score":0.012755302,"about_ca_system_score_codex":0.0031885037,"about_ca_system_score_gemma":0.0014821353,"threshold_uncertainty_score":0.042670727},"labels":[],"label_agreement":null},{"id":"W2970960614","doi":"10.15353/kinema.vi.1218","title":"The New Vicissitudes of Auteur Cinema","year":2010,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Hollywood; Film festival; White (mutation); Art; Art history; German; Adventure; Hospitality; Visual arts; History; Tourism; Archaeology","score_opus":0.025031600129106973,"score_gpt":0.2667417078583029,"score_spread":0.24171010772919596,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970960614","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10398994,0.020244397,0.006884539,0.05937158,0.0054563712,0.000054549968,0.00025797638,0.00044071698,0.8033],"genre_scores_gemma":[0.87933326,0.0051174,0.0018766316,0.005550768,0.0017347698,0.00005211178,0.00009242845,0.00022683176,0.106015846],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973544,0.001242141,0.00007913865,0.00031928482,0.0005504694,0.000454519],"domain_scores_gemma":[0.9969753,0.0008985638,0.0002276115,0.0003170871,0.0003888385,0.001192624],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014208184,0.00040933932,0.00026217682,0.0015458262,0.005644327,0.012214672,0.0005500587,0.0013685165,0.013002805],"category_scores_gemma":[0.004543911,0.00028374186,0.00022501887,0.0006794986,0.0103051625,0.005055092,0.009955919,0.0035895274,0.0016298216],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018217157,0.00005170622,0.004699564,0.00029891112,0.000026184127,0.0008469217,0.10514537,0.00026300113,0.0014233988,0.6321842,0.14685732,0.108021185],"study_design_scores_gemma":[0.0000067649717,0.000025868023,0.0059585692,0.00018931617,0.000005871453,0.00096897094,0.028071871,0.00017608801,0.00019919353,0.022448476,0.9419213,0.000027598755],"about_ca_topic_score_codex":0.010329303,"about_ca_topic_score_gemma":0.017600209,"teacher_disagreement_score":0.013002805,"about_ca_system_score_codex":0.004592281,"about_ca_system_score_gemma":0.0017834557,"threshold_uncertainty_score":0.043498755},"labels":[],"label_agreement":null},{"id":"W2970965845","doi":"10.15353/kinema.vi.1071","title":"Found Footage Filmmaking and Popular Memory","year":2004,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Filmmaking; Irish; Treasure; Diaspora; Narrative; History; Movie theater; Visual arts; Resource (disambiguation); Representation (politics); Famine; Media studies; Cultural memory; Art; Art history; Literature; Sociology; Archaeology; Gender studies; Anthropology; Political science; Computer science; Politics; Law","score_opus":0.04711023417334939,"score_gpt":0.2747662655828132,"score_spread":0.2276560314094638,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970965845","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10696965,0.030325789,0.0005591722,0.076970145,0.001639497,0.000037023245,0.0002711171,0.000046789224,0.7831808],"genre_scores_gemma":[0.9285358,0.011588574,0.00025439705,0.0021396347,0.0010753932,0.0000214369,0.00010157029,0.000029717317,0.056253504],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99852544,0.0007255152,0.000035498782,0.00013075718,0.00018935275,0.00039346126],"domain_scores_gemma":[0.996548,0.0016543564,0.000655927,0.00022797375,0.00030381588,0.0006100722],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015294898,0.00027508812,0.0002704562,0.0022883224,0.005558577,0.012944375,0.0007327718,0.0018138093,0.04043295],"category_scores_gemma":[0.008640117,0.0002030818,0.00017717016,0.0032762603,0.008978786,0.0075296713,0.0032674493,0.0018892841,0.001307642],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025232072,0.0001980898,0.008280985,0.0004765333,0.000028842831,0.0012584805,0.20390315,0.00013445853,0.00026772628,0.47784695,0.1713311,0.13602135],"study_design_scores_gemma":[0.000036661502,0.000055204167,0.014009059,0.0012098347,0.000023814699,0.00052883744,0.22474411,0.000118607124,0.00025412618,0.050256565,0.7087336,0.000029540011],"about_ca_topic_score_codex":0.024349993,"about_ca_topic_score_gemma":0.03482727,"teacher_disagreement_score":0.04043295,"about_ca_system_score_codex":0.0058157067,"about_ca_system_score_gemma":0.0014709627,"threshold_uncertainty_score":0.13526171},"labels":[],"label_agreement":null},{"id":"W2970996562","doi":"10.15353/kinema.vi.925","title":"The emergence of Canadian Feature Film Policy","year":2000,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Battle; Studio; Box office; American film; Movie theater; Film industry; Feature film; Political science; Economic history; History; Business; Advertising; Art history; Art; Visual arts","score_opus":0.02723368989696085,"score_gpt":0.25787440805141476,"score_spread":0.23064071815445392,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2970996562","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08277936,0.010620472,0.003125559,0.19834135,0.0013674443,0.00013708894,0.0018991566,0.00027912293,0.70145047],"genre_scores_gemma":[0.75690967,0.0051879487,0.0024866404,0.032867838,0.00050638645,0.00009800397,0.00059123436,0.00012077859,0.2012315],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99603206,0.00030616895,0.000055805544,0.0005279994,0.0017300014,0.0013479736],"domain_scores_gemma":[0.99136704,0.0011424244,0.00031244924,0.00034208078,0.0046185423,0.0022174127],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025171284,0.00030121423,0.0002704562,0.0025506893,0.015771586,0.009524046,0.0016337672,0.0040307683,0.01669645],"category_scores_gemma":[0.0112746395,0.00041159042,0.0003198601,0.0042580795,0.0051754536,0.002742565,0.0020863663,0.0032851791,0.00055876106],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007863146,0.000025507798,0.0037468153,0.00012512048,0.00001488775,0.00027114883,0.004894245,0.00037498752,0.00054226426,0.7332643,0.20813012,0.04853184],"study_design_scores_gemma":[0.000013500934,0.00001441286,0.011542511,0.00013961119,0.000014460096,0.0000687622,0.0026099167,0.0005935607,0.0002440388,0.01101455,0.9737004,0.000044323617],"about_ca_topic_score_codex":0.9864184,"about_ca_topic_score_gemma":0.9898825,"teacher_disagreement_score":0.17171697,"about_ca_system_score_codex":0.17171697,"about_ca_system_score_gemma":0.15300971,"threshold_uncertainty_score":0.9606909},"labels":[],"label_agreement":null},{"id":"W2971029030","doi":"10.15353/kinema.vi.1250","title":"Notes on Buster Keaton’s Motion","year":2012,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Meaning (existential); Motion (physics); Praxis; Art history; Art; Philosophy; Epistemology; Physics","score_opus":0.06075312986439906,"score_gpt":0.2790148337195372,"score_spread":0.21826170385513816,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2971029030","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0032067173,0.06542567,0.0007009998,0.62261146,0.062456213,0.000026641723,0.0003281407,0.00009691836,0.24514724],"genre_scores_gemma":[0.08905933,0.037633177,0.0006214412,0.20561121,0.04049306,0.000059907103,0.00018781277,0.00029095018,0.626043],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990005,0.00025304724,0.000042611937,0.0002033629,0.00032368815,0.00017677626],"domain_scores_gemma":[0.9981146,0.0010209021,0.00008532604,0.00008687603,0.0004029258,0.00028942968],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001340916,0.00052319013,0.00033598728,0.0010184156,0.0047676708,0.003323279,0.00077221513,0.0040923003,0.024801884],"category_scores_gemma":[0.006270785,0.00035301497,0.0002712035,0.00082650647,0.0030819054,0.0032114477,0.0017793262,0.008689941,0.005670903],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011296561,0.000006220042,0.00004971037,0.000019018267,0.0000014781181,0.00011651424,0.00070790265,0.00001548528,0.00004800285,0.019856108,0.9735391,0.0056290994],"study_design_scores_gemma":[0.0000016730991,0.0000028446914,0.00012567987,0.00005068593,4.0640842e-7,0.00006280414,0.00020548269,0.000008362186,0.000021276668,0.0012955572,0.99822193,0.0000032857247],"about_ca_topic_score_codex":0.026418123,"about_ca_topic_score_gemma":0.043792274,"teacher_disagreement_score":0.026418123,"about_ca_system_score_codex":0.004563802,"about_ca_system_score_gemma":0.0016189165,"threshold_uncertainty_score":0.08297056},"labels":[],"label_agreement":null},{"id":"W2971069185","doi":"10.14321/crnewcentrevi.19.2.0021","title":"Mourning, Melancholia, <i>Moonlight</i>","year":2019,"lang":"en","type":"article","venue":"CR The New Centennial Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Centennial; Icon; Citation; Art history; Moonlight; Media studies; Art; History; Library science; Sociology; Computer science; Archaeology","score_opus":0.024009201329453483,"score_gpt":0.23305378020851034,"score_spread":0.20904457887905686,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2971069185","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00026394756,0.96054155,0.000026830068,0.025825417,0.0052953106,0.000005128799,0.000037816655,0.000009636954,0.007994323],"genre_scores_gemma":[0.0151163805,0.94407684,0.00008724939,0.018317018,0.009619288,0.0000344153,0.00009012275,0.00002743105,0.012631179],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986381,0.00063752325,0.00009078335,0.00013830562,0.00033595628,0.00015924315],"domain_scores_gemma":[0.9967891,0.001541661,0.000296937,0.00013702162,0.0009005701,0.0003347519],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016683637,0.00052215264,0.0007432675,0.0027657738,0.0015172246,0.004872691,0.00078949874,0.0024846734,0.012023822],"category_scores_gemma":[0.0074253185,0.0003044275,0.0004217172,0.00267212,0.004179637,0.004071874,0.0019168267,0.0032746708,0.003260879],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046797297,0.000024253957,0.0008096705,0.0042446507,0.000051575356,0.00017744921,0.0016734161,0.000023859679,0.00010692911,0.021139897,0.81673336,0.15496805],"study_design_scores_gemma":[0.000008698064,0.000018453866,0.0027183995,0.00953613,0.000046019475,0.00040150824,0.0016278804,0.000009844099,0.00005316612,0.0032797863,0.9822818,0.000018389865],"about_ca_topic_score_codex":0.016090965,"about_ca_topic_score_gemma":0.027442653,"teacher_disagreement_score":0.016090965,"about_ca_system_score_codex":0.00349817,"about_ca_system_score_gemma":0.0040889005,"threshold_uncertainty_score":0.040223718},"labels":[],"label_agreement":null},{"id":"W2971082691","doi":"10.15353/kinema.vi.1151","title":"Eisenstein and Tarkovsky","year":2007,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Opposition (politics); Art; Aesthetics; Literature; Law; Politics","score_opus":0.03373750831720286,"score_gpt":0.2684100203673515,"score_spread":0.23467251205014866,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2971082691","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019492466,0.053067137,0.009531629,0.2581384,0.0044392273,0.000034812085,0.00013751572,0.00010040047,0.65505844],"genre_scores_gemma":[0.71733034,0.022398293,0.003090853,0.029212035,0.0038708835,0.00007880074,0.000090712594,0.00030249587,0.22362553],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99856865,0.0006414055,0.00004522966,0.00028964283,0.00028856838,0.00016648372],"domain_scores_gemma":[0.9979261,0.0012089123,0.00017326185,0.00019085489,0.00031356915,0.00018730838],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014861716,0.00032660324,0.0003491349,0.00089532294,0.0030303176,0.0056933933,0.000476923,0.0029446923,0.007728956],"category_scores_gemma":[0.007780161,0.0002052367,0.00018236764,0.0010055428,0.008959162,0.0062231235,0.0020011931,0.0036529433,0.0013354905],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000094951,0.0000059662525,0.00008588926,0.00001214839,0.0000012909621,0.000018174685,0.00081225735,0.000052858093,0.00003858597,0.96583474,0.028632158,0.0044963886],"study_design_scores_gemma":[0.000012768549,0.000009185832,0.0004030317,0.0001526237,0.0000034051523,0.00005694631,0.0007089916,0.00026847367,0.00017878847,0.5948723,0.4033236,0.0000098557375],"about_ca_topic_score_codex":0.005993099,"about_ca_topic_score_gemma":0.0045279204,"teacher_disagreement_score":0.007728956,"about_ca_system_score_codex":0.005136238,"about_ca_system_score_gemma":0.002004681,"threshold_uncertainty_score":0.037266195},"labels":[],"label_agreement":null},{"id":"W2971117222","doi":"10.15353/kinema.vi.1168","title":"Interview with Ron Holloway","year":2007,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"German; Barn; Courtesy; Art; Art history; Visual arts; Media studies; History; Sociology; Political science; Archaeology","score_opus":0.04817044318381886,"score_gpt":0.2730327619745026,"score_spread":0.22486231879068375,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2971117222","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0032615822,0.012256434,0.00019518842,0.94635916,0.009973186,0.0000363679,0.00027608423,0.000086069886,0.027555987],"genre_scores_gemma":[0.054800097,0.0071247923,0.00052646647,0.73715985,0.004756541,0.0002729142,0.00018877604,0.00020635252,0.19496422],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9971765,0.0010328643,0.000095444324,0.00040721532,0.0006829117,0.00060499826],"domain_scores_gemma":[0.99146104,0.0015458408,0.00044993224,0.00015587565,0.0033137016,0.0030735724],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035951,0.00072699034,0.0010922155,0.0013205764,0.015570903,0.0044017527,0.0015028134,0.008025903,0.051728647],"category_scores_gemma":[0.017907137,0.00060695264,0.00045746416,0.0013098596,0.0027685054,0.006016836,0.003747592,0.014547537,0.013867391],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000127257845,0.000008582936,0.00022264938,0.000025244557,0.000001676565,0.00014860871,0.0020744598,0.000009576235,0.00006241972,0.00093233783,0.99327725,0.0032243973],"study_design_scores_gemma":[0.0000051271663,0.000015899657,0.0010130411,0.00017219235,0.0000028974264,0.00043125445,0.018650483,0.000035562003,0.0000737155,0.00057875685,0.978986,0.000035103778],"about_ca_topic_score_codex":0.071055174,"about_ca_topic_score_gemma":0.09691097,"teacher_disagreement_score":0.071055174,"about_ca_system_score_codex":0.0061292234,"about_ca_system_score_gemma":0.006966668,"threshold_uncertainty_score":0.17304957},"labels":[],"label_agreement":null},{"id":"W2971140649","doi":"10.15353/kinema.vi.1213","title":"Interview with Kevin Brownlow on the Making of Winstanley","year":2010,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hollywood; Movie theater; Parade; Art history; Expansive; Innocence; Art; Uncanny; Champion; Passion; Period (music); History; Nazism; Penny; Media studies; Literature; Sociology; Law; Aesthetics; German; Political science","score_opus":0.05479937974453095,"score_gpt":0.26944486922297195,"score_spread":0.214645489478441,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2971140649","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0057138423,0.012602371,0.00017572862,0.9504564,0.008302978,0.000030365341,0.00007791511,0.000022405997,0.02261805],"genre_scores_gemma":[0.08540787,0.015034044,0.00042363082,0.70853513,0.003868057,0.0001477797,0.00008299982,0.00011802639,0.18638253],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99797505,0.00076462165,0.00006133329,0.00021127248,0.0005344075,0.0004532338],"domain_scores_gemma":[0.99274254,0.0029806679,0.0003310356,0.00008992548,0.0019457315,0.0019101324],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034138574,0.00043539,0.0006170786,0.0010295862,0.017007027,0.005063932,0.0016376448,0.004756746,0.017379377],"category_scores_gemma":[0.013396051,0.0006080884,0.0002550592,0.0013594928,0.0034824742,0.006862936,0.0033660592,0.0135989105,0.0030115028],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008178868,0.000014740858,0.00039276635,0.000031365784,0.0000014454055,0.00022411937,0.0072788117,0.000016381127,0.000055976965,0.002680417,0.9843801,0.004915673],"study_design_scores_gemma":[0.0000034344698,0.0000125841125,0.0011580702,0.00024263973,0.0000019352547,0.00029371088,0.046052665,0.00003909458,0.00006876602,0.0012359859,0.9508655,0.000025512118],"about_ca_topic_score_codex":0.12096099,"about_ca_topic_score_gemma":0.1582584,"teacher_disagreement_score":0.12096099,"about_ca_system_score_codex":0.007136969,"about_ca_system_score_gemma":0.00947344,"threshold_uncertainty_score":0.2405138},"labels":[],"label_agreement":null},{"id":"W2971163524","doi":"10.15353/kinema.vi.1025","title":"Truffaut's Antoine Doinel films DVD collection","year":2003,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Exhibition; Art; Musical; Perspective (graphical); Visual arts; Art history","score_opus":0.03482732160917027,"score_gpt":0.25913846944366803,"score_spread":0.22431114783449776,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2971163524","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005823408,0.0154055925,0.0011897864,0.004952803,0.0065224543,0.00020837982,0.00815453,0.0015892937,0.9561539],"genre_scores_gemma":[0.016273893,0.0047155507,0.0016373511,0.0005180622,0.0009847871,0.00005904684,0.0037299662,0.00047780393,0.97160363],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995803,0.00004344047,0.000012459548,0.000064579486,0.0002458973,0.00005324316],"domain_scores_gemma":[0.9996307,0.0000713914,0.000017977576,0.000033470526,0.00015063069,0.000095811534],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00042475585,0.00051533617,0.00036365993,0.0020243523,0.0014886198,0.003999807,0.00039721344,0.000880007,0.23293753],"category_scores_gemma":[0.0013223668,0.00028595352,0.00030400956,0.0015293224,0.00028201577,0.0008109926,0.0006525021,0.0012144644,0.040491838],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018143705,0.00004448554,0.0006109574,0.00021369521,0.0000101887235,0.00022110989,0.00017485279,0.0001472113,0.0017763877,0.010041373,0.8546632,0.1319152],"study_design_scores_gemma":[0.00000801642,0.000008858673,0.001300407,0.00002642538,0.0000012207812,0.000072147166,0.000017062386,0.000039631643,0.00016661009,0.00017315608,0.9981828,0.000003849876],"about_ca_topic_score_codex":0.040752795,"about_ca_topic_score_gemma":0.07314689,"teacher_disagreement_score":0.23293753,"about_ca_system_score_codex":0.0017569254,"about_ca_system_score_gemma":0.0013701597,"threshold_uncertainty_score":0.77925366},"labels":[],"label_agreement":null},{"id":"W2971206363","doi":"10.15353/kinema.vi.1072","title":"Simulation in Cinema","year":2004,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Artificiality; Narrative; Resentment; Argument (complex analysis); Realism; Aesthetics; Reification (Marxism); Computer science; Visual arts; Computer graphics (images); Art; Literature; Epistemology; Politics; Philosophy; Political science; Law","score_opus":0.04603997185897151,"score_gpt":0.288995850538688,"score_spread":0.24295587867971646,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2971206363","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012371762,0.027078018,0.17500253,0.04024513,0.004232662,0.00009291573,0.0002882558,0.0010892322,0.73959947],"genre_scores_gemma":[0.7958426,0.01731813,0.058033105,0.004659161,0.0029642698,0.00027780677,0.00031608596,0.0006470243,0.11994183],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99896455,0.00073921186,0.000030792005,0.000096123986,0.000116896175,0.000052370124],"domain_scores_gemma":[0.99687344,0.0023152903,0.000103090955,0.00027930393,0.0002082852,0.00022053182],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001704458,0.00044633663,0.0003872352,0.00084001524,0.0015892637,0.005491891,0.00065330265,0.0021596106,0.031495772],"category_scores_gemma":[0.0069301203,0.000308941,0.00043934784,0.00062560715,0.006822769,0.0054549244,0.0023353326,0.0028933494,0.0024343482],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013055831,0.0000083086425,0.0001638425,0.000064888125,0.0000048645816,0.000046049405,0.0009502175,0.0024207854,0.0001048265,0.9681684,0.016545037,0.011509744],"study_design_scores_gemma":[0.000022350809,0.000027464554,0.000249776,0.00022849737,0.000009152917,0.00016462522,0.0005985949,0.009112505,0.00026594856,0.62930465,0.36000004,0.000016524093],"about_ca_topic_score_codex":0.0028185719,"about_ca_topic_score_gemma":0.0018642411,"teacher_disagreement_score":0.031495772,"about_ca_system_score_codex":0.0018813781,"about_ca_system_score_gemma":0.00092837337,"threshold_uncertainty_score":0.105363905},"labels":[],"label_agreement":null},{"id":"W2971215178","doi":"10.15353/kinema.vi.1183","title":"The Role of the Unconscious in Marnie and Three Colours: Blue","year":2008,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Unconscious mind; Id, ego and super-ego; Appeal; Action (physics); Narrative; Psychoanalysis; Field (mathematics); Aesthetics; Psychology; Philosophy; Art; Literature; Law; Political science; Mathematics","score_opus":0.022800288461089748,"score_gpt":0.22819984123530312,"score_spread":0.20539955277421337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2971215178","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.041982476,0.03362248,0.010555735,0.26992318,0.0033277348,0.000037866554,0.00007747182,0.0001580386,0.640315],"genre_scores_gemma":[0.8645213,0.00691393,0.003166115,0.018909916,0.0013484526,0.00006184496,0.000019273672,0.0001791396,0.10488008],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978529,0.0013885354,0.000022151982,0.00019843837,0.00032818923,0.00020978368],"domain_scores_gemma":[0.9978275,0.0009959046,0.00018907609,0.00021419225,0.00035376672,0.00041947523],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026643367,0.0005710171,0.00026000716,0.0008227105,0.008610906,0.007999039,0.00071454776,0.0029236388,0.006042182],"category_scores_gemma":[0.0058276597,0.0003301348,0.00023206625,0.0005379443,0.04246936,0.010968978,0.003971749,0.0065778336,0.000939285],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000388333,0.000015531978,0.00027243423,0.000060233433,0.0000035991475,0.0001851363,0.062173184,0.000053123287,0.00032858332,0.8870072,0.038359277,0.011502882],"study_design_scores_gemma":[0.0000155206,0.000032626576,0.0009279015,0.00033855214,0.000008431325,0.0004325375,0.036206312,0.00026607065,0.0004336111,0.44687724,0.5144217,0.000039518352],"about_ca_topic_score_codex":0.010341242,"about_ca_topic_score_gemma":0.013826752,"teacher_disagreement_score":0.010341242,"about_ca_system_score_codex":0.003416224,"about_ca_system_score_gemma":0.002201886,"threshold_uncertainty_score":0.024786592},"labels":[],"label_agreement":null},{"id":"W2971281730","doi":"10.15353/kinema.vi.1212","title":"Criterion and Others","year":2009,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Reputation; Movie theater; Dream; Quality (philosophy); Art; Advertising; History; Art history; Business; Law; Political science; Psychology; Philosophy","score_opus":0.034923079941105974,"score_gpt":0.27337794496663553,"score_spread":0.23845486502552957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2971281730","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0030227392,0.005208768,0.0063524265,0.051441718,0.0054298844,0.00011896207,0.0012571821,0.00072073605,0.92644763],"genre_scores_gemma":[0.052915405,0.008291292,0.0098358765,0.029180285,0.0036061115,0.00025588373,0.0023388315,0.001529852,0.8920465],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9912565,0.001845244,0.00034384418,0.0012161578,0.00420586,0.0011323974],"domain_scores_gemma":[0.980408,0.0026634254,0.00059891335,0.0022839794,0.008760012,0.005285712],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006032447,0.0007459774,0.00057738245,0.003169772,0.0048520314,0.01193405,0.0017284934,0.003149018,0.13489878],"category_scores_gemma":[0.02641421,0.00025122557,0.000652038,0.0041015125,0.0037928969,0.006721658,0.0050666714,0.0035260865,0.07351477],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048555277,0.000039285806,0.0012457339,0.00012301949,0.000007725615,0.00011022727,0.000814298,0.00011207035,0.00022317882,0.22525051,0.6866213,0.08540412],"study_design_scores_gemma":[0.0000040380323,0.000007697894,0.00043808692,0.000074138974,0.000001885754,0.00009083585,0.0002670443,0.000057311092,0.00008863218,0.011525169,0.9874349,0.000010178347],"about_ca_topic_score_codex":0.007778777,"about_ca_topic_score_gemma":0.009622403,"teacher_disagreement_score":0.13489878,"about_ca_system_score_codex":0.0056133945,"about_ca_system_score_gemma":0.0082939705,"threshold_uncertainty_score":0.45128137},"labels":[],"label_agreement":null},{"id":"W2971309185","doi":"10.15353/kinema.vi.1103","title":"The Thin Red Line and the World War II Hollywood Tradition","year":2005,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Hollywood; EPIC; Narrative; Drama; Art; Art history; World War II; Subject (documents); Literature; History; Computer science","score_opus":0.030804999711014122,"score_gpt":0.2557186740290124,"score_spread":0.22491367431799825,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2971309185","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.051533677,0.023139868,0.0016928649,0.042665254,0.0014433662,0.000019917197,0.000060138194,0.000029608635,0.8794153],"genre_scores_gemma":[0.7710113,0.013356842,0.00090011605,0.00892669,0.0011045146,0.0000517286,0.000052716314,0.00009032698,0.20450574],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990559,0.00047694246,0.000019015866,0.00009628885,0.00014110553,0.00021065284],"domain_scores_gemma":[0.9988306,0.00056282815,0.00020183125,0.00008459423,0.00009601501,0.00022421472],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010046226,0.00038143026,0.00016849105,0.0009223207,0.00417155,0.007702077,0.00059730146,0.0012860298,0.0073117535],"category_scores_gemma":[0.0025384077,0.00019909824,0.00009945205,0.0012831179,0.010056797,0.0027964185,0.0022899234,0.003914113,0.0010421908],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004254292,0.000028671891,0.00038902787,0.000047199344,0.000003847237,0.00015739733,0.025736272,0.000070088856,0.0000978065,0.904076,0.050329283,0.019021936],"study_design_scores_gemma":[0.000016051972,0.000047102178,0.0031837376,0.0005770714,0.0000064271267,0.00021720855,0.020994391,0.00022972928,0.00020376347,0.08127891,0.8932264,0.000019081977],"about_ca_topic_score_codex":0.0125223985,"about_ca_topic_score_gemma":0.014923956,"teacher_disagreement_score":0.0125223985,"about_ca_system_score_codex":0.003089469,"about_ca_system_score_gemma":0.001201743,"threshold_uncertainty_score":0.024899006},"labels":[],"label_agreement":null},{"id":"W2972032622","doi":"10.22215/etd/2016-11474","title":"The Man Who Could Go Either Way: The Many Faces of Cowboy Masculinity in 1950s American Film and Advertising","year":2016,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Masculinity; Consumerism; White (mutation); Power (physics); Militarism; Femininity; Art; Aesthetics; Gender studies; History; Sociology; Political science; Politics; Law","score_opus":0.015253585017505239,"score_gpt":0.24245413567466523,"score_spread":0.22720055065716,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2972032622","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52163243,0.031439666,0.00093639723,0.05006355,0.0007690725,0.000016143582,0.000056122033,0.00002654359,0.39506],"genre_scores_gemma":[0.9665344,0.0071058734,0.00021475548,0.0022894712,0.00035887066,0.0000071775466,0.000015102276,0.000030345638,0.023444029],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988211,0.0006983385,0.000015321533,0.00008420626,0.00020833818,0.00017257189],"domain_scores_gemma":[0.9993013,0.0004071625,0.000087540284,0.000028303757,0.00007408208,0.00010160993],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012505982,0.00029940304,0.00018354169,0.0013178311,0.008745859,0.00905019,0.0002876085,0.0010808484,0.0035046858],"category_scores_gemma":[0.0017158099,0.0002880045,0.00010801187,0.0012699467,0.01415618,0.0033807503,0.0018579564,0.0021966372,0.00026960275],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007093202,0.00005676088,0.0062504597,0.00007458196,0.000013219502,0.00067129376,0.50483656,0.00007841133,0.000565872,0.42885515,0.024786474,0.033740193],"study_design_scores_gemma":[0.0000079110205,0.000042584936,0.016075682,0.00038784617,0.000016912885,0.00055607024,0.3862642,0.00015476099,0.00056513905,0.018979633,0.576916,0.00003331544],"about_ca_topic_score_codex":0.027443111,"about_ca_topic_score_gemma":0.05264079,"teacher_disagreement_score":0.027443111,"about_ca_system_score_codex":0.0039718943,"about_ca_system_score_gemma":0.0013102344,"threshold_uncertainty_score":0.05456674},"labels":[],"label_agreement":null},{"id":"W2972674672","doi":"","title":"Canadian Cinema: Blaine Allan Interviewed","year":2005,"lang":"en","type":"article","venue":"Senses of cinema","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; History; Art history","score_opus":0.022158603975785368,"score_gpt":0.21658365425604453,"score_spread":0.19442505028025917,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2972674672","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021044275,0.04420406,0.001091378,0.36588362,0.0106683215,0.00019139507,0.0023161443,0.00021079043,0.55439],"genre_scores_gemma":[0.0818072,0.009449947,0.00050859083,0.029855445,0.00058468647,0.000051649822,0.0002554077,0.000104520754,0.8773825],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982399,0.00025625218,0.000026638198,0.00021118327,0.00064100756,0.00062498543],"domain_scores_gemma":[0.99578094,0.00059893006,0.0001259606,0.000076755954,0.0023729827,0.0010445047],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010553654,0.00062450685,0.0003935968,0.0022376857,0.026201168,0.004644466,0.0011664502,0.0045800777,0.070295],"category_scores_gemma":[0.0061501116,0.00056942925,0.0002303916,0.0035279836,0.003384174,0.0025857105,0.001556688,0.0043517477,0.0050300076],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003543242,0.000014439849,0.00096591446,0.000089330264,0.0000040977566,0.00044172056,0.013463554,0.00006365937,0.00039991084,0.018107323,0.9478258,0.01858884],"study_design_scores_gemma":[0.0000014592088,0.0000012123609,0.0011003043,0.000050429484,0.0000017548703,0.000042770793,0.011750601,0.000013095833,0.000072614304,0.00028925473,0.986665,0.000011470791],"about_ca_topic_score_codex":0.9495392,"about_ca_topic_score_gemma":0.98548883,"teacher_disagreement_score":0.070295,"about_ca_system_score_codex":0.05134925,"about_ca_system_score_gemma":0.055305406,"threshold_uncertainty_score":0.37256664},"labels":[],"label_agreement":null},{"id":"W297421175","doi":"","title":"My Kid Could Paint That: Is There Anything There? Marla Painting, Pollock Painting, and Abstract Art in the 21st Century","year":2007,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pollock; Painting; Shot (pellet); Visual arts; Art; Studio; Front (military); Art history; Seal (emblem); Craft; Engineering","score_opus":0.03045494323700837,"score_gpt":0.23910624707921013,"score_spread":0.20865130384220176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W297421175","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.061184328,0.042201474,0.0008221231,0.039360613,0.0024090118,0.000050107472,0.000116656345,0.00011740738,0.85373837],"genre_scores_gemma":[0.7099549,0.016592057,0.0007342393,0.0059709433,0.0015873747,0.00007874199,0.00008011032,0.00015399551,0.26484767],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99888533,0.00043485535,0.000028514414,0.00014941768,0.00021707079,0.00028489693],"domain_scores_gemma":[0.9995492,0.00014728149,0.000048254155,0.00003322788,0.000052817144,0.00016923649],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001000178,0.0005324401,0.00023913673,0.00089045917,0.012283539,0.009746044,0.0006183143,0.0017625475,0.012422954],"category_scores_gemma":[0.0013925014,0.0002912859,0.00021975466,0.00068024115,0.012035117,0.0030661835,0.0043253493,0.004494593,0.0015357038],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009878122,0.00009922478,0.0017590009,0.00027789452,0.000016416689,0.0011420207,0.33361393,0.00007751016,0.00065168814,0.33311015,0.26765233,0.06150105],"study_design_scores_gemma":[0.000006449833,0.000019209534,0.0022345867,0.00025096748,0.0000062412955,0.00035666645,0.03439575,0.000027171935,0.00016767521,0.0023922105,0.96013165,0.0000114717495],"about_ca_topic_score_codex":0.044775344,"about_ca_topic_score_gemma":0.13469042,"teacher_disagreement_score":0.044775344,"about_ca_system_score_codex":0.0075436304,"about_ca_system_score_gemma":0.0020632618,"threshold_uncertainty_score":0.08902943},"labels":[],"label_agreement":null},{"id":"W2975193494","doi":"10.1177/1461444819878688","title":"Book review: Digital Cash: The Unknown History of the Anarchists, Utopians, and Technologists Who Created Cryptocurrency","year":2019,"lang":"en","type":"article","venue":"New Media & Society","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Cryptocurrency; Cash; Computer science; Economics; World Wide Web; Finance","score_opus":0.018364961917457626,"score_gpt":0.20099502914468798,"score_spread":0.18263006722723035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2975193494","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00019809602,0.8229578,0.00023067917,0.100482285,0.045831654,0.000034507844,0.0005352701,0.000053469277,0.02967622],"genre_scores_gemma":[0.0039551705,0.77232975,0.00026678375,0.056678478,0.07984265,0.00007958101,0.0005999181,0.000095627904,0.08615208],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99907887,0.00016953282,0.00006154852,0.0001376495,0.0004760457,0.000076287506],"domain_scores_gemma":[0.9910096,0.004466704,0.000701891,0.00016854839,0.0029627625,0.00069051445],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00094418443,0.00076822157,0.0015295708,0.0031227458,0.0008859467,0.004688522,0.0013843469,0.0047416273,0.040933926],"category_scores_gemma":[0.00824117,0.0004925071,0.00039661018,0.0064945896,0.0015047794,0.00359321,0.0010828339,0.0040143942,0.01750799],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005970855,0.0000041838884,0.000028735147,0.00041105907,0.000004164304,0.000008389899,0.000010062831,0.000021619198,0.0000114728955,0.00082090695,0.9830745,0.01559897],"study_design_scores_gemma":[0.000011260909,0.000009891717,0.00026341953,0.001528308,0.000010380072,0.00006266376,0.000031711777,0.000024333285,0.000019432053,0.0010998924,0.99693155,0.0000070208835],"about_ca_topic_score_codex":0.008231449,"about_ca_topic_score_gemma":0.021070285,"teacher_disagreement_score":0.040933926,"about_ca_system_score_codex":0.003057497,"about_ca_system_score_gemma":0.0052132714,"threshold_uncertainty_score":0.13693768},"labels":[],"label_agreement":null},{"id":"W2977605924","doi":"10.3138/cras.37.2.205","title":"Patriots, Villains, and the Quest for Liberty: How American Film has Depicted the American Revolution","year":2007,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dozen; American literature; Class (philosophy); History; Thematic analysis; Literature; Sociology; Aesthetics; Art; Philosophy; Social science; Epistemology; Qualitative research","score_opus":0.03320059047969894,"score_gpt":0.26213767148374056,"score_spread":0.22893708100404161,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2977605924","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.86045265,0.009282511,0.00036540904,0.0077562197,0.00027219273,0.000011867784,0.000086601096,0.000009438985,0.1217631],"genre_scores_gemma":[0.9918195,0.004246097,0.000098030534,0.00040918615,0.00009197523,0.0000034131963,0.000030420619,0.000010527733,0.0032908898],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9991021,0.0006324604,0.000015271555,0.000056213208,0.00010074547,0.00009322766],"domain_scores_gemma":[0.99801946,0.0012845111,0.00033571967,0.000085867585,0.00018197733,0.00009234721],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015142636,0.00017360803,0.00013317546,0.0016298767,0.0046425643,0.0052925306,0.0004020887,0.000709011,0.003235477],"category_scores_gemma":[0.0029156667,0.00015605838,0.000101035475,0.0023720304,0.006329243,0.002843801,0.0010822909,0.0016508508,0.00017031534],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012582338,0.00006950059,0.025450716,0.00020244649,0.000034961555,0.0009169543,0.8652922,0.00011500113,0.00095434213,0.059177537,0.012721256,0.034939196],"study_design_scores_gemma":[0.000007650464,0.00003046735,0.053647567,0.00045855378,0.00003145437,0.00048263065,0.73526144,0.00015528193,0.00040097476,0.0031530836,0.20635134,0.000019562765],"about_ca_topic_score_codex":0.03510741,"about_ca_topic_score_gemma":0.1099621,"teacher_disagreement_score":0.03510741,"about_ca_system_score_codex":0.0032427714,"about_ca_system_score_gemma":0.0010723196,"threshold_uncertainty_score":0.0698061},"labels":[],"label_agreement":null},{"id":"W2978791904","doi":"","title":"Five Books on Film and Religion","year":2006,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Passion; Movie theater; Mythology; Faith; Art history; Romance; Religious studies; Judaism; Publicity; Art; Theology; History; Sociology; Literature; Philosophy; Law","score_opus":0.026139843883120815,"score_gpt":0.21549958137143788,"score_spread":0.18935973748831705,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2978791904","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00080800673,0.38325366,0.00093804824,0.012759687,0.010387031,0.000052571428,0.00068597734,0.0003121973,0.5908027],"genre_scores_gemma":[0.015628261,0.19036096,0.001718485,0.006688428,0.005044056,0.00008645775,0.00085457414,0.00029390043,0.7793249],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918133,0.00022208768,0.000056805748,0.00009894276,0.00034305427,0.00009777988],"domain_scores_gemma":[0.9989411,0.00030983557,0.000070023016,0.00011572059,0.00030151338,0.00026173613],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00058426696,0.0008972248,0.00074050034,0.0029284663,0.002324595,0.0060679093,0.0010172776,0.0017082269,0.1623132],"category_scores_gemma":[0.0021587303,0.0004784557,0.0005800704,0.003214198,0.0012931328,0.0043096286,0.0023477874,0.002348672,0.043073304],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027520919,0.000039529226,0.00018252994,0.00048273316,0.000008632343,0.000099890516,0.0013175292,0.000048467522,0.00028281604,0.022983968,0.8129722,0.16155419],"study_design_scores_gemma":[0.0000018384811,0.000004547144,0.00020339558,0.00040287827,0.0000018113509,0.00006662222,0.00031908567,0.000009557824,0.000021138148,0.0014316126,0.9975349,0.000002760764],"about_ca_topic_score_codex":0.0054909126,"about_ca_topic_score_gemma":0.011539501,"teacher_disagreement_score":0.1623132,"about_ca_system_score_codex":0.0018903248,"about_ca_system_score_gemma":0.002314266,"threshold_uncertainty_score":0.54299176},"labels":[],"label_agreement":null},{"id":"W2979938409","doi":"10.29173/scancan54","title":"Behind Idealism: The Discrepancy between Philosophy and Reality in The Cinema of Lars von Trier","year":2010,"lang":"en","type":"article","venue":"Scandinavian-Canadian Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Association for the Advancement of Scandinavian Studies in Canada","funders":"","keywords":"Drama; German idealism; Conviction; Movie theater; Plot (graphics); Philosophy; German; Art history; Art; Literature; Psychoanalysis; Epistemology; Psychology; Law","score_opus":0.07514947300205517,"score_gpt":0.28641957994431005,"score_spread":0.2112701069422549,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2979938409","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46875322,0.00981938,0.005436952,0.08614889,0.0018943928,0.000044976354,0.00026004008,0.00017834535,0.42746383],"genre_scores_gemma":[0.98583025,0.0012853517,0.00056151405,0.0011440165,0.00015518694,0.0000080888685,0.000030003588,0.0000682565,0.010917214],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9972128,0.0017973089,0.000044667915,0.00021429539,0.00043132907,0.00029963363],"domain_scores_gemma":[0.9957624,0.0029550048,0.00035605687,0.00015272308,0.00044865295,0.00032504267],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035831465,0.0004265326,0.00025438404,0.0018039905,0.006877134,0.0089381235,0.00066024734,0.0014401746,0.0042112824],"category_scores_gemma":[0.0071857213,0.00033516283,0.00018707309,0.0011789887,0.01593099,0.0050953203,0.002403539,0.003176333,0.0004969969],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001384279,0.000028909062,0.0012895057,0.00013661178,0.000013543423,0.00089725025,0.68603694,0.00019595402,0.0012204268,0.26354495,0.033975556,0.012521971],"study_design_scores_gemma":[0.00002771756,0.00004810069,0.0039098556,0.00066126004,0.000026829961,0.0010655716,0.41612643,0.0007000316,0.0011494095,0.027080955,0.5491162,0.00008764012],"about_ca_topic_score_codex":0.0344071,"about_ca_topic_score_gemma":0.053666517,"teacher_disagreement_score":0.0344071,"about_ca_system_score_codex":0.0071861297,"about_ca_system_score_gemma":0.002249786,"threshold_uncertainty_score":0.068413675},"labels":[],"label_agreement":null},{"id":"W2980220404","doi":"10.1386/sfs.10.1.79_1","title":"Remembrance and the fate of a commercial Canadian cinema","year":2019,"lang":"en","type":"article","venue":"Short Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Dalhousie University","funders":"","keywords":"Movie theater; Afterlife; Flourishing; National cinema; Political science; Media studies; Sociology; History; Art; Art history; Literature; Psychology","score_opus":0.0378697923733058,"score_gpt":0.23940521553170593,"score_spread":0.20153542315840012,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2980220404","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8035783,0.00301139,0.00053368544,0.0103333965,0.00010645477,0.000035641428,0.0006333683,0.00002395574,0.18174377],"genre_scores_gemma":[0.9883846,0.0005372366,0.00010070724,0.00012096965,0.000013879235,0.0000018928547,0.00006979839,0.000007030542,0.0107638305],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99922776,0.00014281327,0.000009086923,0.00007514765,0.0002703653,0.00027484697],"domain_scores_gemma":[0.9968088,0.00046961056,0.00043996068,0.00012217,0.0014787441,0.0006807742],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011433063,0.00017260118,0.0001531788,0.001203074,0.005830398,0.0055092634,0.0007984495,0.00067529205,0.013279722],"category_scores_gemma":[0.0054035266,0.00011421764,0.00012537267,0.0011048601,0.0035819379,0.0015665054,0.0012217567,0.0011896096,0.000397945],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011919127,0.00032499936,0.15865201,0.0003635092,0.00012145062,0.0019474502,0.19330956,0.0019766337,0.0037283043,0.37497997,0.07777125,0.185633],"study_design_scores_gemma":[0.000040641113,0.00014337686,0.43248594,0.0004412891,0.00007745016,0.0005054327,0.22462353,0.0020911996,0.0013089626,0.012717247,0.32541186,0.00015301096],"about_ca_topic_score_codex":0.9261858,"about_ca_topic_score_gemma":0.9438924,"teacher_disagreement_score":0.07381421,"about_ca_system_score_codex":0.026752653,"about_ca_system_score_gemma":0.012942878,"threshold_uncertainty_score":0.19410497},"labels":[],"label_agreement":null},{"id":"W2980637890","doi":"10.1093/oxfordhb/9780190229108.013.17","title":"Still Here, Still Queer? Rethinking Queer Canadian Cinemas/Canadian Cinemas Queered","year":2019,"lang":"en","type":"reference-entry","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Queer; Gender studies; Sociology; Art history; Art","score_opus":0.042555721292306316,"score_gpt":0.2285262666109251,"score_spread":0.18597054531861879,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2980637890","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08881598,0.04124029,0.0052465783,0.11786962,0.0035450032,0.00009999656,0.0015600484,0.00025717454,0.74136525],"genre_scores_gemma":[0.79154515,0.03304375,0.0040688105,0.007776274,0.0007990663,0.00003656116,0.00056180544,0.00034007372,0.1618286],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980349,0.00040313767,0.00003261368,0.00020081583,0.0007291664,0.0005993739],"domain_scores_gemma":[0.9971474,0.00083634944,0.00012220634,0.00011876113,0.001302295,0.0004729475],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026320433,0.0005750495,0.00032998814,0.0037864125,0.01568701,0.013959852,0.0010211588,0.0015220476,0.016634857],"category_scores_gemma":[0.0055644894,0.00025020368,0.0002557032,0.0046675857,0.01006988,0.0046420884,0.0022594247,0.0030635418,0.00082633196],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051637264,0.000017352027,0.0032484706,0.00027422135,0.000014504856,0.00039225142,0.1994245,0.00020623038,0.0007673161,0.5693605,0.14495967,0.08128331],"study_design_scores_gemma":[0.0000024670376,0.0000053576478,0.0049102786,0.0003378163,0.000013352103,0.00011021171,0.063649714,0.00016457839,0.0002716287,0.005429666,0.925075,0.000029790372],"about_ca_topic_score_codex":0.9722554,"about_ca_topic_score_gemma":0.98784965,"teacher_disagreement_score":0.081937276,"about_ca_system_score_codex":0.081937276,"about_ca_system_score_gemma":0.056866903,"threshold_uncertainty_score":0.59449935},"labels":[],"label_agreement":null},{"id":"W2982019656","doi":"10.1080/17503280.2019.1672919","title":"‘This would be scary to any other culture … but to us it’s so cute!’ The radicalism of Fourth Cinema from<i>Tangata Whenua</i>to<i>Angry Inuk</i>","year":2019,"lang":"en","type":"article","venue":"Studies in Documentary Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Movie theater; Indigenous; Mainstream; National cinema; Film director; Political radicalism; Sociology; Media studies; Aesthetics; Gender studies; History; Art history; Art; Law; Political science; Politics","score_opus":0.037214431288638126,"score_gpt":0.2809257594193124,"score_spread":0.24371132813067428,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2982019656","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.048425365,0.015412001,0.011342546,0.20177804,0.019563494,0.00018424608,0.0004989178,0.000924344,0.70187104],"genre_scores_gemma":[0.480815,0.0070192325,0.0092057595,0.054712076,0.0030269863,0.00016504063,0.00035907823,0.0010753421,0.4436215],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99863166,0.0005980274,0.00004062551,0.00018819257,0.00030620463,0.00023525576],"domain_scores_gemma":[0.99804485,0.0005701509,0.00019563756,0.00026515668,0.0005353805,0.00038888922],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019647747,0.0008767019,0.0004447486,0.0005759916,0.006822133,0.0064099166,0.00070753717,0.0024992716,0.022119477],"category_scores_gemma":[0.005821825,0.00035942896,0.00042087483,0.00037968866,0.008741697,0.007969565,0.003953214,0.0079538785,0.007793634],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013146199,0.0000941434,0.0023658203,0.0008341356,0.00007332266,0.0012870639,0.17387886,0.00012210489,0.0057638623,0.19838664,0.5507711,0.066291496],"study_design_scores_gemma":[0.000011445692,0.000032709704,0.0009356445,0.0003332923,0.000013274918,0.0007469506,0.02228567,0.00006428879,0.00053465966,0.007857037,0.9671504,0.000034713197],"about_ca_topic_score_codex":0.00634811,"about_ca_topic_score_gemma":0.010977889,"teacher_disagreement_score":0.99365187,"about_ca_system_score_codex":0.0015555996,"about_ca_system_score_gemma":0.0013412781,"threshold_uncertainty_score":0.07399708},"labels":[],"label_agreement":null},{"id":"W2989977626","doi":"10.7202/1065018ar","title":"Volume-Image: The Future as Memory in Thierry Kuntzel’s Video Installation The Waves (2003)1","year":2019,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Department of Higher Education and Training; University of Fort Hare","keywords":"Temporalities; Movie theater; Video art; Computer science; Salient; Agency (philosophy); Computer graphics (images); Multimedia; Visual arts; Artificial intelligence; Sociology; Art","score_opus":0.018739077559302875,"score_gpt":0.2545646330859177,"score_spread":0.23582555552661483,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2989977626","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.084563196,0.021359216,0.023730384,0.11510038,0.0019345552,0.000038428338,0.00010722318,0.00011860355,0.75304806],"genre_scores_gemma":[0.9451891,0.005706172,0.0021513088,0.0020881954,0.0008449432,0.00003404102,0.000023467353,0.00007009774,0.04389262],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936515,0.00038953818,0.000012293611,0.00007364092,0.000087619046,0.00007180494],"domain_scores_gemma":[0.9984132,0.0011725739,0.00011727226,0.000090958914,0.00010567481,0.00010030541],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010502938,0.0002656408,0.00013355163,0.0008162541,0.0029053092,0.0077457894,0.0006098165,0.0016639013,0.004622604],"category_scores_gemma":[0.0040520625,0.00014918944,0.00013638847,0.0007584809,0.014278913,0.0094353175,0.0023377046,0.002406904,0.00032201165],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014038061,0.000004082555,0.00011990575,0.0000151025515,8.0029605e-7,0.00007755634,0.0143184,0.00007093037,0.0000644784,0.97374547,0.005708402,0.005860835],"study_design_scores_gemma":[0.000017628174,0.000034524463,0.001064974,0.00022565751,0.0000060762127,0.0003689158,0.022774568,0.00077530654,0.00044119134,0.56479716,0.4094724,0.000021615386],"about_ca_topic_score_codex":0.005902585,"about_ca_topic_score_gemma":0.00603068,"teacher_disagreement_score":0.0077457894,"about_ca_system_score_codex":0.0035614667,"about_ca_system_score_gemma":0.0010344948,"threshold_uncertainty_score":0.025840402},"labels":[],"label_agreement":null},{"id":"W2990374706","doi":"10.63997/jct.v34i5.869","title":"Cinema of the Monstrous: Disability and “Eye-Feel”","year":2019,"lang":"en","type":"article","venue":"Journal of Curriculum Theorizing","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"St. Stephen's University","funders":"","keywords":"Movie theater; Psychology; Art; Optometry; Visual arts; Medicine","score_opus":0.009345405019336207,"score_gpt":0.21414491449361153,"score_spread":0.20479950947427533,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2990374706","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4619347,0.0049371202,0.015061596,0.032681834,0.0011063509,0.000041982028,0.00011313851,0.000091577895,0.48403174],"genre_scores_gemma":[0.98839617,0.00077063614,0.00073150167,0.0009707176,0.00014550873,0.000009574495,0.000015040935,0.000020604803,0.008940244],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993524,0.00043050584,0.000010488288,0.000039673996,0.00009376162,0.000073129304],"domain_scores_gemma":[0.99804604,0.00124784,0.00022114799,0.00011659472,0.00014189557,0.00022635848],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00095381384,0.00023690841,0.00010095399,0.000555315,0.0015489152,0.0031206505,0.00029675415,0.0006713488,0.0062730196],"category_scores_gemma":[0.0046865423,0.00010379689,0.00012333646,0.00015821098,0.0066142087,0.0025871461,0.0026966073,0.0015062992,0.0003145339],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018889582,0.0001263684,0.010327786,0.0005020177,0.000024899387,0.0009141438,0.3853429,0.00030578746,0.006142286,0.49345392,0.020427575,0.082243495],"study_design_scores_gemma":[0.00004663973,0.00027099336,0.03407186,0.0014565398,0.0000659278,0.0033375078,0.27882817,0.0011392449,0.004269845,0.08346821,0.5929603,0.0000847761],"about_ca_topic_score_codex":0.001852696,"about_ca_topic_score_gemma":0.0028176904,"teacher_disagreement_score":0.0062730196,"about_ca_system_score_codex":0.00080632715,"about_ca_system_score_gemma":0.00043990245,"threshold_uncertainty_score":0.020985365},"labels":[],"label_agreement":null},{"id":"W2990899324","doi":"10.1515/9789048524518","title":"Women in the Silent Cinema","year":2016,"lang":"en","type":"article","venue":"Amsterdam University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Visual arts","score_opus":0.03545055951184751,"score_gpt":0.18998972867943043,"score_spread":0.15453916916758292,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2990899324","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32509455,0.02281779,0.0020739965,0.032839425,0.0013610607,0.000108097425,0.00047053373,0.00007236625,0.61516225],"genre_scores_gemma":[0.8129841,0.0060597286,0.0004445041,0.0017441992,0.00042386187,0.00006354524,0.00011352833,0.00009659378,0.17806984],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983394,0.00095034664,0.000031278418,0.00010436764,0.00023967602,0.00033488794],"domain_scores_gemma":[0.99858415,0.00061571685,0.0001527502,0.00005041612,0.0001414253,0.00045558487],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001311977,0.00034860324,0.00024862826,0.0011563865,0.008734061,0.008132855,0.00070055784,0.0013629898,0.016496304],"category_scores_gemma":[0.0034963144,0.00022674917,0.00018335329,0.0012510022,0.006463842,0.0034103068,0.0030935528,0.0013470234,0.0013052404],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009695386,0.000074609976,0.005514606,0.00019661312,0.000014111877,0.0014673752,0.6843706,0.00006799104,0.0014370502,0.18629648,0.06842063,0.052043043],"study_design_scores_gemma":[0.0000057937473,0.000028243647,0.0045118053,0.00026070297,0.0000056837557,0.00031759898,0.30356923,0.000040188395,0.00029326332,0.003181979,0.6877705,0.0000149718035],"about_ca_topic_score_codex":0.034704924,"about_ca_topic_score_gemma":0.06465379,"teacher_disagreement_score":0.034704924,"about_ca_system_score_codex":0.0049694073,"about_ca_system_score_gemma":0.0025643748,"threshold_uncertainty_score":0.06900585},"labels":[],"label_agreement":null},{"id":"W2991002490","doi":"","title":"The Death of Death: A Memorial Retrospective on George A. Romero (1940-2017)","year":2018,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal; Dawson College; John Abbott College","funders":"","keywords":"George (robot); Art; Art history","score_opus":0.26124003435201276,"score_gpt":0.4822754866692713,"score_spread":0.22103545231725852,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2991002490","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0484256,0.23433971,0.00064193585,0.12098393,0.03752451,0.00009695127,0.0008247635,0.00016063584,0.557002],"genre_scores_gemma":[0.23383452,0.107063904,0.0004877078,0.02561471,0.01556669,0.00010089016,0.0006396377,0.00043886396,0.6162531],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905235,0.00033026797,0.000026730757,0.00014185453,0.00022783416,0.00022104758],"domain_scores_gemma":[0.9989814,0.0002620344,0.000116684074,0.00005303485,0.00021655922,0.00037028795],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017170266,0.0004486007,0.00032092154,0.0013363855,0.007496881,0.004307976,0.0007846988,0.0013930206,0.00964311],"category_scores_gemma":[0.003220901,0.00026975342,0.0001908725,0.00093613914,0.0044598505,0.0026392846,0.0042747324,0.004369006,0.0036803912],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007886567,0.000047618974,0.0007141107,0.00044077958,0.000007295618,0.0010788637,0.07154302,0.0000451818,0.00042135647,0.042984772,0.8344061,0.048232097],"study_design_scores_gemma":[8.451036e-7,0.0000075679245,0.00048427028,0.00016975161,0.0000011641905,0.00022341215,0.0063206973,0.0000022497463,0.000049887418,0.00015755373,0.9925776,0.0000049877167],"about_ca_topic_score_codex":0.020490948,"about_ca_topic_score_gemma":0.05926948,"teacher_disagreement_score":0.020490948,"about_ca_system_score_codex":0.005114161,"about_ca_system_score_gemma":0.0027422379,"threshold_uncertainty_score":0.04074335},"labels":[],"label_agreement":null},{"id":"W299159471","doi":"10.3138/cjfs.16.2.49","title":"The Indian Film Crews of Challenge for Change: Representation and the State","year":2007,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":32,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Ethnology; Political science; Representation (politics); Sociology; Art; Politics; Law","score_opus":0.0956471906552685,"score_gpt":0.29679137980056464,"score_spread":0.20114418914529614,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W299159471","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36094084,0.003656166,0.0018017163,0.041795567,0.0004484685,0.00006207151,0.00020227421,0.000049390495,0.59104353],"genre_scores_gemma":[0.9718208,0.00092580135,0.00017988474,0.0005879997,0.00007857676,0.000017575652,0.0000354913,0.00001818715,0.026335688],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99781847,0.000982962,0.00003959965,0.00016888528,0.00037114113,0.0006188954],"domain_scores_gemma":[0.99716884,0.0011369012,0.000439859,0.00031579201,0.00035527535,0.00058333843],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017332085,0.0002215264,0.00017843525,0.0015459543,0.007863634,0.0121641,0.0010641168,0.0012974247,0.010884119],"category_scores_gemma":[0.008842761,0.00024451848,0.00022564363,0.0029366335,0.010630713,0.0044014314,0.0038792677,0.0033580463,0.00070381316],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013987049,0.000099379686,0.011976132,0.00010899766,0.000017643495,0.00035207428,0.3754873,0.00017675017,0.0006708312,0.52735436,0.02147661,0.062139984],"study_design_scores_gemma":[0.000018386778,0.00005612426,0.054488704,0.00030625702,0.000038459697,0.00030259232,0.43806535,0.000727902,0.00080218335,0.04546757,0.45964965,0.00007677498],"about_ca_topic_score_codex":0.08929121,"about_ca_topic_score_gemma":0.1087152,"teacher_disagreement_score":0.08929121,"about_ca_system_score_codex":0.008490291,"about_ca_system_score_gemma":0.0046783397,"threshold_uncertainty_score":0.17754298},"labels":[],"label_agreement":null},{"id":"W2992451903","doi":"10.18357/bigr11201919244","title":"Bordering the Future? The ‘Male Gaze’ in the Blade Runner Films and Originating Novel","year":2019,"lang":"en","type":"article","venue":"Borders in Globalization Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Hollywood; Gaze; Meaning (existential); Aesthetics; Sociology; Art; Gender studies; History; Literature; Psychoanalysis; Psychology; Art history; Philosophy; Epistemology","score_opus":0.016003233992763315,"score_gpt":0.2559334341753642,"score_spread":0.23993020018260086,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2992451903","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40130666,0.07021616,0.0022293027,0.11328894,0.002316139,0.00003083534,0.00014996162,0.00003335641,0.41042867],"genre_scores_gemma":[0.9693498,0.008718873,0.00025858075,0.0027686202,0.00046183844,0.000018571387,0.000021220561,0.000030431744,0.018372018],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9986098,0.0010429082,0.000020085268,0.0000994687,0.00009446354,0.00013318546],"domain_scores_gemma":[0.99861276,0.0010007081,0.00013868976,0.00005232403,0.00008806911,0.00010739788],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017998866,0.00037138935,0.00022893061,0.0006303846,0.005166461,0.0065136403,0.00040926656,0.001428662,0.0035285319],"category_scores_gemma":[0.0030424686,0.00020512597,0.00014487938,0.00072065566,0.009160452,0.005377567,0.0018288923,0.0024036523,0.000335924],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058161062,0.000021940305,0.0007020282,0.0001772604,0.0000068667437,0.0008681106,0.497257,0.00003834406,0.00054684054,0.46366468,0.023765745,0.012892993],"study_design_scores_gemma":[0.000013526547,0.000033683038,0.0022429014,0.0006935169,0.000010173612,0.00068041286,0.33737472,0.000056489604,0.00053355185,0.014859005,0.64348674,0.000015286276],"about_ca_topic_score_codex":0.007008383,"about_ca_topic_score_gemma":0.009483859,"teacher_disagreement_score":0.007008383,"about_ca_system_score_codex":0.0029981409,"about_ca_system_score_gemma":0.00095203164,"threshold_uncertainty_score":0.021753132},"labels":[],"label_agreement":null},{"id":"W2992487403","doi":"10.32873/uno.dc.jrf.20.02.10","title":"Slamdance 2016: Where Film Makes a Statement","year":2016,"lang":"en","type":"article","venue":"Journal of Religion & Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cape Breton University","funders":"","keywords":"Statement (logic); Computer science; Philosophy; Epistemology","score_opus":0.018945974357633174,"score_gpt":0.22941908023945998,"score_spread":0.2104731058818268,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2992487403","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021247765,0.0046597444,0.0017337637,0.09938755,0.030098874,0.00021090305,0.0057971855,0.0013621601,0.8355021],"genre_scores_gemma":[0.18869598,0.0033390427,0.0028265386,0.014439688,0.0062017855,0.00012473503,0.0046500503,0.0015954972,0.7781268],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99933064,0.00017618727,0.000038995975,0.00007872837,0.00024455047,0.00013095899],"domain_scores_gemma":[0.9982805,0.00029010596,0.00017695507,0.00010826851,0.0005842609,0.00055989454],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012980433,0.00026820065,0.0001923232,0.0008402634,0.0039211023,0.006035427,0.000407991,0.0015919199,0.13452508],"category_scores_gemma":[0.0074012345,0.0002570682,0.00021489305,0.0005932186,0.0009927531,0.004233356,0.002284458,0.0030977863,0.033442568],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006159161,0.000015334128,0.0011091217,0.000053723823,0.000003194991,0.00027959287,0.0019327669,0.000015070329,0.0005040198,0.009875657,0.9690508,0.01709906],"study_design_scores_gemma":[0.0000057704688,0.000010873035,0.002618082,0.00013362493,0.0000021918192,0.00006626929,0.0032789898,0.000041386418,0.00030921047,0.0010997296,0.99242264,0.0000112105445],"about_ca_topic_score_codex":0.015176214,"about_ca_topic_score_gemma":0.045757834,"teacher_disagreement_score":0.13452508,"about_ca_system_score_codex":0.0013238556,"about_ca_system_score_gemma":0.0018363083,"threshold_uncertainty_score":0.45003122},"labels":[],"label_agreement":null},{"id":"W299281820","doi":"","title":"Dr. Tube and Mr. Snow","year":2005,"lang":"en","type":"article","venue":"Millennium film journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Institution; Art; Film director; Media studies; Aesthetics; Visual arts; Literature; Art history; Sociology; Social science","score_opus":0.024651882467827544,"score_gpt":0.2206493276398178,"score_spread":0.19599744517199025,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W299281820","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000091512484,0.8934421,0.00021018395,0.047443196,0.047695484,0.000093498864,0.00025788377,0.000108072665,0.010658119],"genre_scores_gemma":[0.0014893177,0.84055954,0.00031368667,0.07594718,0.053616364,0.00019618323,0.0007854911,0.00005643055,0.027035754],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998869,0.00020361498,0.00014797307,0.00020562708,0.00044467195,0.00012915146],"domain_scores_gemma":[0.9941561,0.0012428217,0.0006790979,0.0001638028,0.0028236469,0.0009344982],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019555339,0.00096380577,0.0019328165,0.0028695413,0.0006198038,0.0028555116,0.0023389715,0.004195031,0.059425265],"category_scores_gemma":[0.0104738735,0.0005774229,0.0009866557,0.0019882387,0.00073286996,0.003158845,0.0015284831,0.004327794,0.042861152],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020800171,0.000007232638,0.000055918103,0.0027277449,0.000020782803,0.0000709572,0.000016853957,0.000017215194,0.00004432882,0.00029546645,0.9261744,0.07054831],"study_design_scores_gemma":[0.00002176428,0.000019418532,0.00030458657,0.0069589564,0.000036641355,0.0005788312,0.00003246315,0.000012923495,0.000025883584,0.00025977544,0.9917379,0.000010864817],"about_ca_topic_score_codex":0.0022603439,"about_ca_topic_score_gemma":0.003074098,"teacher_disagreement_score":0.059425265,"about_ca_system_score_codex":0.0020408963,"about_ca_system_score_gemma":0.004165546,"threshold_uncertainty_score":0.19879729},"labels":[],"label_agreement":null},{"id":"W2993485779","doi":"10.1525/fq.2019.73.2.93","title":"Toronto 2019: From Budapest to the Zeitgeist","year":2019,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Marketing buzz; Zeitgeist; Hollywood; Art; Art history; Performance art; Adventure; Dice; Media studies; Visual arts; Humanities; Sociology; Political science; Advertising; Law","score_opus":0.010951650166924013,"score_gpt":0.19915532808260092,"score_spread":0.1882036779156769,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2993485779","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0032604279,0.3267612,0.0005944366,0.16668546,0.0721796,0.000022806042,0.004967912,0.00030609875,0.4252222],"genre_scores_gemma":[0.089673966,0.15190983,0.0007831687,0.010847048,0.020888189,0.000046126974,0.0019048731,0.00053119124,0.7234157],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994438,0.00007479906,0.00002619876,0.00009336312,0.00025886387,0.0001028601],"domain_scores_gemma":[0.99910694,0.00015076483,0.00009350735,0.000078001896,0.00017730503,0.00039342788],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005232233,0.000731181,0.00043364722,0.002315112,0.0029749563,0.0075140796,0.0005583418,0.0013509619,0.06023788],"category_scores_gemma":[0.0020720055,0.00040011684,0.00016451236,0.0032915256,0.003087667,0.0020747958,0.0019347665,0.0025110443,0.008905199],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015543112,0.000001801952,0.00012891254,0.00007983092,0.0000029863243,0.00006740271,0.0013243498,0.000030277291,0.000054319957,0.018680898,0.9658402,0.013773488],"study_design_scores_gemma":[5.824086e-7,5.5689264e-7,0.000542155,0.00007289459,6.545967e-7,0.00001116674,0.0003468093,0.000004363081,0.00001078461,0.00024861394,0.99876,0.0000013900341],"about_ca_topic_score_codex":0.2917723,"about_ca_topic_score_gemma":0.56135476,"teacher_disagreement_score":0.7082277,"about_ca_system_score_codex":0.014823967,"about_ca_system_score_gemma":0.0068728235,"threshold_uncertainty_score":0.580148},"labels":[],"label_agreement":null},{"id":"W2993964465","doi":"","title":"An Aesthetic Analysis of the Artistic Conception in Zhang Yiqing's Documentary/ANALYSE ESTHETIQUE DE L'INSPIRAITON DES DOCUMENTAIRES DE ZHANG YIQING","year":2006,"lang":"en","type":"article","venue":"Canadian social science","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Zhàng; Theme (computing); Art; Value (mathematics); Narrative; Humanities; Literature; China; History; Computer science; Archaeology","score_opus":0.013723399421702582,"score_gpt":0.2540681897904007,"score_spread":0.2403447903686981,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2993964465","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70727664,0.003021719,0.018814197,0.005895253,0.00041802265,0.00014429251,0.00017284119,0.00013234574,0.26412466],"genre_scores_gemma":[0.9679215,0.00040737522,0.0021246376,0.00008586813,0.000046421712,0.0000393292,0.000037523954,0.00003270966,0.02930457],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919206,0.0003338612,0.00003273399,0.00007678185,0.0002679546,0.00009649789],"domain_scores_gemma":[0.99919254,0.00034560205,0.00010272446,0.00010523985,0.00018007601,0.00007382007],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015514813,0.0004363138,0.00018656327,0.001575359,0.0037931546,0.0033927795,0.0005443414,0.00060222234,0.0044978973],"category_scores_gemma":[0.0017593699,0.00019808408,0.00021740861,0.001985524,0.005767346,0.0017471422,0.0018124637,0.0015509895,0.00016293065],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015171105,0.000027426126,0.004920175,0.00046944382,0.000021835547,0.0019478293,0.5053538,0.0008223022,0.0108770775,0.41884694,0.007994172,0.048567284],"study_design_scores_gemma":[0.000043459248,0.00012117089,0.029309127,0.000539229,0.000080587,0.001752762,0.286722,0.0041438784,0.012505242,0.028710337,0.6359667,0.00010543907],"about_ca_topic_score_codex":0.0074393707,"about_ca_topic_score_gemma":0.009250765,"teacher_disagreement_score":0.0074393707,"about_ca_system_score_codex":0.0064487536,"about_ca_system_score_gemma":0.002271734,"threshold_uncertainty_score":0.04678923},"labels":[],"label_agreement":null},{"id":"W2995166029","doi":"10.4000/inmedia.1685","title":"An interview with documentary filmmaker Bill Morrison.","year":2019,"lang":"en","type":"article","venue":"InMedia","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Documentary film; Art; Visual arts; Art history; Movie theater","score_opus":0.021799372466123554,"score_gpt":0.21857527719768474,"score_spread":0.1967759047315612,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2995166029","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08639896,0.02490052,0.0015247415,0.59542537,0.0101620555,0.0006243506,0.0030559024,0.00022689273,0.27768117],"genre_scores_gemma":[0.21501297,0.016188702,0.0015332527,0.20832267,0.002151672,0.0009205084,0.0011546578,0.0003699287,0.5543457],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99857974,0.00063289667,0.000054796445,0.00022072461,0.00028288513,0.00022902314],"domain_scores_gemma":[0.9960747,0.0017360478,0.00023317261,0.00008942627,0.0010950855,0.00077158044],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018401616,0.00063236617,0.00044645029,0.0010987766,0.009646604,0.003643199,0.00084045244,0.0036039096,0.03784253],"category_scores_gemma":[0.011780629,0.0004742255,0.00018052409,0.0014939642,0.002184941,0.0044426983,0.0014613215,0.0072409413,0.008663965],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050591672,0.00007725308,0.0011572887,0.00016644658,0.0000036138533,0.0015262493,0.12640595,0.000027965712,0.0006846179,0.0044454173,0.8541097,0.011344865],"study_design_scores_gemma":[0.000005698599,0.000015877551,0.001989127,0.00022312078,0.000002728141,0.00040236497,0.1424885,0.000033547574,0.0001449079,0.00028845802,0.8543846,0.000021098665],"about_ca_topic_score_codex":0.09343786,"about_ca_topic_score_gemma":0.18387315,"teacher_disagreement_score":0.09343786,"about_ca_system_score_codex":0.0070439703,"about_ca_system_score_gemma":0.0048693735,"threshold_uncertainty_score":0.18578798},"labels":[],"label_agreement":null},{"id":"W2995369651","doi":"10.7202/1065738ar","title":"“We did it just for fun”","year":2019,"lang":"en","type":"article","venue":"Ontario History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Amateur; Consumerism; Port (circuit theory); Movie theater; Feature film; Race (biology); Art history; Feature (linguistics); Media studies; History; Sociology; Art; Environmental ethics; Law; Political science; Gender studies; Engineering; Philosophy","score_opus":0.08332705474766587,"score_gpt":0.21798554870054337,"score_spread":0.1346584939528775,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2995369651","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019621067,0.009807217,0.00804936,0.33521053,0.019995669,0.00013999247,0.00045138178,0.0005621127,0.6061626],"genre_scores_gemma":[0.19711284,0.0049838806,0.0038114872,0.094900936,0.0035609733,0.00013362561,0.00028430216,0.00052726944,0.69468474],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99639255,0.0013128206,0.00006145344,0.00040840046,0.0011285244,0.0006962673],"domain_scores_gemma":[0.99612516,0.00044094992,0.0002591782,0.00033979263,0.0014599053,0.0013749639],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002756095,0.000751615,0.00043655947,0.0006114574,0.010668634,0.007454915,0.00093590247,0.0024291037,0.031343825],"category_scores_gemma":[0.009226516,0.00031229173,0.0003475232,0.0006117363,0.013569762,0.0066681793,0.0041211164,0.006706982,0.018535187],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044192493,0.00004289918,0.002943907,0.00016541562,0.00002696337,0.00034421994,0.037743744,0.000053542728,0.00067112554,0.08185181,0.832705,0.043407064],"study_design_scores_gemma":[0.0000035316427,0.000013043952,0.00093921117,0.00008824166,0.000005466572,0.00018322708,0.009070749,0.00002870054,0.00009759761,0.0032159472,0.98633724,0.000016905486],"about_ca_topic_score_codex":0.07573666,"about_ca_topic_score_gemma":0.14774401,"teacher_disagreement_score":0.92426336,"about_ca_system_score_codex":0.0048477137,"about_ca_system_score_gemma":0.005620338,"threshold_uncertainty_score":0.15059161},"labels":[],"label_agreement":null},{"id":"W2995928179","doi":"10.7202/1065059ar","title":"THE BRAIN THAT WOULDN'T DIE AND BOXING HELENA: DESIRE AND THE DISMEMBERMENT OF THE FEMALE BODY","year":2019,"lang":"en","type":"article","venue":"Surfaces","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dismemberment; Movie theater; Narrative; Psychoanalysis; Voyeurism; Film theory; Hollywood; Art; Character (mathematics); Sadistic personality disorder; Psychology; Literature; Art history; Law; Personality","score_opus":0.02156956348368914,"score_gpt":0.21383407488780945,"score_spread":0.19226451140412032,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2995928179","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.57250124,0.018255016,0.0012969163,0.06975633,0.0010045931,0.000016055326,0.00013255955,0.000023024853,0.33701435],"genre_scores_gemma":[0.97194165,0.0041440222,0.00017836993,0.002175208,0.00018242995,0.000008845303,0.000023134517,0.000013419732,0.0213328],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999841,0.00008989796,0.000003105838,0.00001282325,0.000024156583,0.000028975128],"domain_scores_gemma":[0.9992772,0.0004772663,0.00010332849,0.000013797368,0.00003611022,0.000092400915],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00031712942,0.00018905559,0.00012424111,0.0004771684,0.0020275714,0.0032094473,0.0002060249,0.000916315,0.0043962104],"category_scores_gemma":[0.0022935476,0.00007797543,0.00008726568,0.00047106997,0.0045596855,0.0018019859,0.001136091,0.0010578563,0.00024205023],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004519838,0.000077962926,0.008881165,0.00029328157,0.000035236688,0.0028121378,0.3458889,0.00025486975,0.0023278075,0.5269414,0.066938,0.045097243],"study_design_scores_gemma":[0.000041996143,0.00016101146,0.059335146,0.0005774324,0.000031221,0.0025416175,0.46575892,0.00045749807,0.0013362833,0.05464397,0.41506234,0.00005258617],"about_ca_topic_score_codex":0.008390199,"about_ca_topic_score_gemma":0.016201435,"teacher_disagreement_score":0.008390199,"about_ca_system_score_codex":0.0012957249,"about_ca_system_score_gemma":0.00042612336,"threshold_uncertainty_score":0.016682684},"labels":[],"label_agreement":null},{"id":"W2998581065","doi":"10.4324/9781315637167-27","title":"Affective labor and the work of film festival programming","year":2016,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Programmer; Dream; Film festival; Visual arts; Work (physics); Media studies; Sociology; Advertising; Art; Psychology; Computer science; Engineering; Business","score_opus":0.015637192645811853,"score_gpt":0.2066249900810703,"score_spread":0.19098779743525846,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2998581065","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41885296,0.00830386,0.004326311,0.024917187,0.0018135065,0.00012226008,0.00016139961,0.00017357797,0.54132897],"genre_scores_gemma":[0.97359294,0.0014023252,0.0006298694,0.0015308805,0.00040455177,0.00007389636,0.00006241038,0.00012671175,0.022176469],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99233466,0.005523424,0.00012869727,0.00047421112,0.00067641103,0.00086252025],"domain_scores_gemma":[0.9895588,0.004087523,0.0013564273,0.0005763211,0.00079860684,0.0036221708],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0049065067,0.0005381813,0.00032046536,0.0018326446,0.019140601,0.016122544,0.0012362989,0.0012943576,0.0102618635],"category_scores_gemma":[0.013041004,0.00045678022,0.00031082588,0.001192493,0.019210588,0.004575028,0.008287972,0.0035037932,0.0010015788],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017752776,0.00017246304,0.009412338,0.00017960019,0.00002798293,0.00060089666,0.82600147,0.00015984029,0.00089328515,0.09809324,0.029297251,0.034984156],"study_design_scores_gemma":[0.00005668291,0.000124808,0.015753116,0.00031703382,0.000016550235,0.00042210426,0.5476321,0.0002722503,0.00035795875,0.021384794,0.41359174,0.00007093687],"about_ca_topic_score_codex":0.013731004,"about_ca_topic_score_gemma":0.012301991,"teacher_disagreement_score":0.019140601,"about_ca_system_score_codex":0.0071810586,"about_ca_system_score_gemma":0.002495544,"threshold_uncertainty_score":0.052102506},"labels":[],"label_agreement":null},{"id":"W2998719201","doi":"10.1007/s10824-020-09379-z","title":"Hollywood studio filmmaking in the age of Netflix: a tale of two institutional logics","year":2020,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":104,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Studio; Filmmaking; Institutional logic; Movie theater; Hollywood; Heuristics; Film industry; Product (mathematics); Advertising; Marketing; Analytics; Production (economics); Service (business); Perspective (graphical); Computer science; Business; Multimedia; Sociology; Economics; Visual arts; Data science; Art; Telecommunications; Artificial intelligence; Microeconomics","score_opus":0.09370611315981026,"score_gpt":0.26765686940871275,"score_spread":0.1739507562489025,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2998719201","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36953527,0.0028151472,0.045006864,0.061809625,0.00025594758,0.00013672197,0.00016886485,0.0001512797,0.5201204],"genre_scores_gemma":[0.9853667,0.00040862605,0.0041209417,0.0009438027,0.000048863916,0.000035468154,0.00002340705,0.000038195605,0.00901394],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9971064,0.0016933258,0.000050363364,0.00028753612,0.00031599274,0.0005464418],"domain_scores_gemma":[0.9954367,0.0025231687,0.0004360366,0.0003503457,0.00035165623,0.0009020859],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004831333,0.00036139585,0.0002070207,0.0015256649,0.0063102725,0.017074391,0.0010859086,0.002381349,0.011386899],"category_scores_gemma":[0.0069669196,0.00037515754,0.0002922857,0.0010436653,0.01950666,0.015076054,0.0057559363,0.0035980085,0.00062831136],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059736085,0.000047581318,0.0018545227,0.000025053587,0.000006570616,0.00033668883,0.01401912,0.0006089076,0.00021885715,0.9702065,0.0033186006,0.009297917],"study_design_scores_gemma":[0.0000633516,0.00010918504,0.0078094057,0.000432755,0.00003094975,0.0004346502,0.10543432,0.008155763,0.0015981585,0.6926657,0.18315506,0.00011073494],"about_ca_topic_score_codex":0.010200781,"about_ca_topic_score_gemma":0.012802193,"teacher_disagreement_score":0.017074391,"about_ca_system_score_codex":0.010663593,"about_ca_system_score_gemma":0.003083018,"threshold_uncertainty_score":0.07737017},"labels":[],"label_agreement":null},{"id":"W2999408330","doi":"10.1007/978-3-030-29318-5_3","title":"The Influence of Hollywood","year":2020,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Hollywood; Mainstream; Queer; Movie theater; Representation (politics); Media studies; Sociology; Gender studies; Art; Advertising; Aesthetics; Visual arts; Political science; Art history; Politics; Law; Business","score_opus":0.030645915818107133,"score_gpt":0.19703884037100156,"score_spread":0.16639292455289442,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W2999408330","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0045296107,0.009797623,0.0009586223,0.0059911036,0.00073611585,0.000008039396,0.000026090056,0.000019035047,0.9779338],"genre_scores_gemma":[0.25305218,0.012068201,0.0008718334,0.0031377594,0.002199397,0.000024644109,0.000039887585,0.00017588054,0.72843033],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993493,0.00027076976,0.000010534759,0.0001176191,0.00014959274,0.00010223614],"domain_scores_gemma":[0.99725276,0.001972235,0.0001259667,0.000229359,0.00023120573,0.000188372],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001225302,0.00044794034,0.0002699091,0.001331559,0.0026182625,0.0064377305,0.00060882693,0.0015321516,0.03346013],"category_scores_gemma":[0.004524311,0.00024450448,0.00017082864,0.0010681266,0.0054712226,0.0046598674,0.0014637762,0.0031441406,0.003535382],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028410092,0.00001965132,0.00010115435,0.000035092653,0.0000025755226,0.000052920044,0.002136934,0.0000599046,0.00007938174,0.92839515,0.044629287,0.024459507],"study_design_scores_gemma":[0.000008086248,0.000012289309,0.00067675347,0.00016971973,0.00000632252,0.00008398804,0.0009859352,0.00026630043,0.0004390516,0.11958794,0.8777538,0.000009748474],"about_ca_topic_score_codex":0.0069924495,"about_ca_topic_score_gemma":0.013044165,"teacher_disagreement_score":0.03346013,"about_ca_system_score_codex":0.0032648535,"about_ca_system_score_gemma":0.0012498075,"threshold_uncertainty_score":0.11193532},"labels":[],"label_agreement":null},{"id":"W3000120372","doi":"10.24908/ss.v17i5.8688","title":"Accidental Orientations: Rethinking Queerness in Archival Times","year":2019,"lang":"en","type":"article","venue":"Surveillance & Society","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"","keywords":"Queer; Performative utterance; Big data; Sociology; Objectification; Ontology; Epistemology; Temporality; Identity (music); Intentionality; Categorization; Aesthetics; Computer science; Gender studies; Philosophy","score_opus":0.01737969833589938,"score_gpt":0.23628392890116978,"score_spread":0.2189042305652704,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3000120372","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40527228,0.004441031,0.11847525,0.056334637,0.0012585968,0.00016932354,0.0002609471,0.00029755576,0.41349036],"genre_scores_gemma":[0.99095345,0.00040872983,0.0027115685,0.0009221513,0.00009986511,0.000041666513,0.000042712003,0.00014349095,0.0046763117],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9780151,0.015867922,0.0005786327,0.0019955565,0.0021932889,0.0013495004],"domain_scores_gemma":[0.96656334,0.02069674,0.002785489,0.0064289183,0.0024544515,0.0010709955],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.02783525,0.0006925618,0.00061596744,0.0049843267,0.018923596,0.025360772,0.0026026678,0.0036539065,0.005652405],"category_scores_gemma":[0.05353478,0.00074226625,0.00067272456,0.0037052315,0.10761393,0.03951298,0.016415631,0.008898725,0.0005968201],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001913433,0.000006945345,0.0007076591,0.000027716305,0.000006343591,0.00011525665,0.43138972,0.00006854515,0.00012272902,0.56333196,0.00077803247,0.0034260112],"study_design_scores_gemma":[0.000014804335,0.00001782132,0.0009449562,0.00028287328,0.000016004466,0.00027108612,0.41637123,0.0007035021,0.00058478763,0.46793213,0.112811804,0.000049046386],"about_ca_topic_score_codex":0.012274916,"about_ca_topic_score_gemma":0.012604553,"teacher_disagreement_score":0.02783525,"about_ca_system_score_codex":0.00933291,"about_ca_system_score_gemma":0.004469587,"threshold_uncertainty_score":0.14720863},"labels":[],"label_agreement":null},{"id":"W3000717176","doi":"10.24908/ss.v17i5.13451","title":"Postcolonialism, Time, and Body-Worn Cameras","year":2019,"lang":"en","type":"article","venue":"Surveillance & Society","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University; York University","funders":"","keywords":"Postcolonialism (international relations); Colonialism; Gaze; White (mutation); Sociology; Order (exchange); Aesthetics; Media studies; Visual arts; Art; Political science; Gender studies; Psychology; Psychoanalysis; Law","score_opus":0.009192331409309454,"score_gpt":0.20452526331237633,"score_spread":0.1953329319030669,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3000717176","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.55974245,0.0072942437,0.008546386,0.010502076,0.0002772267,0.000049871665,0.0003613537,0.000024143375,0.4132022],"genre_scores_gemma":[0.99098045,0.0016621067,0.00065392663,0.00031355667,0.00007399688,0.00002722123,0.00004873542,0.00001685527,0.006223222],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9989629,0.0004788742,0.000039223083,0.00012984696,0.00018612458,0.00020308237],"domain_scores_gemma":[0.9950413,0.0024450154,0.0014047519,0.0003309811,0.00054821186,0.000229637],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016151314,0.00023382372,0.00011072325,0.0020042649,0.0023192887,0.0044224076,0.00055323297,0.0006403145,0.00722568],"category_scores_gemma":[0.006556064,0.00015420391,0.00009020019,0.0022076115,0.009304411,0.003535246,0.0023159876,0.0016928553,0.00037293887],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014263741,0.00006241865,0.02918527,0.0002325444,0.000014917065,0.00076604995,0.20932774,0.0002417303,0.0010553156,0.6838476,0.0037921306,0.07133162],"study_design_scores_gemma":[0.000016903561,0.00015147495,0.19573675,0.0016277437,0.000029867662,0.0011774465,0.27864492,0.00073542347,0.0023033724,0.05467661,0.46483457,0.00006483037],"about_ca_topic_score_codex":0.02154457,"about_ca_topic_score_gemma":0.0276556,"teacher_disagreement_score":0.02154457,"about_ca_system_score_codex":0.003168165,"about_ca_system_score_gemma":0.0010594497,"threshold_uncertainty_score":0.042838335},"labels":[],"label_agreement":null},{"id":"W3001374438","doi":"10.14288/1.0388342","title":"Woody Allen, Filmmaker","year":2020,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Art; Art history","score_opus":0.021960704219176504,"score_gpt":0.15926794939726024,"score_spread":0.13730724517808374,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3001374438","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0024446824,0.013192915,0.0008981382,0.015199115,0.019293865,0.000122060665,0.001640287,0.0014155288,0.94579345],"genre_scores_gemma":[0.0018116662,0.0012651021,0.00012855601,0.0008111725,0.00043771366,0.000011700979,0.0001588721,0.0001380593,0.9952371],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998178,0.000016662578,0.000007629164,0.000051569674,0.00007312785,0.000033177017],"domain_scores_gemma":[0.99945897,0.000070173184,0.000018026434,0.000036403562,0.00023070755,0.00018574805],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00037549695,0.0007379745,0.00051000895,0.0014659229,0.0025803861,0.0037978766,0.0005947185,0.0011236079,0.55447155],"category_scores_gemma":[0.0014340149,0.00040957195,0.00020301483,0.0010813747,0.00025751194,0.0030429459,0.0015330731,0.001491584,0.28763282],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019272433,0.000014709536,0.000059383146,0.00004570675,0.000001119342,0.000045559653,0.00020941597,0.000010867139,0.0003381476,0.0012184259,0.95945233,0.038585033],"study_design_scores_gemma":[0.000002793574,0.0000055373093,0.00029634192,0.000023862085,0.0000013942072,0.000048323,0.00025850706,0.000016204018,0.000060148643,0.00013691184,0.999148,0.0000019765266],"about_ca_topic_score_codex":0.0049957572,"about_ca_topic_score_gemma":0.019601246,"teacher_disagreement_score":0.55447155,"about_ca_system_score_codex":0.0006438896,"about_ca_system_score_gemma":0.0004902544,"threshold_uncertainty_score":0.6354922},"labels":[],"label_agreement":null},{"id":"W3004055425","doi":"10.7202/1066620ar","title":"A Synthesis of Animation and Jazz in Begone Dull Care","year":2020,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Jazz; Animation; Narrative; Visual arts; Art; Movement (music); Aesthetics; Literature","score_opus":0.03171491713449184,"score_gpt":0.19451951151991018,"score_spread":0.16280459438541833,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3004055425","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07524574,0.07866372,0.011432471,0.03558801,0.0064917803,0.00014787239,0.00037183415,0.000115888295,0.7919427],"genre_scores_gemma":[0.79945236,0.048477292,0.0063393926,0.004891476,0.0034667922,0.00019812386,0.00038265024,0.00027787258,0.13651401],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99921143,0.00042131636,0.000025043348,0.00006591101,0.0001648752,0.000111411406],"domain_scores_gemma":[0.9987255,0.0009765925,0.000049504837,0.000041096842,0.0000995457,0.000107767984],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000993141,0.00062545936,0.000349356,0.0026886119,0.003306795,0.006307537,0.0005745145,0.00119817,0.011167137],"category_scores_gemma":[0.003568811,0.00018571172,0.00030149578,0.0016171741,0.0049412106,0.0022820344,0.002423573,0.0018333835,0.000560022],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029732625,0.000056706813,0.0009716855,0.0012033965,0.00002623293,0.0010028629,0.1510069,0.0007358765,0.0012494406,0.67679477,0.06581866,0.10083613],"study_design_scores_gemma":[0.00001670088,0.000039386123,0.0034559926,0.0015009799,0.000013229437,0.0002726484,0.028907023,0.00031196605,0.00023230932,0.019203672,0.9460233,0.000022876584],"about_ca_topic_score_codex":0.010328562,"about_ca_topic_score_gemma":0.033649437,"teacher_disagreement_score":0.011167137,"about_ca_system_score_codex":0.004387943,"about_ca_system_score_gemma":0.0017540826,"threshold_uncertainty_score":0.037357807},"labels":[],"label_agreement":null},{"id":"W3006967270","doi":"10.7202/1067493ar","title":"Walter Murch et l’Open Media Framework (OMF) : penser l’interopérabilité pour une ambiguïté fructueuse","year":2020,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Art; Humanities; Art history; Philosophy","score_opus":0.09601668507809062,"score_gpt":0.2932340536872699,"score_spread":0.19721736860917927,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3006967270","genre_codex":"methods","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026314983,0.010146365,0.6026557,0.13834368,0.003087261,0.00024488854,0.00019151295,0.0009166717,0.21809897],"genre_scores_gemma":[0.6250565,0.0078059174,0.26811355,0.013497582,0.0023118665,0.0009479668,0.00023384512,0.000884512,0.081148244],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.98181456,0.011097006,0.0006888244,0.0020501004,0.003370399,0.0009790817],"domain_scores_gemma":[0.98403835,0.010600913,0.000762708,0.002443958,0.0016305738,0.00052344997],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01716146,0.0009897593,0.0006553118,0.003057215,0.0073783905,0.013698308,0.0018284617,0.008214001,0.0061961925],"category_scores_gemma":[0.03378247,0.0007180883,0.0010277174,0.0022186623,0.02667081,0.029082738,0.010363304,0.0089773135,0.0013581321],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012768352,0.0000057984325,0.000100823076,0.000031008505,0.0000036388826,0.000060138045,0.00517416,0.00015678382,0.00022844545,0.9798772,0.0028070144,0.011542211],"study_design_scores_gemma":[0.000021444008,0.00003970719,0.0003885333,0.0003911773,0.000019584035,0.0003440022,0.0046045734,0.0024798438,0.0017375231,0.67495155,0.31492832,0.00009380698],"about_ca_topic_score_codex":0.015171342,"about_ca_topic_score_gemma":0.010696916,"teacher_disagreement_score":0.01716146,"about_ca_system_score_codex":0.006933416,"about_ca_system_score_gemma":0.0065038386,"threshold_uncertainty_score":0.090759575},"labels":[],"label_agreement":null},{"id":"W3007934519","doi":"10.7202/1067494ar","title":"Real Time Zidane","year":2020,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Immediacy; Video editing; Portrait; Computer science; Merge (version control); Video art; Shot (pellet); Visual arts; Art; Illusion; Multimedia; Computer graphics (images); Art history; Performance art; Epistemology","score_opus":0.03998661191431549,"score_gpt":0.22423940928633454,"score_spread":0.18425279737201905,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3007934519","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07519257,0.008653964,0.01772237,0.018881008,0.000873846,0.00008082737,0.00033584755,0.00015752699,0.87810206],"genre_scores_gemma":[0.85523844,0.0047036065,0.005139001,0.001413028,0.00013607935,0.00009110426,0.000118388,0.00009381281,0.13306652],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918,0.00028258047,0.000024175357,0.00020562265,0.00017387011,0.00013370517],"domain_scores_gemma":[0.9995503,0.00017044481,0.00005322658,0.00008777262,0.00009688138,0.000041284402],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00070867053,0.00050156616,0.00033755516,0.0012093575,0.002786111,0.005582143,0.0005606028,0.0008614787,0.009127466],"category_scores_gemma":[0.0027394772,0.0001887206,0.00028097152,0.0006850874,0.008347395,0.0033787505,0.002590993,0.0022054885,0.0011230326],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003896773,0.0000077503855,0.00035370706,0.000057283167,0.000005049293,0.000115864816,0.011893166,0.00014592212,0.0005521929,0.9664588,0.0068544666,0.013516767],"study_design_scores_gemma":[0.000021814427,0.000037797854,0.0029996617,0.00026670267,0.000022301245,0.0005128831,0.0105480105,0.00086159667,0.0011331735,0.08189123,0.90167385,0.000030937623],"about_ca_topic_score_codex":0.014834555,"about_ca_topic_score_gemma":0.017385894,"teacher_disagreement_score":0.014834555,"about_ca_system_score_codex":0.005450528,"about_ca_system_score_gemma":0.0014013948,"threshold_uncertainty_score":0.03954655},"labels":[],"label_agreement":null},{"id":"W3007963653","doi":"10.7202/1067496ar","title":"Editing and the Institutionalization of Cinema, 1913-1917","year":2020,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Institutionalisation; Period (music); Movie theater; Representation (politics); Terminology; Subject (documents); Consciousness; Extension (predicate logic); Institution; Visual arts; Sociology; Computer science; Aesthetics; History; Political science; Linguistics; Art; Psychology; World Wide Web; Social science; Law; Politics; Programming language","score_opus":0.04081137219257294,"score_gpt":0.2200924343712562,"score_spread":0.17928106217868325,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3007963653","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5981015,0.0053414092,0.0020122812,0.0067240517,0.0002125513,0.000039813996,0.00009817944,0.000051585776,0.38741857],"genre_scores_gemma":[0.9959188,0.0003275603,0.000112936556,0.000074331525,0.000059113463,0.0000037239804,0.000009760854,0.000008873741,0.003484947],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.997502,0.0013215389,0.00009243102,0.0003195094,0.0003171663,0.00044738708],"domain_scores_gemma":[0.99237275,0.004720817,0.0010203769,0.00065235206,0.00063388975,0.0005999155],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0039460873,0.00020390721,0.00020063423,0.0020172987,0.0060744095,0.011025429,0.0005793593,0.0012788872,0.0037877273],"category_scores_gemma":[0.011762258,0.00020863887,0.00014989327,0.0015984381,0.018742703,0.003705661,0.002314493,0.0024565742,0.00028932744],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012223091,0.00005132211,0.007487529,0.00007203087,0.000010374023,0.0005866163,0.31997958,0.00020366602,0.0010251392,0.63876957,0.0032317499,0.028460149],"study_design_scores_gemma":[0.000032179443,0.0001759558,0.08815697,0.0006056334,0.000029963205,0.0009871164,0.17626804,0.00084799057,0.0034724302,0.060579274,0.6687319,0.00011242489],"about_ca_topic_score_codex":0.011095889,"about_ca_topic_score_gemma":0.012077225,"teacher_disagreement_score":0.011095889,"about_ca_system_score_codex":0.007687768,"about_ca_system_score_gemma":0.0017399273,"threshold_uncertainty_score":0.05577886},"labels":[],"label_agreement":null},{"id":"W3008697868","doi":"10.7202/1067492ar","title":"Film Editing, Digital Montage, and the “Ontology” of Cinema","year":2020,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":16,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Movie theater; Ontology; Computer science; Film theory; Digital media; Transition (genetics); Multimedia; Film studies; Art; Visual arts; World Wide Web; Epistemology; Philosophy","score_opus":0.030294009230894,"score_gpt":0.21211476818015174,"score_spread":0.18182075894925773,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3008697868","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.060594104,0.020668123,0.01846145,0.016789192,0.00051791867,0.000029450894,0.000114942384,0.00005363516,0.8827711],"genre_scores_gemma":[0.9696424,0.007188291,0.003172966,0.00068341143,0.00052459724,0.00002718639,0.00005196946,0.000030559022,0.01867865],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9990509,0.00055105303,0.000029027433,0.000087795226,0.00016152233,0.000119723154],"domain_scores_gemma":[0.998762,0.0006892593,0.00018296119,0.00015548579,0.00008637514,0.00012391988],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009409712,0.0002675351,0.00016331374,0.0016983036,0.002356857,0.007080879,0.0004916633,0.0009241139,0.0046251453],"category_scores_gemma":[0.0019277106,0.00014695707,0.00022794983,0.0013449583,0.013778437,0.006508045,0.0021066612,0.0015367271,0.00021695367],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005554488,0.0000056625063,0.00017575335,0.000014323908,0.0000011716845,0.000020143218,0.0017888714,0.00006903254,0.000042310774,0.99388874,0.00087931927,0.003109159],"study_design_scores_gemma":[0.000013188526,0.000022645654,0.0037327174,0.00023562774,0.0000123479185,0.00023007528,0.007642629,0.0011232941,0.00031824934,0.70880526,0.2778455,0.000018518098],"about_ca_topic_score_codex":0.0063720546,"about_ca_topic_score_gemma":0.006204178,"teacher_disagreement_score":0.007080879,"about_ca_system_score_codex":0.0034586505,"about_ca_system_score_gemma":0.0010991269,"threshold_uncertainty_score":0.02509439},"labels":[],"label_agreement":null},{"id":"W3009000176","doi":"10.3138/cras.2019.006","title":"The Eisenhower Blues: Returning GIs and Racial Masquerade in Post-War American Film and Fiction","year":2020,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Alienation; Masculinity; Existentialism; Prosperity; Sociology; White (mutation); Trilogy; Blackface; Ethnic group; Gender studies; Literature; Aesthetics; History; Art; Art history; Anthropology; Political science; Law; Hollywood","score_opus":0.024798063740648673,"score_gpt":0.24993336724037588,"score_spread":0.2251353034997272,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3009000176","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.65875244,0.0074653253,0.0011930448,0.021681907,0.0014033727,0.000030558844,0.0000873911,0.00009193161,0.30929402],"genre_scores_gemma":[0.95905316,0.0021390591,0.0003812002,0.0014854365,0.00032274393,0.000020807227,0.0000424119,0.00009818861,0.036457065],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9991691,0.00045974218,0.000014447286,0.00007250989,0.00011355524,0.00017070363],"domain_scores_gemma":[0.9991327,0.00053071644,0.000091774695,0.000054960332,0.0000824115,0.000107418855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012125133,0.00058214046,0.00024949692,0.0015979428,0.012213781,0.0054681804,0.00056962465,0.0015852962,0.0036747463],"category_scores_gemma":[0.0025661807,0.00023513894,0.00015138062,0.0012279933,0.009839951,0.003170952,0.0027263823,0.0027830005,0.00039653474],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051099873,0.000024080364,0.0012061513,0.00006508585,0.000006625259,0.0011917691,0.9213676,0.00003348135,0.00069588434,0.051639937,0.012725522,0.010992853],"study_design_scores_gemma":[0.000006122788,0.00003355083,0.0050899186,0.00027407022,0.000013051562,0.00064011576,0.49392924,0.00011183194,0.0008279847,0.0028978176,0.49615765,0.000018553106],"about_ca_topic_score_codex":0.015455591,"about_ca_topic_score_gemma":0.05357886,"teacher_disagreement_score":0.015455591,"about_ca_system_score_codex":0.0043683364,"about_ca_system_score_gemma":0.00081510923,"threshold_uncertainty_score":0.03169465},"labels":[],"label_agreement":null},{"id":"W3009095018","doi":"10.3828/sfftv.2020.5","title":"<i>Blade Runner 2049</i> and the ‘quality’ Hollywood film","year":2020,"lang":"en","type":"article","venue":"Science Fiction Film & Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Quality (philosophy); Style (visual arts); Narrative; Studio; Value (mathematics); Blade (archaeology); Space (punctuation); Aesthetics; History; Visual arts; Art; Literature; Computer science; Epistemology; Art history; Archaeology","score_opus":0.04029668362773839,"score_gpt":0.254545656669254,"score_spread":0.2142489730415156,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3009095018","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15863162,0.012836769,0.0038968194,0.035091452,0.0010117262,0.000028869152,0.0001336004,0.000046825622,0.7883223],"genre_scores_gemma":[0.92593396,0.0029517305,0.0010230388,0.0015844584,0.0002917315,0.000011911622,0.000056892728,0.00007430613,0.06807198],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999303,0.00031771287,0.000017315006,0.00007677969,0.00016514746,0.00012014401],"domain_scores_gemma":[0.99930274,0.00035596298,0.000094906034,0.000041317187,0.00012237093,0.00008267469],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00061875174,0.00018433812,0.00009558257,0.00067895395,0.0029935844,0.007534993,0.00037545938,0.0009659883,0.0053597847],"category_scores_gemma":[0.0022807026,0.00012558563,0.00009822746,0.001195343,0.0073451763,0.0023352227,0.001227881,0.0018650282,0.0005030078],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005010503,0.000011286493,0.0019428108,0.000073266216,0.0000050285043,0.0003271073,0.03280568,0.00015581533,0.0003341774,0.9140784,0.031636555,0.018579742],"study_design_scores_gemma":[0.000006851549,0.000028605136,0.011923423,0.00029089054,0.000007314967,0.00046208236,0.038759686,0.00023668297,0.0006015264,0.05525767,0.8924035,0.000021693964],"about_ca_topic_score_codex":0.03888902,"about_ca_topic_score_gemma":0.05789871,"teacher_disagreement_score":0.03888902,"about_ca_system_score_codex":0.0056969705,"about_ca_system_score_gemma":0.0014929118,"threshold_uncertainty_score":0.077325344},"labels":[],"label_agreement":null},{"id":"W3011055045","doi":"10.13110/discourse.41.1.0037","title":"Extensions of Our Body Moving, Dancing: The American Avant-Garde's Theories of Handheld Subjectivity","year":2019,"lang":"en","type":"article","venue":"Discourse","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subjectivity; Rhetoric; Hollywood; Movie theater; Casual; Temporality; Aesthetics; Mobile device; Meaning (existential); Sociology; Visual arts; History; Art; Art history; Computer science; Law; Epistemology; Philosophy; Political science; Linguistics; World Wide Web","score_opus":0.01609349666198586,"score_gpt":0.26015831843141113,"score_spread":0.24406482176942526,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3011055045","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.038286366,0.0078098387,0.015967878,0.017219339,0.0005302362,0.000038453032,0.000026586275,0.0000311097,0.92009026],"genre_scores_gemma":[0.9416785,0.003153805,0.002518086,0.0020473592,0.0005597772,0.00007842815,0.000024587976,0.000043106353,0.04989621],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9981744,0.001160543,0.000038273727,0.00021835712,0.00025249846,0.0001558654],"domain_scores_gemma":[0.99772567,0.0015205512,0.00015465134,0.0002141898,0.00021343451,0.00017160611],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023721703,0.00041995363,0.00021254741,0.0013257911,0.004506499,0.0075158505,0.0009834011,0.0023728972,0.004478654],"category_scores_gemma":[0.0026101575,0.00024043485,0.00031977927,0.0009138301,0.030346677,0.008069389,0.0034262678,0.0039584143,0.0005240119],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004093122,0.0000062779372,0.00011415705,0.000012108268,9.247647e-7,0.000045557623,0.02986698,0.00004095377,0.000053645195,0.96506506,0.0014498901,0.0033402427],"study_design_scores_gemma":[0.000014825062,0.000025401629,0.0007992687,0.0003812674,0.000009492963,0.00025754605,0.026903259,0.00054266985,0.00018309729,0.6983741,0.27249333,0.000015664002],"about_ca_topic_score_codex":0.006783661,"about_ca_topic_score_gemma":0.004087767,"teacher_disagreement_score":0.0075158505,"about_ca_system_score_codex":0.0031119788,"about_ca_system_score_gemma":0.0012458522,"threshold_uncertainty_score":0.022579074},"labels":[],"label_agreement":null},{"id":"W3012132177","doi":"10.22215/etd/2015-11153","title":"Memories of the Photochemical: Examining the Digital Recreation of Analog Film Styles in Recent Popular Film","year":2015,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Filmmaking; Movie theater; State (computer science); Digital media; Digital Revolution; Aesthetics; Visual arts; Art; Multimedia; Engineering; Computer science; Telecommunications; World Wide Web","score_opus":0.04789321391648139,"score_gpt":0.25524013757364344,"score_spread":0.20734692365716206,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3012132177","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96532214,0.0011428475,0.00042555336,0.0007589088,0.000031303898,0.000022121392,0.000043973007,0.0000047336516,0.032248363],"genre_scores_gemma":[0.99488825,0.0011389855,0.0002710813,0.00014389635,0.000038937975,0.0000130719145,0.000029465713,0.000008675759,0.003467697],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993248,0.00033425158,0.000021859429,0.000064151085,0.00016590834,0.000089064706],"domain_scores_gemma":[0.99611557,0.0023819255,0.0008561339,0.00019306682,0.00028269668,0.0001705441],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013987323,0.00019497797,0.00015708388,0.0014587465,0.0017784956,0.0043516383,0.0007006273,0.00070016505,0.0045276755],"category_scores_gemma":[0.009023772,0.00020313855,0.00021314164,0.0011238947,0.0029205575,0.0031146293,0.0021577638,0.0012444224,0.00021647099],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033756552,0.00030496618,0.037077814,0.00057683524,0.00006304549,0.0011227722,0.86152107,0.00014226907,0.0038111743,0.022455141,0.0025340507,0.07005331],"study_design_scores_gemma":[0.000021190923,0.00029371443,0.17287752,0.0005157858,0.00006299409,0.0015368628,0.7625712,0.00025906911,0.0014365125,0.003165021,0.057226565,0.000033567543],"about_ca_topic_score_codex":0.0033445754,"about_ca_topic_score_gemma":0.008700771,"teacher_disagreement_score":0.0045276755,"about_ca_system_score_codex":0.0011162795,"about_ca_system_score_gemma":0.00043798066,"threshold_uncertainty_score":0.015146613},"labels":[],"label_agreement":null},{"id":"W3012238056","doi":"10.4324/9780203949986-17","title":"The Nation and the Nude: colonial Masculinity and the Spectacle of the Male Body in Recent Canadian Cinema(s)","year":2013,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Masculinity; Movie theater; Spectacle; Colonialism; Gender studies; Art; Sociology; Aesthetics; Art history; Political science; Law","score_opus":0.013214109242917712,"score_gpt":0.18766403381302782,"score_spread":0.1744499245701101,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3012238056","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.56339294,0.01594827,0.00043432965,0.034905303,0.0007474594,0.0000248054,0.0002239946,0.000025245143,0.38429767],"genre_scores_gemma":[0.98182696,0.003142782,0.000089279616,0.0008204941,0.00011996174,0.000002809794,0.000022185464,0.00001792663,0.013957594],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989863,0.00022858602,0.00001740128,0.00010578459,0.00030405776,0.00035788855],"domain_scores_gemma":[0.99787235,0.0006006059,0.00028153404,0.00007021845,0.0006288734,0.00054627674],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014340872,0.00034852454,0.00027165507,0.0019578738,0.01962633,0.010088663,0.000964361,0.001488354,0.011341999],"category_scores_gemma":[0.0043341247,0.00022525413,0.00014632437,0.0023889644,0.019010853,0.0024899477,0.0027155161,0.0031966467,0.00029114235],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000067435736,0.000027412316,0.009818385,0.00013900176,0.000012816784,0.00063541665,0.821728,0.000054984775,0.00052854477,0.11651962,0.021607263,0.028861046],"study_design_scores_gemma":[0.000005120909,0.000021029773,0.045801375,0.0003337522,0.00002686183,0.0004910937,0.6243486,0.00009294712,0.00024673852,0.0024168608,0.32616517,0.000050387698],"about_ca_topic_score_codex":0.93057483,"about_ca_topic_score_gemma":0.9731827,"teacher_disagreement_score":0.069425166,"about_ca_system_score_codex":0.027185787,"about_ca_system_score_gemma":0.0224616,"threshold_uncertainty_score":0.19724756},"labels":[],"label_agreement":null},{"id":"W3014212369","doi":"10.5325/jpoststud.3.2.0181","title":"Shoot!? Describing the Hand-Cranked Camera and Filmmaking Practices from a Posthumanist Perspective","year":2019,"lang":"en","type":"article","venue":"Journal of Posthuman Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Posthuman; Affordance; Anthropocentrism; Performative utterance; Filmmaking; Perspective (graphical); Posthumanism; Situated; Sociology; Constitution; Movie theater; Aesthetics; Epistemology; Iconicity; Psychology; Art; Philosophy; Environmental ethics; Visual arts; Computer science; Political science; Linguistics; Cognitive psychology","score_opus":0.14992471022161638,"score_gpt":0.30641504041919637,"score_spread":0.15649033019758,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3014212369","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.60913837,0.012394618,0.024827125,0.020563295,0.00038637515,0.0001262455,0.00009989309,0.00007057365,0.33239347],"genre_scores_gemma":[0.98934597,0.0018931788,0.0017624025,0.00030018424,0.000063976695,0.000018422232,0.000010807503,0.0000253567,0.006579722],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99638295,0.0028606474,0.000053040465,0.00023870953,0.00024189473,0.00022266837],"domain_scores_gemma":[0.9928988,0.0058472604,0.0005328796,0.000303931,0.00025034277,0.00016682946],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0044658054,0.00042099482,0.00022935096,0.0019315833,0.0052998383,0.008640232,0.0009782745,0.0018174882,0.004961294],"category_scores_gemma":[0.007090034,0.00031874533,0.00019899917,0.0011193292,0.026559578,0.006275678,0.0030578268,0.0019736926,0.00027693147],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053186144,0.000059415303,0.002079927,0.00017897146,0.000013778309,0.0012409275,0.52862215,0.00034254184,0.00096242013,0.44823077,0.0031826813,0.015033176],"study_design_scores_gemma":[0.000024050305,0.000101543264,0.0074330927,0.0011188837,0.000027463979,0.0014827921,0.6168693,0.0015783636,0.0024684027,0.060889393,0.30795103,0.00005564801],"about_ca_topic_score_codex":0.008435941,"about_ca_topic_score_gemma":0.011277057,"teacher_disagreement_score":0.99470013,"about_ca_system_score_codex":0.0040351367,"about_ca_system_score_gemma":0.0011069925,"threshold_uncertainty_score":0.029277027},"labels":[],"label_agreement":null},{"id":"W3014266530","doi":"","title":"Regarding the male body, Lorna Crozier's specular erotics","year":2000,"lang":"en","type":"article","venue":"Library and Archives Canada (Government of Canada)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Specular reflection; Art; Computer graphics (images); Computer science; Physics; Optics","score_opus":0.005187904452497464,"score_gpt":0.12976247178776482,"score_spread":0.12457456733526735,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3014266530","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015332117,0.028418668,0.012838931,0.10692016,0.002566469,0.000032628257,0.000096104864,0.00008791945,0.833707],"genre_scores_gemma":[0.66062,0.01733278,0.004872676,0.03062763,0.0040377644,0.00011397452,0.00006428945,0.00018031988,0.28215057],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981501,0.0009654746,0.000028390383,0.00020097525,0.00038382728,0.00027122258],"domain_scores_gemma":[0.99898595,0.0004967294,0.00012303764,0.00006682381,0.00020905849,0.0001185107],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018009268,0.0004748233,0.00022087723,0.0013504473,0.0053996607,0.006807361,0.0006600048,0.0017848782,0.0049307505],"category_scores_gemma":[0.0031305575,0.00011624743,0.000219239,0.0009413424,0.023473071,0.003960361,0.0021559864,0.003207387,0.0012987909],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013364386,0.0000059121708,0.00022215935,0.00003562813,0.0000011946985,0.00008065693,0.017912889,0.000033612774,0.00013459208,0.93734807,0.032349292,0.011862632],"study_design_scores_gemma":[0.000003480162,0.000014130173,0.0005852347,0.00018736557,0.0000025001941,0.00029372328,0.009882407,0.000103256825,0.00021430232,0.056889333,0.9318129,0.000011388223],"about_ca_topic_score_codex":0.02315394,"about_ca_topic_score_gemma":0.028647454,"teacher_disagreement_score":0.02315394,"about_ca_system_score_codex":0.0040020985,"about_ca_system_score_gemma":0.002548006,"threshold_uncertainty_score":0.04603833},"labels":[],"label_agreement":null},{"id":"W3014366016","doi":"10.1007/978-3-030-33277-8_7","title":"“The Girl Friend in Canada”: Ray Lewis and Canadian Moving Picture Digest (1915–1957)","year":2020,"lang":"en","type":"book-chapter","venue":"Global cinema","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University; Université de Montréal; University of Toronto","funders":"","keywords":"Typology; Girl; Journalism; Art history; Motion picture; Art; Media studies; Political science; History; Sociology; Psychology; Anthropology; Computer science; Artificial intelligence","score_opus":0.014993682028018956,"score_gpt":0.17672026540747537,"score_spread":0.16172658337945642,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3014366016","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031587963,0.14314546,0.0010580117,0.042952694,0.020857975,0.000079861886,0.002909907,0.00021579373,0.78562146],"genre_scores_gemma":[0.012024192,0.020822695,0.00032998688,0.0014743219,0.000706794,0.000013283692,0.00033959467,0.000117312105,0.9641719],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994486,0.00004602852,0.000011994918,0.00008132497,0.0002531634,0.0001588742],"domain_scores_gemma":[0.9994624,0.000038032023,0.000012759779,0.0000139255335,0.00035089962,0.000121993915],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057996373,0.0010974657,0.00041395213,0.003471291,0.011691269,0.006743821,0.00090160605,0.0017164251,0.089507245],"category_scores_gemma":[0.0014440282,0.0004941443,0.0003018657,0.005143294,0.002230128,0.0023228321,0.0017497211,0.0022612605,0.014885553],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013313809,0.0000052335904,0.00024213786,0.000056628258,0.0000022716763,0.00009204147,0.0016385344,0.0000506751,0.00007528148,0.022277601,0.9362405,0.039305776],"study_design_scores_gemma":[4.6993225e-7,8.095654e-7,0.00035153146,0.00005385396,0.0000014492972,0.000025517558,0.0004949523,0.000008742198,0.000032602424,0.0002638044,0.9987625,0.000003777973],"about_ca_topic_score_codex":0.95015645,"about_ca_topic_score_gemma":0.98597544,"teacher_disagreement_score":0.089507245,"about_ca_system_score_codex":0.039031498,"about_ca_system_score_gemma":0.034601837,"threshold_uncertainty_score":0.29943156},"labels":[],"label_agreement":null},{"id":"W3016610625","doi":"10.5260/chara.21.4.27","title":"Films on Demand Master Academic Video Collection","year":2020,"lang":"en","type":"article","venue":"The Charleston Advisor","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Subject (documents); Entertainment; Corporation; Variety (cybernetics); Sociology; Advertising; Multimedia; Media studies; Business; World Wide Web; Computer science; Visual arts; History; Art","score_opus":0.0736931769194561,"score_gpt":0.23790339630378418,"score_spread":0.1642102193843281,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3016610625","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005073709,0.0012334317,0.0011161165,0.0051340894,0.0021359648,0.00015710844,0.018050324,0.00093249953,0.9661668],"genre_scores_gemma":[0.042945888,0.003312023,0.0026711356,0.0015779613,0.0046029612,0.00015544344,0.023695346,0.0012134672,0.9198258],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913067,0.00007612779,0.000028382601,0.0001019303,0.0005329209,0.0001300465],"domain_scores_gemma":[0.9973394,0.00038855174,0.00016733776,0.00036064474,0.0010843534,0.0006597563],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010148267,0.00049322005,0.00027228412,0.0022752774,0.0015679558,0.004352225,0.0007214105,0.0007836919,0.332524],"category_scores_gemma":[0.00504885,0.0002769225,0.0002817508,0.002898463,0.00033791774,0.0018920025,0.0015833669,0.0011958794,0.06844084],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003383804,0.000021824366,0.00038605693,0.00007631574,0.0000030639046,0.000057889545,0.00017688744,0.000054380118,0.00037635135,0.004093564,0.9480889,0.04663094],"study_design_scores_gemma":[0.000008612552,0.000010770856,0.0025775835,0.000051880583,0.00000216166,0.000041525684,0.00014828549,0.00010080378,0.00031751202,0.00042301256,0.9963121,0.000005753519],"about_ca_topic_score_codex":0.019502563,"about_ca_topic_score_gemma":0.046126157,"teacher_disagreement_score":0.332524,"about_ca_system_score_codex":0.0018931752,"about_ca_system_score_gemma":0.0019750625,"threshold_uncertainty_score":0.9520735},"labels":[],"label_agreement":null},{"id":"W3021018660","doi":"10.3390/jrfm13050093","title":"Finding Nemo: Predicting Movie Performances by Machine Learning Methods","year":2020,"lang":"en","type":"article","venue":"Journal of risk and financial management","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Artificial intelligence; Machine learning; Computer science; Sample (material); Quantile regression; Film industry; Feature selection; Bayesian probability; Regression analysis; Variable (mathematics); Movie theater; Mathematics","score_opus":0.023489912939644128,"score_gpt":0.24730878461048938,"score_spread":0.22381887167084524,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3021018660","genre_codex":"methods","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4559855,0.0036368382,0.5218924,0.0018729446,0.00043066056,0.0003579677,0.0046715382,0.003382859,0.0077692685],"genre_scores_gemma":[0.85171205,0.0005069867,0.13872586,0.00015880448,0.0002624433,0.00017408756,0.0046234205,0.00011195531,0.0037243492],"study_design_codex":"design_other","study_design_gemma":"simulation_or_modeling","domain_scores_codex":[0.9994266,0.00021167584,0.00004300599,0.0001491213,0.0001094108,0.000060255737],"domain_scores_gemma":[0.99807274,0.0012358259,0.00015681487,0.0001927418,0.0002483424,0.00009348488],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021502052,0.00065632496,0.0008727201,0.0018071772,0.00034946608,0.0010842145,0.0011632828,0.0009203706,0.002093381],"category_scores_gemma":[0.008681332,0.00025436754,0.0006290172,0.0011978779,0.00024473024,0.0012226903,0.0006352318,0.0010354414,0.00077863963],"study_design_candidate":"simulation_or_modeling","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00060211465,0.0008931717,0.10069533,0.00022367285,0.000328359,0.00025031864,0.00010008283,0.37862238,0.0025868306,0.0061798706,0.016183114,0.4933347],"study_design_scores_gemma":[0.000011856654,0.0000318874,0.00353317,0.0000090687145,0.000008956703,0.000017016624,0.000017182141,0.9923955,0.00047062343,0.0027861989,0.00071175594,0.000006785731],"about_ca_topic_score_codex":0.0048745037,"about_ca_topic_score_gemma":0.0042636693,"teacher_disagreement_score":0.0048745037,"about_ca_system_score_codex":0.00046717166,"about_ca_system_score_gemma":0.0004524629,"threshold_uncertainty_score":0.011371493},"labels":[],"label_agreement":null},{"id":"W3023026458","doi":"10.33539/comunife.2011.n11.586","title":"Producción cultural y la economía en el humor digital: observaciones de “Just for Laughs”","year":2011,"lang":"es","type":"article","venue":"Comunifé","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Humanities; Political science; Art","score_opus":0.09546369290068933,"score_gpt":0.28079794251817847,"score_spread":0.18533424961748912,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3023026458","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.57449204,0.002917131,0.002648346,0.021765677,0.0004093532,0.00006797945,0.0003852387,0.00008270758,0.39723155],"genre_scores_gemma":[0.9481602,0.0016220742,0.00030411078,0.0014909112,0.00017938175,0.000037111076,0.00007776713,0.000053991458,0.048074454],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9983895,0.000712459,0.000037040274,0.00018408499,0.00039044855,0.00028650404],"domain_scores_gemma":[0.99624664,0.0019509466,0.00048508673,0.00028765472,0.00056338706,0.00046621382],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022578484,0.00035039568,0.00017579587,0.002035611,0.006440586,0.008181248,0.0005896254,0.0012292296,0.015992247],"category_scores_gemma":[0.0048144907,0.00019254889,0.00019757365,0.0019744593,0.011301972,0.004232558,0.0052625467,0.0019062962,0.0009099889],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014102127,0.00008243281,0.024171796,0.00030939069,0.000018131052,0.0007029042,0.80710787,0.00016139421,0.0019862442,0.08075755,0.020683866,0.06387738],"study_design_scores_gemma":[0.000009313744,0.000036605474,0.037159916,0.0002850204,0.000012982528,0.00016285159,0.6391822,0.00013450121,0.00087806745,0.0057337405,0.31637412,0.000030729745],"about_ca_topic_score_codex":0.055566702,"about_ca_topic_score_gemma":0.08151237,"teacher_disagreement_score":0.055566702,"about_ca_system_score_codex":0.006627117,"about_ca_system_score_gemma":0.0036141104,"threshold_uncertainty_score":0.11048651},"labels":[],"label_agreement":null},{"id":"W3023410480","doi":"10.1080/17400309.2020.1738830","title":"The paradoxes of precarious labour in observational documentaries today","year":2020,"lang":"en","type":"article","venue":"New Review of Film and Television Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Observational study; Sociology; Media studies; Art; Aesthetics; Visual arts; Gender studies; Mathematics","score_opus":0.0940873853447602,"score_gpt":0.305147275543326,"score_spread":0.2110598901985658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3023410480","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.37083694,0.10299402,0.00902207,0.04917925,0.001840836,0.00009727603,0.00041340635,0.00008050043,0.46553576],"genre_scores_gemma":[0.94706285,0.031257574,0.0016318635,0.002447758,0.0011948817,0.00008138716,0.00014213109,0.00007754619,0.016104005],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9966157,0.002091636,0.00009646364,0.00043822383,0.00052475114,0.00023323519],"domain_scores_gemma":[0.9874878,0.009478114,0.00110019,0.00083117094,0.0006868454,0.000415816],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00550543,0.0003431397,0.00032450422,0.0027849718,0.00592089,0.009985366,0.0014183485,0.0014341207,0.006966675],"category_scores_gemma":[0.0142732505,0.00031042696,0.0001774109,0.0031157888,0.01940235,0.009789162,0.0039907596,0.002929519,0.0007179176],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060476323,0.00006008993,0.0039089243,0.000870448,0.000016136271,0.00048635143,0.5802285,0.0000659331,0.0006527252,0.35102648,0.012329208,0.05029479],"study_design_scores_gemma":[0.000015247429,0.000046197583,0.013618759,0.002872117,0.00002474397,0.0007138207,0.3527008,0.00012794574,0.0006065989,0.043298557,0.5859393,0.000035949564],"about_ca_topic_score_codex":0.008322671,"about_ca_topic_score_gemma":0.016064947,"teacher_disagreement_score":0.009985366,"about_ca_system_score_codex":0.0037987586,"about_ca_system_score_gemma":0.0018705816,"threshold_uncertainty_score":0.029115856},"labels":[],"label_agreement":null},{"id":"W3028173300","doi":"10.24908/iqurcp.9063","title":"White People Ain’t Left Us Nothin’ But the Underworld: Historicity, Race and the American Dream in Ridley Scott’s American Gangster","year":2016,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"White (mutation); Context (archaeology); Politics; Sociology; Narrative; Masculinity; Fantasy; Biography; Law; History; Gender studies; Art history; Political science; Art; Literature","score_opus":0.05969306311749876,"score_gpt":0.30587373116938343,"score_spread":0.24618066805188468,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3028173300","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.67211354,0.0077373693,0.0004967743,0.05509107,0.0022606277,0.000035804638,0.00009632943,0.00004407037,0.26212442],"genre_scores_gemma":[0.9484393,0.0028691858,0.00017381925,0.0054813162,0.00045564995,0.000018767429,0.00003049865,0.000058014528,0.042473555],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919516,0.0005014892,0.000008310484,0.00005285078,0.00009735591,0.00014489672],"domain_scores_gemma":[0.9992963,0.0003166188,0.000065252556,0.000031138552,0.00008606128,0.0002045959],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011651864,0.00035277932,0.0001927469,0.0009168054,0.015119662,0.007028266,0.00063491554,0.001250088,0.004647569],"category_scores_gemma":[0.0018276445,0.0002503495,0.00013187237,0.00074013637,0.009800929,0.0034810319,0.0028154482,0.0035376796,0.00035614718],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000075468364,0.00007339227,0.0027326592,0.00008512223,0.000010673427,0.00092025875,0.86294687,0.00003210334,0.00064744154,0.05280103,0.06541434,0.014260657],"study_design_scores_gemma":[0.000006759572,0.000035944435,0.0032201465,0.00015866313,0.000009576827,0.0003748205,0.5514323,0.000038216705,0.00030183,0.0021311005,0.44227242,0.000018145223],"about_ca_topic_score_codex":0.0449095,"about_ca_topic_score_gemma":0.12733129,"teacher_disagreement_score":0.0449095,"about_ca_system_score_codex":0.0027253234,"about_ca_system_score_gemma":0.0010448198,"threshold_uncertainty_score":0.08929622},"labels":[],"label_agreement":null},{"id":"W3029213984","doi":"10.7202/1069008ar","title":"In Search of George Scott","year":2020,"lang":"en","type":"article","venue":"Ontario History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"George (robot); Hollywood; Shot (pellet); Filmmaking; Art history; History; Motion picture; Film industry; Media studies; Economic history; Movie theater; Sociology","score_opus":0.061428420271310305,"score_gpt":0.2064687516814183,"score_spread":0.14504033141010797,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3029213984","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011219295,0.03874106,0.0008424516,0.52058816,0.015141917,0.000031231513,0.00027749487,0.00012805797,0.41303033],"genre_scores_gemma":[0.08580244,0.0140756,0.0004955719,0.06468761,0.002425658,0.000015014098,0.00012996217,0.000107975604,0.83226025],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990276,0.00013174428,0.000022350576,0.00016652435,0.0004163992,0.00023538787],"domain_scores_gemma":[0.99874675,0.00013285663,0.000053120533,0.000041340933,0.00032279157,0.00070316147],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00067197933,0.00030820287,0.0002537847,0.00061089586,0.0062096934,0.004317737,0.00067563483,0.0024851318,0.023182807],"category_scores_gemma":[0.0035733315,0.00018349846,0.00016095446,0.0008566835,0.0042588334,0.0020485704,0.0021568974,0.003473022,0.0049610985],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015865195,0.000008592619,0.001071298,0.000038698607,0.0000030224437,0.00033677966,0.0034582436,0.000034766672,0.00014630659,0.097560555,0.8790725,0.018253341],"study_design_scores_gemma":[0.0000013694366,0.0000035334522,0.000494105,0.000038001275,9.880488e-7,0.00008942031,0.001026309,0.0000146225575,0.000036194764,0.0017653242,0.9965251,0.00000507272],"about_ca_topic_score_codex":0.43218833,"about_ca_topic_score_gemma":0.72533625,"teacher_disagreement_score":0.56781167,"about_ca_system_score_codex":0.016751518,"about_ca_system_score_gemma":0.015968163,"threshold_uncertainty_score":0.85934544},"labels":[],"label_agreement":null},{"id":"W3030440315","doi":"10.1007/978-3-030-17324-1_1","title":"Introduction—Volume 2: Documentary Film Festivals: Changes, Challenges, Professional Perspectives","year":2020,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Lakehead University","funders":"","keywords":"Insider; Field (mathematics); Politics; Focus (optics); Key (lock); Sociology; Political science; Visual arts; Art; Computer science; Law","score_opus":0.04520556522128459,"score_gpt":0.2296622808811507,"score_spread":0.1844567156598661,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3030440315","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0051760464,0.0862657,0.0018501624,0.039764546,0.045819316,0.00018396217,0.0024922076,0.0004343079,0.8180138],"genre_scores_gemma":[0.039105617,0.058553856,0.0019172707,0.0070039253,0.026139349,0.00016417992,0.0033101225,0.0006785582,0.8631271],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99944264,0.00011702977,0.000031601037,0.00007756026,0.00023646843,0.00009473131],"domain_scores_gemma":[0.9984812,0.00056290923,0.000074170806,0.00008182938,0.00046078922,0.00033910802],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001200201,0.00062525226,0.00042734048,0.002558273,0.0022239634,0.013265597,0.0012400871,0.0017164202,0.10458596],"category_scores_gemma":[0.0023499262,0.00026505714,0.00033100048,0.0037683214,0.0011685443,0.004164241,0.0022268996,0.0031708647,0.019132422],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029384144,0.000056979003,0.00020742098,0.0004893263,0.0000032744497,0.0000397065,0.001571565,0.000053699943,0.00032703305,0.035779137,0.8854234,0.076019034],"study_design_scores_gemma":[0.0000014983599,0.000007732851,0.0005134441,0.00027834816,0.0000013630316,0.000044791526,0.0008183745,0.000013519917,0.00006398565,0.0010494291,0.99720407,0.0000035225282],"about_ca_topic_score_codex":0.0070864093,"about_ca_topic_score_gemma":0.013873738,"teacher_disagreement_score":0.10458596,"about_ca_system_score_codex":0.0027765264,"about_ca_system_score_gemma":0.00245551,"threshold_uncertainty_score":0.3498749},"labels":[],"label_agreement":null},{"id":"W3030809162","doi":"10.36019/9780813595160","title":"A Short History of Film, Third Edition","year":2019,"lang":"en","type":"book","venue":"Rutgers University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Section (typography); Comics; Movie theater; Special section; History; Media studies; Visual arts; Art history; Literature; Art; Advertising; Sociology; Engineering; Engineering physics; Business","score_opus":0.03473383166948626,"score_gpt":0.1712760170408115,"score_spread":0.13654218537132523,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3030809162","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000617874,0.10271413,0.00121309,0.0053212433,0.01555612,0.000089650006,0.0025134897,0.00056364824,0.87141067],"genre_scores_gemma":[0.0024516333,0.034180287,0.00070287613,0.0010644434,0.0031002176,0.00003971568,0.0013283533,0.00024954436,0.956883],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967635,0.00003846061,0.000022844994,0.000040178882,0.00019080327,0.00003131254],"domain_scores_gemma":[0.99936205,0.00011023856,0.00003569477,0.000056187575,0.0003322342,0.00010353663],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003207811,0.000854532,0.00047349918,0.0030433945,0.0014775505,0.0056700883,0.00067516655,0.00086374814,0.26601332],"category_scores_gemma":[0.0017301207,0.00036976812,0.00023666391,0.0036294456,0.00052838394,0.0037918284,0.0012082579,0.0014774237,0.15673053],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016561919,0.000015753143,0.000064961,0.00019672314,0.0000018206168,0.000039492024,0.00011417494,0.000039663082,0.00024809007,0.0062865946,0.8770954,0.11588074],"study_design_scores_gemma":[8.0357864e-7,0.0000030968445,0.00011450832,0.0001062522,5.8090455e-7,0.000038191632,0.0000366668,0.0000087974895,0.00002561887,0.0004758316,0.99918824,0.000001392727],"about_ca_topic_score_codex":0.005996668,"about_ca_topic_score_gemma":0.011578553,"teacher_disagreement_score":0.26601332,"about_ca_system_score_codex":0.0012578717,"about_ca_system_score_gemma":0.0013330937,"threshold_uncertainty_score":0.88990325},"labels":[],"label_agreement":null},{"id":"W3033511303","doi":"10.1353/crc.2019.0051","title":"The Off-Screen: An Investigation of the Cinematic Frame by Eyal Peretz","year":2019,"lang":"en","type":"article","venue":"Canadian review of comparative literature","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Narrative; Art; Literature; Metafiction; Greek tragedy; Aesthetics","score_opus":0.02180232449763173,"score_gpt":0.24073410863586198,"score_spread":0.21893178413823025,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3033511303","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12149887,0.037689403,0.0066590426,0.05671498,0.0033471065,0.00014076733,0.00015045161,0.00007824824,0.77372116],"genre_scores_gemma":[0.8937137,0.014998371,0.0015341766,0.0075397626,0.00097009505,0.00016409495,0.00009004104,0.00016372948,0.080826],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973859,0.0015930178,0.000043228807,0.0002224086,0.0005703779,0.00018500215],"domain_scores_gemma":[0.99698144,0.002026589,0.00017257532,0.00013143747,0.00051742024,0.00017048541],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002334876,0.0003897361,0.00029508705,0.0014417376,0.006601063,0.008019065,0.0010081677,0.0020159895,0.0088023385],"category_scores_gemma":[0.006443989,0.00028092062,0.00018967835,0.0011248732,0.011268613,0.009586199,0.004975143,0.0037099062,0.00080937054],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007402555,0.000060099068,0.00076282094,0.00030643027,0.0000053964263,0.00059396686,0.23678963,0.00014577879,0.0012202533,0.65009254,0.075936526,0.034012597],"study_design_scores_gemma":[0.0000076233077,0.000032536864,0.0020755231,0.0008406362,0.0000065522336,0.00038438308,0.10324995,0.00022563768,0.00060112803,0.017246228,0.8753051,0.000024681058],"about_ca_topic_score_codex":0.006739743,"about_ca_topic_score_gemma":0.006515983,"teacher_disagreement_score":0.0088023385,"about_ca_system_score_codex":0.005519415,"about_ca_system_score_gemma":0.0018159306,"threshold_uncertainty_score":0.040046394},"labels":[],"label_agreement":null},{"id":"W3033716588","doi":"","title":"To what extent the French New Wave may have influenced Canadian direct cinema and cinéma vérité in the 1960's","year":2009,"lang":"en","type":"article","venue":"Publications Pimido","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; French New Wave; Political science; Optics; Physics; Art; Art history","score_opus":0.03595709354160649,"score_gpt":0.23882888884389078,"score_spread":0.20287179530228427,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3033716588","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5587379,0.009474965,0.0013363976,0.049944688,0.0010020741,0.00007598718,0.002479249,0.00007692638,0.3768719],"genre_scores_gemma":[0.9198605,0.0029185202,0.0002843642,0.0025358235,0.00024357362,0.000013027495,0.00030615754,0.00004441596,0.073793724],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979261,0.0002436222,0.000033741162,0.0002349013,0.0004806284,0.0010809974],"domain_scores_gemma":[0.9958866,0.00062255195,0.0005784175,0.00011750087,0.0019533527,0.00084157486],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019941328,0.00044074634,0.0002924906,0.0029844374,0.006621017,0.008953423,0.0006803339,0.0019018052,0.02512913],"category_scores_gemma":[0.0062524243,0.00028897208,0.00037746856,0.0033371558,0.004557967,0.0031609535,0.0011550483,0.0026437365,0.0018946887],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00091579725,0.0003167379,0.171801,0.0006008093,0.00019128199,0.0018833242,0.118309915,0.0012867664,0.0030043758,0.45281482,0.10514885,0.14372642],"study_design_scores_gemma":[0.00003781144,0.00007358543,0.26284078,0.00046446343,0.000055892393,0.0002774636,0.049631745,0.00034542728,0.0010232184,0.0029745835,0.68214476,0.00013022963],"about_ca_topic_score_codex":0.96787876,"about_ca_topic_score_gemma":0.981457,"teacher_disagreement_score":0.06693057,"about_ca_system_score_codex":0.06693057,"about_ca_system_score_gemma":0.025910938,"threshold_uncertainty_score":0.48561752},"labels":[],"label_agreement":null},{"id":"W3033914780","doi":"10.1080/01439685.2020.1773087","title":"The aesthetics of nostalgia TV: Production design and the boomer era","year":2020,"lang":"en","type":"article","venue":"Historical Journal Of Film Radio and Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Baby boomers; Aesthetics; Production (economics); Art; Quality (philosophy); Economics; Philosophy","score_opus":0.028306674955319328,"score_gpt":0.1998910088284538,"score_spread":0.17158433387313446,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3033914780","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06269778,0.006868369,0.021349085,0.041890748,0.0010966791,0.000069525086,0.0001393112,0.0002779919,0.8656105],"genre_scores_gemma":[0.9253528,0.0016441013,0.007148028,0.002383942,0.0004698634,0.00008767565,0.000060779814,0.00040799455,0.06244493],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976252,0.0016067235,0.000034628345,0.00012519394,0.00033691348,0.0002713546],"domain_scores_gemma":[0.99845076,0.00077542913,0.00011506725,0.00025118596,0.0002035406,0.00020400778],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00340534,0.00061510183,0.00018912772,0.0013538613,0.0055770422,0.01036349,0.00083726074,0.0015288709,0.015392289],"category_scores_gemma":[0.004144968,0.00024141662,0.00026345174,0.0014095495,0.020320764,0.0048245816,0.0033889506,0.002396269,0.00114594],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008516137,0.000020717456,0.0008784026,0.000106083324,0.000006125382,0.00014995328,0.042652097,0.00031779052,0.000527595,0.90920585,0.016775792,0.029274357],"study_design_scores_gemma":[0.00004786157,0.00010199014,0.0035559598,0.00037295042,0.000020353178,0.00035275315,0.042915188,0.0008535955,0.00084529613,0.21526936,0.7356283,0.00003631628],"about_ca_topic_score_codex":0.005950265,"about_ca_topic_score_gemma":0.011655471,"teacher_disagreement_score":0.015392289,"about_ca_system_score_codex":0.0042111147,"about_ca_system_score_gemma":0.0018531767,"threshold_uncertainty_score":0.051492274},"labels":[],"label_agreement":null},{"id":"W3035205154","doi":"10.3138/cjfs.29.1.02","title":"Indigenous Cinema and Media in the Americas: Storytelling, Communities, and Sovereignties","year":2020,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Queen's University; Université de Montréal","funders":"","keywords":"Movie theater; Storytelling; Indigenous; Sociology; Narrative; Media studies; Gender studies; History; Anthropology; Art; Visual arts; Literature","score_opus":0.08688078400655436,"score_gpt":0.23487506395002694,"score_spread":0.14799427994347258,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3035205154","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8919237,0.0076422724,0.00023317049,0.005840384,0.000057879606,0.000016185379,0.00015812911,0.000007231856,0.094121024],"genre_scores_gemma":[0.9957759,0.0018632854,0.00006837688,0.000084328276,0.000043559678,0.000004889936,0.000030823696,0.0000029046164,0.0021259538],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9992654,0.00035387417,0.00002167161,0.00006932515,0.00012976171,0.00016004924],"domain_scores_gemma":[0.9953648,0.0026499007,0.0006486051,0.00013870232,0.00048351058,0.00071453943],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012834822,0.00016570017,0.00019880914,0.0024998637,0.0029324524,0.006363664,0.000527106,0.0006905721,0.010216941],"category_scores_gemma":[0.007352582,0.00014366438,0.00012510468,0.002810975,0.004213737,0.0037637365,0.0021810918,0.0011976702,0.0001606881],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024916534,0.0004688467,0.18690413,0.00041329177,0.00010665133,0.0007632112,0.5836231,0.00027119555,0.00094175723,0.09775061,0.007205882,0.121302225],"study_design_scores_gemma":[0.00001386527,0.000065064996,0.4041415,0.00046014652,0.00007686135,0.0003090947,0.5415284,0.0004437363,0.00031844902,0.0099164415,0.04269505,0.000031489613],"about_ca_topic_score_codex":0.16534713,"about_ca_topic_score_gemma":0.23258108,"teacher_disagreement_score":0.16534713,"about_ca_system_score_codex":0.003658313,"about_ca_system_score_gemma":0.002255732,"threshold_uncertainty_score":0.3287694},"labels":[],"label_agreement":null},{"id":"W3036065258","doi":"10.1353/esp.2020.0019","title":"Screening Youth, Contemporary French and Francophone Cinema ed. by Romain Chareyron and Gilles Viennot","year":2020,"lang":"en","type":"article","venue":"L'esprit créateur/L'Esprit créateur","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"French; Movie theater; Theme (computing); Film director; Queer; Art history; Metis; Sociology; Humanities; Art; History; Gender studies","score_opus":0.03384507946205813,"score_gpt":0.20317934698545354,"score_spread":0.16933426752339542,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3036065258","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007572451,0.90103954,0.00021484065,0.03177582,0.005754308,0.000044739903,0.00026516555,0.00008654334,0.053246494],"genre_scores_gemma":[0.124893874,0.7036909,0.0008440163,0.012587529,0.008113421,0.00015510066,0.00061272754,0.00013876335,0.14896373],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990326,0.00038051853,0.000041159583,0.0001270152,0.0002705988,0.00014806818],"domain_scores_gemma":[0.9986525,0.0004960342,0.00011808594,0.00002316282,0.00045214355,0.00025803733],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015243269,0.001203835,0.00063937873,0.002488662,0.0026190383,0.0049942904,0.0006409648,0.0019473743,0.019972969],"category_scores_gemma":[0.0029540241,0.00035034388,0.00032534616,0.0026750013,0.0016706048,0.0030857434,0.0011821628,0.0012985844,0.003444349],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046731875,0.000047175043,0.0014885484,0.0009222813,0.000010620525,0.00029108304,0.01963401,0.000078066085,0.00029933837,0.008464653,0.75707495,0.21164258],"study_design_scores_gemma":[0.000003430808,0.000026593134,0.0069970796,0.0018906543,0.0000069049042,0.00040723677,0.0075761927,0.000021296024,0.000059966173,0.00034468714,0.9826517,0.0000141591645],"about_ca_topic_score_codex":0.12654595,"about_ca_topic_score_gemma":0.12327159,"teacher_disagreement_score":0.12654595,"about_ca_system_score_codex":0.007641407,"about_ca_system_score_gemma":0.004675572,"threshold_uncertainty_score":0.25161874},"labels":[],"label_agreement":null},{"id":"W3037214843","doi":"","title":"\"Mack Sennett, Canadian Filmmaker and Actor\"","year":2008,"lang":"en","type":"preprint","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Art; Art history; Materials science; Movie theater","score_opus":0.02377769465480714,"score_gpt":0.20088846045840905,"score_spread":0.1771107658036019,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3037214843","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020540543,0.07979277,0.00092030107,0.49156582,0.007270908,0.00006092999,0.0015970488,0.00008537819,0.3981663],"genre_scores_gemma":[0.39435327,0.053237025,0.00085248513,0.027052162,0.0033529468,0.00006435192,0.00065793924,0.00017885119,0.52025104],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99875665,0.00029242507,0.000035889283,0.00022312862,0.00040089907,0.00029111895],"domain_scores_gemma":[0.997207,0.0006178037,0.00016467052,0.00009350254,0.0013272299,0.0005897727],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016079977,0.00079755334,0.0005435375,0.004238195,0.019247562,0.0119824745,0.0013192545,0.0046761953,0.032610357],"category_scores_gemma":[0.008679735,0.0003906804,0.00023492338,0.0067900927,0.0066489875,0.005438109,0.0016794725,0.003796181,0.0022104722],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037754016,0.000011062072,0.0017539025,0.00010039779,0.000007112894,0.0001509592,0.014212444,0.00006419529,0.00008118854,0.14313865,0.82334834,0.017094104],"study_design_scores_gemma":[0.0000071825316,0.0000042372253,0.006824105,0.00028608338,0.000016123966,0.00008841404,0.023009993,0.000096223,0.00010456878,0.006076742,0.96345973,0.000026655998],"about_ca_topic_score_codex":0.9342446,"about_ca_topic_score_gemma":0.97495735,"teacher_disagreement_score":0.06575543,"about_ca_system_score_codex":0.04241746,"about_ca_system_score_gemma":0.029155243,"threshold_uncertainty_score":0.30776167},"labels":[],"label_agreement":null},{"id":"W3037509875","doi":"10.22215/etd/2020-14057","title":"Screening Politics: The Egalitarian Film Theory of Jacques Rancière","year":2020,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Film theory; Movie theater; Politics; Psychoanalytic theory; Political philosophy; Marxist philosophy; Epistemology; Critical theory; Aesthetics; Film studies; Argument (complex analysis); Sociology; Aside; Philosophy; Psychoanalysis; Art; Art history; Literature; Law; Political science; Psychology","score_opus":0.033449259463665226,"score_gpt":0.2372854747891993,"score_spread":0.2038362153255341,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3037509875","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03768568,0.007856667,0.011594013,0.13962734,0.0008221469,0.000031878764,0.00012754666,0.00004107983,0.80221367],"genre_scores_gemma":[0.8360642,0.0042421944,0.002366836,0.0059975055,0.001173166,0.00003464561,0.0000429089,0.00007718213,0.15000127],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9990569,0.00050560903,0.0000139304675,0.0001538558,0.0001385835,0.00013104353],"domain_scores_gemma":[0.9967123,0.002431185,0.00018555355,0.0001677912,0.00035699148,0.00014609657],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015416346,0.00031567668,0.0004748846,0.00096136355,0.0029895569,0.0048684496,0.0006916378,0.0029959437,0.01787538],"category_scores_gemma":[0.007172657,0.00025129362,0.0002637571,0.00103385,0.004300433,0.0052065663,0.0009054495,0.0031504654,0.0011230054],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000095343585,0.000010136812,0.00011718891,0.000010042879,0.0000026696514,0.000031222804,0.00065362605,0.00010799347,0.000030752282,0.98715264,0.008874901,0.002999348],"study_design_scores_gemma":[0.00001912654,0.000012487656,0.0008220561,0.00007018773,0.000010753069,0.00008206903,0.0008851757,0.0016822588,0.00015008822,0.92959535,0.06665344,0.000016975131],"about_ca_topic_score_codex":0.00625991,"about_ca_topic_score_gemma":0.0050599575,"teacher_disagreement_score":0.01787538,"about_ca_system_score_codex":0.0022625744,"about_ca_system_score_gemma":0.00076950854,"threshold_uncertainty_score":0.059799075},"labels":[],"label_agreement":null},{"id":"W3038486882","doi":"10.1007/978-3-030-48618-1_5","title":"Kim Ki-duk’s Cinema of Imperceptibility: The Flaying of the Senses","year":2020,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Movie theater; Admiration; Art; Impulse (physics); Aesthetics; Art history; Literature; Psychoanalysis; Psychology; Humanities; Philosophy","score_opus":0.05060289490230659,"score_gpt":0.20915142032499617,"score_spread":0.15854852542268957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3038486882","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00967681,0.023428626,0.0028854732,0.04306764,0.0057831635,0.000026873491,0.00013325774,0.0000885449,0.91490954],"genre_scores_gemma":[0.3947265,0.01630384,0.0031003563,0.011348055,0.0025738755,0.000054431657,0.00014135324,0.0004081995,0.5713433],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995671,0.00019109598,0.000011510283,0.00007249008,0.00009502452,0.00006274648],"domain_scores_gemma":[0.99904245,0.0005106021,0.000046472716,0.00007333503,0.0001818646,0.00014525572],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000753625,0.00046091952,0.00022868322,0.0009358266,0.0034190645,0.007176209,0.0004648283,0.0017330882,0.016907651],"category_scores_gemma":[0.002713389,0.0002653383,0.0001843346,0.00068056665,0.005171358,0.009716305,0.0016628196,0.0038401058,0.0020977505],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003743949,0.000018103365,0.00028372786,0.00013508619,0.000005042516,0.00012246761,0.025573725,0.000058757858,0.00045799415,0.73367673,0.21001664,0.029614275],"study_design_scores_gemma":[0.0000051108113,0.0000099209265,0.00048703613,0.00020752897,0.000005086281,0.00021494606,0.008961632,0.00014032594,0.00034884046,0.045011993,0.9445933,0.000014370402],"about_ca_topic_score_codex":0.0036310218,"about_ca_topic_score_gemma":0.009907386,"teacher_disagreement_score":0.016907651,"about_ca_system_score_codex":0.002194613,"about_ca_system_score_gemma":0.0011471644,"threshold_uncertainty_score":0.056561768},"labels":[],"label_agreement":null},{"id":"W3041209435","doi":"10.16995/os.21","title":"The Dangers of Getting What You Asked For: Double Time in Twin Peaks: The Return","year":2020,"lang":"en","type":"article","venue":"Open Screens","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Interim; Series (stratigraphy); Character (mathematics); Fidelity; Quarter (Canadian coin); Uncanny; History; Sociology; Psychology; Computer science; Psychoanalysis; Mathematics; Law; Political science; Geology; Telecommunications","score_opus":0.07774655212602995,"score_gpt":0.26916016052740177,"score_spread":0.19141360840137184,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3041209435","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22392109,0.0075567244,0.013515337,0.21236734,0.01243202,0.000047099827,0.00022513486,0.00043263214,0.5295027],"genre_scores_gemma":[0.9330737,0.0014204305,0.0011120958,0.005983713,0.0018136544,0.000027418107,0.000048262107,0.00037925283,0.056141444],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981797,0.0011805159,0.0000309994,0.00014773845,0.00026366126,0.00019739014],"domain_scores_gemma":[0.9963378,0.0023613917,0.00029789231,0.00024268577,0.00029433053,0.00046592264],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020576927,0.00044423615,0.00023688514,0.000861624,0.0040503754,0.011931627,0.0009428365,0.0018535922,0.009304354],"category_scores_gemma":[0.012096521,0.00019940373,0.0002739522,0.00061385875,0.0093425885,0.0068560205,0.003482559,0.00595825,0.0010320309],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015488367,0.000031891293,0.0017912509,0.00012747748,0.000017698234,0.0007047455,0.20212758,0.00017751151,0.00054580957,0.64984703,0.11977978,0.024694424],"study_design_scores_gemma":[0.00001791094,0.000049093273,0.0024015855,0.00039432565,0.000017421356,0.00057838624,0.16298519,0.00057038903,0.0008872297,0.064489275,0.76756406,0.000045029043],"about_ca_topic_score_codex":0.0030459072,"about_ca_topic_score_gemma":0.0051448364,"teacher_disagreement_score":0.011931627,"about_ca_system_score_codex":0.0023868822,"about_ca_system_score_gemma":0.0008827236,"threshold_uncertainty_score":0.031126142},"labels":[],"label_agreement":null},{"id":"W3042804026","doi":"10.31861/mediaforum.2019.7.221-234","title":"The Role of Cinema in the History of Media Education in Canada","year":2019,"lang":"en","type":"article","venue":"Mediaforum Analytics Forecasts Information Management","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; The arts; Media studies; Sociology; History; Social science; Visual arts; Art","score_opus":0.008672752058078978,"score_gpt":0.1746018871030624,"score_spread":0.1659291350449834,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3042804026","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.060760517,0.12304399,0.0016525805,0.18800245,0.007506914,0.00014488719,0.0012133466,0.00016396325,0.6175114],"genre_scores_gemma":[0.70576257,0.092274256,0.0021149616,0.020780247,0.0015405943,0.000080799,0.00050046365,0.00024691565,0.17669918],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99682593,0.0003632597,0.0000955376,0.00031830624,0.0011696389,0.0012273222],"domain_scores_gemma":[0.9909676,0.0013721104,0.00025317163,0.00015115405,0.0044858097,0.0027701394],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023663975,0.0005163601,0.00056305755,0.0042133387,0.025252521,0.014815019,0.0020917333,0.003183688,0.01742472],"category_scores_gemma":[0.007263658,0.0005255956,0.00041488346,0.0066831005,0.01132076,0.003716945,0.0038928308,0.005875061,0.0010441367],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018465915,0.00013304279,0.005537966,0.0010296633,0.000031325886,0.0019125632,0.07313399,0.0006583832,0.00090950425,0.5518594,0.20419094,0.16041864],"study_design_scores_gemma":[0.0000094779725,0.000014259079,0.0063215327,0.00077089,0.000017104336,0.0001376197,0.014291692,0.0002507966,0.00025771282,0.003735104,0.97413313,0.00006072752],"about_ca_topic_score_codex":0.99207765,"about_ca_topic_score_gemma":0.99495715,"teacher_disagreement_score":0.23888247,"about_ca_system_score_codex":0.23888247,"about_ca_system_score_gemma":0.28123352,"threshold_uncertainty_score":0.8827885},"labels":[],"label_agreement":null},{"id":"W3043697225","doi":"10.22215/etd/2017-11932","title":"The Dissolving \"I\": Abjection and Becoming in Queer Cinema","year":2017,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Queer; Queer theory; Shame; Movie theater; Utopia; Aesthetics; Posthumanism; Sociology; Ambiguity; Psychoanalysis; Embodied cognition; Transgender; Normative; Art; Gender studies; Art history; Philosophy; Psychology; Epistemology; Social psychology","score_opus":0.028270654866771862,"score_gpt":0.26146165111378533,"score_spread":0.23319099624701348,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3043697225","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7982589,0.002018118,0.00396581,0.005985191,0.00029781836,0.00003367813,0.00006648623,0.00004158385,0.18933232],"genre_scores_gemma":[0.99264634,0.0006375197,0.00021731647,0.00031882428,0.00007606064,0.000008817826,0.000015008455,0.000017277163,0.0060629384],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99892163,0.00074069656,0.000015187543,0.000075933014,0.00013033523,0.00011611453],"domain_scores_gemma":[0.9982023,0.0010985645,0.0003285955,0.00008395674,0.00010157565,0.00018501095],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010022469,0.00032492555,0.0001935792,0.0007163587,0.004062807,0.0055090627,0.0003421287,0.00080887944,0.0028328705],"category_scores_gemma":[0.003632894,0.00016617532,0.000182144,0.00052279554,0.0102175865,0.0033918815,0.0031129743,0.0018626659,0.0001695486],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007268662,0.000025997271,0.0031624003,0.000081183425,0.00001030151,0.00037330188,0.9172238,0.00004304524,0.0023138889,0.06518599,0.0021035662,0.009403797],"study_design_scores_gemma":[0.000014835578,0.000110832094,0.01754493,0.0002855324,0.000034622382,0.0010603825,0.8507281,0.00024449948,0.0017218544,0.011010639,0.117199436,0.00004437423],"about_ca_topic_score_codex":0.0039404626,"about_ca_topic_score_gemma":0.005937722,"teacher_disagreement_score":0.0055090627,"about_ca_system_score_codex":0.0009655544,"about_ca_system_score_gemma":0.00036463732,"threshold_uncertainty_score":0.0094768405},"labels":[],"label_agreement":null},{"id":"W304474766","doi":"","title":"Two Films by Amnon Buchbinder: Some Questions about the Future of Canadian Cinema","year":2006,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Enthusiasm; Film director; Context (archaeology); Media studies; History; Art history; Art; Advertising; Sociology; Psychology; Business","score_opus":0.013331521563555772,"score_gpt":0.20909997638205147,"score_spread":0.1957684548184957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W304474766","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01965374,0.14972271,0.0004038625,0.66624236,0.012113986,0.00007322601,0.00037320532,0.0000661205,0.15135084],"genre_scores_gemma":[0.49889684,0.20294414,0.0025861796,0.08284953,0.006199073,0.00015064285,0.00056667486,0.0002527713,0.2055542],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974262,0.00058826274,0.000047442954,0.00021701927,0.0009776272,0.000743374],"domain_scores_gemma":[0.994214,0.0011823145,0.00015485632,0.00010603708,0.0027482468,0.0015944852],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032555535,0.00076691114,0.0004308106,0.001797201,0.023728969,0.011454902,0.0016882247,0.004347116,0.012437851],"category_scores_gemma":[0.006481953,0.00048465643,0.00037479473,0.0025091246,0.007694734,0.0064411135,0.002214819,0.0070576775,0.0009254968],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055395398,0.00003265026,0.0008379873,0.00024050778,0.0000124826465,0.0004540692,0.045052357,0.00006613541,0.00057533936,0.046367735,0.87892556,0.027379723],"study_design_scores_gemma":[0.000010552437,0.000011030598,0.0032887487,0.00054450694,0.000011391802,0.00020635454,0.06355177,0.00006761805,0.00020054179,0.0021366873,0.9299072,0.00006353678],"about_ca_topic_score_codex":0.93916136,"about_ca_topic_score_gemma":0.96785164,"teacher_disagreement_score":0.06083864,"about_ca_system_score_codex":0.051871445,"about_ca_system_score_gemma":0.032044265,"threshold_uncertainty_score":0.37635547},"labels":[],"label_agreement":null},{"id":"W3045510281","doi":"10.1007/978-3-030-41421-4_12","title":"Women in Horror, Social Activism, and Twitter: Asia Argento, Anna Biller, and the Soska Sisters","year":2020,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Social media; Sociology; Media studies; World Wide Web; Computer science","score_opus":0.05152135125749613,"score_gpt":0.21584985896521566,"score_spread":0.16432850770771953,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3045510281","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.085402496,0.09420949,0.00025550168,0.387994,0.0070107887,0.000050335693,0.00046313103,0.000048001624,0.4245662],"genre_scores_gemma":[0.50271785,0.06761219,0.00027801038,0.033173222,0.0073666926,0.00015932151,0.00028086797,0.0002041441,0.38820773],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99957687,0.00017302476,0.0000073455576,0.000040004135,0.00006120811,0.00014146199],"domain_scores_gemma":[0.9988549,0.00061056204,0.000101511665,0.000024122197,0.00008036998,0.0003285219],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012447798,0.00057207776,0.0003757431,0.00095865113,0.0074176746,0.008043933,0.0005599724,0.0024113492,0.016683914],"category_scores_gemma":[0.001904341,0.00027736244,0.00014617125,0.0017144782,0.0033986208,0.00692867,0.0032146287,0.003951333,0.0012983902],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014857252,0.00014778624,0.0043063,0.0003609061,0.000013624102,0.00036519446,0.211765,0.00003670245,0.00029924334,0.122060135,0.56659263,0.09390396],"study_design_scores_gemma":[0.000012411959,0.00002684742,0.0076762023,0.00066552893,0.000007585101,0.000096268246,0.16066177,0.00004485056,0.00010371526,0.0044559175,0.8262352,0.000013759293],"about_ca_topic_score_codex":0.026353616,"about_ca_topic_score_gemma":0.06885505,"teacher_disagreement_score":0.026353616,"about_ca_system_score_codex":0.0027974916,"about_ca_system_score_gemma":0.0022778693,"threshold_uncertainty_score":0.055813253},"labels":[],"label_agreement":null},{"id":"W3045693919","doi":"10.1162/leon_r_01953","title":"<i>The Webcam as an Emerging Cinematic Medium</i> by Paula Albuquerque. Amsterdam Univ. Press, Amsterdam, NL, 2018. Film Culture in Transition Series, 1st Ed. 244 pp. Trade. ISBN: 978-9462985582.","year":2020,"lang":"en","type":"article","venue":"Leonardo","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Citation; Download; Art; Digital media; Art history; Computer science; Media studies; Library science; World Wide Web; Sociology","score_opus":0.020438137464229705,"score_gpt":0.2193653992266588,"score_spread":0.1989272617624291,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3045693919","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00061794487,0.2874617,0.0031183485,0.014054145,0.008025042,0.00015997545,0.0035425841,0.0020180696,0.6810022],"genre_scores_gemma":[0.003537226,0.09971035,0.0018741176,0.0013410689,0.0012761652,0.0001250558,0.0015445828,0.0012484893,0.889343],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993788,0.000083049476,0.000041577183,0.00014001141,0.0002918701,0.00006465187],"domain_scores_gemma":[0.9990004,0.00023897782,0.00009745851,0.00008366022,0.00037194605,0.0002077216],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00081429916,0.0019505334,0.0009343547,0.0028235686,0.0010229562,0.006565294,0.0010172713,0.0018347778,0.41402897],"category_scores_gemma":[0.0018632598,0.00093437394,0.00057726365,0.0033866873,0.00081155536,0.0063908184,0.0026634233,0.0029080135,0.29823002],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015371443,0.000008023934,0.000072014525,0.00048570137,0.000005293416,0.000026134716,0.00016346962,0.000034840225,0.00041315198,0.002127895,0.8823616,0.11428651],"study_design_scores_gemma":[0.0000014246774,0.0000031961652,0.0003654923,0.00045625644,0.0000024708083,0.00006640889,0.00009646398,0.000023181887,0.00007189894,0.00022478889,0.9986847,0.0000036902325],"about_ca_topic_score_codex":0.016041305,"about_ca_topic_score_gemma":0.021243036,"teacher_disagreement_score":0.41402897,"about_ca_system_score_codex":0.0022425628,"about_ca_system_score_gemma":0.0016370392,"threshold_uncertainty_score":0.83581656},"labels":[],"label_agreement":null},{"id":"W3048763517","doi":"10.7202/1070958ar","title":"A Documentary Film on Fire: Les terribles vivantes/Firewords","year":2020,"lang":"en","type":"article","venue":"Studies in Canadian Literature","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Saskatchewan","funders":"","keywords":"Documentary film; Art; Geography; Art history","score_opus":0.04488714156221071,"score_gpt":0.26078606476802463,"score_spread":0.21589892320581391,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3048763517","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06260017,0.05007451,0.00083878357,0.16099815,0.020569004,0.00009948084,0.0057752696,0.00015590589,0.6988888],"genre_scores_gemma":[0.5118643,0.029694209,0.0013681609,0.01221399,0.004280197,0.000055902707,0.0020170687,0.0003666474,0.43813953],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928075,0.00014888811,0.000016008124,0.00006022649,0.0003074231,0.00018674396],"domain_scores_gemma":[0.9986193,0.00038854982,0.000101403464,0.00005416665,0.00052965974,0.0003069455],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009307,0.0004975918,0.00025690233,0.0011212496,0.00904112,0.005172722,0.00079831143,0.0015436382,0.025049124],"category_scores_gemma":[0.0036923513,0.00027732094,0.00025414696,0.0020754584,0.003088049,0.0019517035,0.001435662,0.0036775165,0.001676718],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009970343,0.00002104911,0.0013445235,0.0002527832,0.000012495233,0.0006611917,0.057983354,0.000060481838,0.00080324145,0.02830032,0.88297826,0.02748257],"study_design_scores_gemma":[0.000005733875,0.000008078451,0.0075007286,0.00026923048,0.000008828594,0.00016205575,0.031263977,0.000019110037,0.00026155583,0.0003829355,0.960103,0.000014900494],"about_ca_topic_score_codex":0.8095633,"about_ca_topic_score_gemma":0.93117744,"teacher_disagreement_score":0.19043672,"about_ca_system_score_codex":0.014560907,"about_ca_system_score_gemma":0.011330674,"threshold_uncertainty_score":0.38311642},"labels":[],"label_agreement":null},{"id":"W304987394","doi":"","title":"One Hundred Years of Canadian Cinema/they Came from Within: A History of Canadian Horror Cinema","year":2007,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Publishing; Audience measurement; Media studies; Reading (process); Art history; History; Sociology; Literature; Art; Law; Political science","score_opus":0.07355120576882049,"score_gpt":0.21739797288229323,"score_spread":0.14384676711347275,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W304987394","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006479766,0.7243084,0.00040166287,0.027314208,0.005869942,0.00004134366,0.0006383083,0.00006906403,0.23487729],"genre_scores_gemma":[0.19351795,0.4997642,0.0010807961,0.006471667,0.0020074232,0.000049001133,0.0006035508,0.000197503,0.29630795],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99813616,0.00017542338,0.000041491996,0.0001683623,0.0010623568,0.00041622607],"domain_scores_gemma":[0.9974366,0.00030432755,0.00010521614,0.000059187067,0.0014447964,0.0006498993],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001030973,0.0008795698,0.00045203592,0.005972812,0.011617954,0.008968969,0.0013070176,0.0016440134,0.019519212],"category_scores_gemma":[0.0026111894,0.0006509911,0.00030580137,0.008799152,0.0078029647,0.002905084,0.0018423804,0.0029320451,0.0020050777],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055425244,0.000026129475,0.0015679839,0.001261035,0.000029964705,0.00037663424,0.0370898,0.00017991858,0.0004919735,0.08879916,0.7171563,0.15296568],"study_design_scores_gemma":[0.000001168597,0.000003732563,0.002629858,0.0004825399,0.0000068775535,0.00008411545,0.004727557,0.00001298575,0.000049355636,0.00053327356,0.9914552,0.000013339723],"about_ca_topic_score_codex":0.96261173,"about_ca_topic_score_gemma":0.9846533,"teacher_disagreement_score":0.0946494,"about_ca_system_score_codex":0.0946494,"about_ca_system_score_gemma":0.076598905,"threshold_uncertainty_score":0.68673265},"labels":[],"label_agreement":null},{"id":"W3060994370","doi":"10.1525/msem.2020.36.1-2.216","title":"A Sentimental and Sexual Education","year":2020,"lang":"en","type":"article","venue":"Mexican Studies/Estudios Mexicanos","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Human sexuality; Gender studies; Movie theater; Narrative; Sociology; Psychology; History; Art; Art history; Literature","score_opus":0.06361197583523738,"score_gpt":0.2697950327255978,"score_spread":0.20618305689036043,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3060994370","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2600029,0.005394551,0.0007291709,0.057440117,0.0008997665,0.000031168976,0.00043991685,0.000028265855,0.67503417],"genre_scores_gemma":[0.8538425,0.003410671,0.00027469473,0.003506865,0.00043019836,0.000016774906,0.00011000481,0.000026915117,0.13838151],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997472,0.00010650486,0.0000045758725,0.00002811125,0.00005702284,0.000056709003],"domain_scores_gemma":[0.99961215,0.000071915965,0.00009234061,0.000028012188,0.000073482726,0.00012212977],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004706613,0.0001463506,0.0001054344,0.00041900174,0.0037014685,0.0028365555,0.00016550468,0.0005171243,0.016263265],"category_scores_gemma":[0.0010847083,0.00008201773,0.00008574541,0.00038325234,0.0030741668,0.0013300868,0.0011184243,0.0012110353,0.0007779418],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011404126,0.0001790724,0.03837979,0.0003003203,0.000024360106,0.0010941265,0.19029096,0.00009418337,0.0025980507,0.45676082,0.16469072,0.14547357],"study_design_scores_gemma":[0.0000065852805,0.00004817975,0.031248895,0.00019693578,0.0000064352857,0.0003680733,0.06557828,0.00005663222,0.00020900584,0.0038663337,0.89840376,0.000010912455],"about_ca_topic_score_codex":0.01230683,"about_ca_topic_score_gemma":0.02053334,"teacher_disagreement_score":0.016263265,"about_ca_system_score_codex":0.001610148,"about_ca_system_score_gemma":0.0007582671,"threshold_uncertainty_score":0.054406106},"labels":[],"label_agreement":null},{"id":"W306944799","doi":"10.3366/jbctv.2005.2.2.363","title":"Andrew Spicer, <i>Film Noir</i>","year":2005,"lang":"en","type":"article","venue":"Journal of British Cinema and Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"History; Art history","score_opus":0.013610768057522357,"score_gpt":0.21057409084735984,"score_spread":0.19696332278983747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W306944799","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003747806,0.15497562,0.0012347862,0.5944752,0.07821654,0.00006438735,0.0021678624,0.00042848437,0.16468932],"genre_scores_gemma":[0.029391784,0.094426684,0.0010198765,0.07713165,0.02389366,0.00006621792,0.0011359818,0.00045095055,0.77248317],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938273,0.00010784529,0.000032341955,0.000103736755,0.00028726264,0.00008616308],"domain_scores_gemma":[0.99772626,0.0005466043,0.0001557568,0.00006864377,0.001030784,0.00047188948],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009967306,0.00064302556,0.0004023527,0.0022206192,0.0038095252,0.0040110475,0.000858476,0.003111522,0.06640194],"category_scores_gemma":[0.006173147,0.000392498,0.0002641706,0.001853076,0.0008508644,0.0029452299,0.0013871599,0.0028703902,0.019589828],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011144441,0.0000041243716,0.000150098,0.000067915505,0.0000023898847,0.000037006168,0.00012337531,0.000016959746,0.00007713867,0.00086948543,0.98694056,0.0116996765],"study_design_scores_gemma":[0.00000321078,0.0000066721236,0.0014074503,0.00011774955,0.0000050070357,0.00009816721,0.0009196448,0.00003560939,0.0001942953,0.0007807402,0.9964204,0.000011116543],"about_ca_topic_score_codex":0.045669813,"about_ca_topic_score_gemma":0.14788255,"teacher_disagreement_score":0.06640194,"about_ca_system_score_codex":0.0018726742,"about_ca_system_score_gemma":0.0012805875,"threshold_uncertainty_score":0.22213662},"labels":[],"label_agreement":null},{"id":"W306957488","doi":"","title":"Some Tentative Responses to Directors I Value","year":2007,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Value (mathematics); Ideal (ethics); Media studies; Aesthetics; Sociology; Art; Law; Political science; Computer science","score_opus":0.04517971666245408,"score_gpt":0.2806794059411365,"score_spread":0.23549968927868242,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W306957488","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0026420802,0.0019742793,0.00044702957,0.89454114,0.038945705,0.00009137897,0.00010299403,0.000117965166,0.061137456],"genre_scores_gemma":[0.03936353,0.0018435809,0.00078178186,0.71096414,0.012782399,0.00033267582,0.000113376635,0.00018255312,0.23363604],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9788517,0.008651278,0.00081646885,0.0022763852,0.004010844,0.0053933626],"domain_scores_gemma":[0.975752,0.0064970236,0.0010914201,0.0010429659,0.008634639,0.0069819014],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.013495217,0.0013851388,0.0009040397,0.0013019125,0.02516225,0.02305148,0.0050810687,0.026686732,0.033418484],"category_scores_gemma":[0.058800537,0.00085466803,0.0010285063,0.002105499,0.009142343,0.009324031,0.011000127,0.035579257,0.010334944],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019663272,0.000034301367,0.00050758215,0.000045334364,0.0000034340856,0.00030563906,0.009956962,0.00002016608,0.00016208221,0.028272683,0.95687276,0.003799302],"study_design_scores_gemma":[0.0000057394473,0.00001666304,0.0004263089,0.00010279699,0.0000028814486,0.00009797365,0.027636068,0.000051602296,0.000092901406,0.0018462213,0.96969193,0.000028949438],"about_ca_topic_score_codex":0.027015354,"about_ca_topic_score_gemma":0.028848328,"teacher_disagreement_score":0.033418484,"about_ca_system_score_codex":0.0142039405,"about_ca_system_score_gemma":0.016280431,"threshold_uncertainty_score":0.11179596},"labels":[],"label_agreement":null},{"id":"W3080920745","doi":"10.18357/bigr12202019797","title":"Cold War (2018): Tough Love in the Shadow of the Iron Curtain","year":2020,"lang":"en","type":"article","venue":"Borders in Globalization Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Iron Curtain; Cold war; Shadow (psychology); Art; Political science; Psychology; Law; Psychoanalysis","score_opus":0.031220449340094672,"score_gpt":0.2567168093471119,"score_spread":0.22549636000701723,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3080920745","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001824912,0.9124823,0.00021533799,0.04292684,0.011135237,0.000011396745,0.00022207017,0.000020003821,0.031161834],"genre_scores_gemma":[0.04658582,0.8838784,0.00041372923,0.020720491,0.019682888,0.000038206595,0.00052145455,0.00011900735,0.028039956],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992618,0.00026842067,0.00005049871,0.00008309187,0.00023594001,0.000100167366],"domain_scores_gemma":[0.99574643,0.0021171647,0.00044981384,0.00011773209,0.0012159739,0.0003529025],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00203674,0.00057036465,0.0005318847,0.003595963,0.0013201808,0.004700237,0.00051050016,0.0019691002,0.014362179],"category_scores_gemma":[0.007584563,0.00024366668,0.00028172662,0.0033172658,0.0018291328,0.0039615757,0.0012430405,0.0027724484,0.0018894002],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008311203,0.000020640173,0.0006004826,0.0054865396,0.000046856123,0.00015879182,0.0027224123,0.00009836889,0.00042336047,0.026882745,0.8055457,0.15793103],"study_design_scores_gemma":[0.0000036328502,0.000010556323,0.0015496148,0.0047037625,0.000021203681,0.00010654385,0.00129928,0.000014687822,0.00009401682,0.001068295,0.99112153,0.0000067655897],"about_ca_topic_score_codex":0.010446654,"about_ca_topic_score_gemma":0.022328565,"teacher_disagreement_score":0.014362179,"about_ca_system_score_codex":0.0023691843,"about_ca_system_score_gemma":0.0036154052,"threshold_uncertainty_score":0.04804629},"labels":[],"label_agreement":null},{"id":"W3081176217","doi":"10.1093/oso/9780190938635.003.0003","title":"Expanded Cinema Revis(it)ed","year":2020,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Filmmaking; Exhibition; French New Wave; Aesthetics; Art; Film theory; Media studies; Visual arts; Sociology","score_opus":0.0606428431053327,"score_gpt":0.22361369895969577,"score_spread":0.16297085585436305,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3081176217","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012637898,0.0071361135,0.0007149113,0.004033262,0.00604293,0.00005198693,0.0005451845,0.00034543662,0.97986645],"genre_scores_gemma":[0.01980016,0.005902329,0.00080471754,0.0017520464,0.0030567807,0.000060802122,0.000691179,0.00031704822,0.96761507],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992823,0.00012686677,0.000042891206,0.00014045123,0.0002850357,0.00012250632],"domain_scores_gemma":[0.9992487,0.00010633273,0.00003827241,0.00019616402,0.00027903222,0.00013160979],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00076569384,0.00059267605,0.00030849685,0.0028844832,0.0022852719,0.008104946,0.0009288356,0.0017176527,0.36121628],"category_scores_gemma":[0.0017930568,0.00032421786,0.00042080221,0.0017677064,0.0011585536,0.004392022,0.0033725647,0.0028848394,0.08874707],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040297524,0.00004457289,0.00029052346,0.00031941308,0.000005337921,0.00019475658,0.0015329774,0.00009303957,0.00095096906,0.1208194,0.64061326,0.2350954],"study_design_scores_gemma":[0.0000011015921,0.0000032100606,0.00016124462,0.00006919348,8.973458e-7,0.000039909548,0.00011125172,0.000020147512,0.00008626211,0.00060092635,0.99890375,0.000002165969],"about_ca_topic_score_codex":0.0061535197,"about_ca_topic_score_gemma":0.008439013,"teacher_disagreement_score":0.36121628,"about_ca_system_score_codex":0.0025534714,"about_ca_system_score_gemma":0.0015326492,"threshold_uncertainty_score":0.9111475},"labels":[],"label_agreement":null},{"id":"W3081233584","doi":"10.7202/1071098ar","title":"The Multiple Dispositifs of (Early) Cinema","year":2020,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Perspective (graphical); Variety (cybernetics); Pragmatics; Sociology; Art; Aesthetics; Visual arts; Media studies; Computer science; Philosophy; Linguistics","score_opus":0.04271132913863897,"score_gpt":0.22418369871812655,"score_spread":0.1814723695794876,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3081233584","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31674582,0.003004057,0.04791245,0.007425065,0.0002486746,0.00007908068,0.0001643443,0.00017326445,0.62424725],"genre_scores_gemma":[0.98736155,0.00045368576,0.0029851624,0.00014560074,0.00006677623,0.000029810455,0.000036288853,0.00003911924,0.008882114],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99870574,0.00044423225,0.00005571573,0.0002825676,0.00031154786,0.00020016491],"domain_scores_gemma":[0.9971723,0.0012991561,0.00032842896,0.0005586551,0.00033919504,0.00030235035],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002254524,0.00034568206,0.00025427493,0.002421818,0.004346833,0.009776118,0.0008583761,0.0013665564,0.007446099],"category_scores_gemma":[0.0064858445,0.0003796226,0.00036781793,0.0010333217,0.022215657,0.012397643,0.0050783698,0.0024519817,0.00052829634],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002593549,0.000014820698,0.001714318,0.000029458884,0.000006002873,0.0001933676,0.015949324,0.00012172267,0.00033780688,0.97010267,0.000560989,0.0109436335],"study_design_scores_gemma":[0.00002295266,0.00008725255,0.013941482,0.00035208953,0.00003772219,0.0010565713,0.026887778,0.0015521634,0.0019269756,0.8078845,0.14617367,0.0000769237],"about_ca_topic_score_codex":0.0028863214,"about_ca_topic_score_gemma":0.0029527168,"teacher_disagreement_score":0.009776118,"about_ca_system_score_codex":0.0032432724,"about_ca_system_score_gemma":0.001125905,"threshold_uncertainty_score":0.024909735},"labels":[],"label_agreement":null},{"id":"W3083963749","doi":"10.7202/1069295ar","title":"Mondes et temps suspendus","year":2019,"lang":"fr","type":"article","venue":"Nouvelles vues Revue sur les pratiques les théories et l histoire du cinéma au Québec","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Philosophy","score_opus":0.018160297323716646,"score_gpt":0.22013663657032803,"score_spread":0.20197633924661137,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3083963749","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.069097795,0.010122301,0.00271604,0.032615285,0.002455601,0.000058306752,0.0005661901,0.00018741141,0.882181],"genre_scores_gemma":[0.6014605,0.0043400135,0.0010441005,0.0026937996,0.00049940794,0.000049632767,0.00021510468,0.00017838349,0.38951907],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987023,0.00039044017,0.000026381858,0.00022515953,0.00028485287,0.0003707756],"domain_scores_gemma":[0.99895155,0.00015304967,0.00008549007,0.00011432823,0.00030258205,0.00039291097],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012267266,0.00052673003,0.00037916418,0.00080660224,0.014495369,0.008398188,0.00088625867,0.0014370859,0.030489355],"category_scores_gemma":[0.0026876084,0.00027221534,0.00021720845,0.0007528863,0.011408622,0.004856989,0.004939628,0.0031919656,0.0031266657],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008291344,0.000016138965,0.0022779896,0.00018398657,0.0000171652,0.0007678974,0.14299957,0.00015079777,0.0011487845,0.7530703,0.071395606,0.027888855],"study_design_scores_gemma":[0.0000038502153,0.0000095832265,0.001932981,0.00018766528,0.0000062550084,0.00018086932,0.030996716,0.0000648497,0.00013691052,0.0075868694,0.95887375,0.000019758585],"about_ca_topic_score_codex":0.37165254,"about_ca_topic_score_gemma":0.55183995,"teacher_disagreement_score":0.62834746,"about_ca_system_score_codex":0.015807156,"about_ca_system_score_gemma":0.010128442,"threshold_uncertainty_score":0.73897856},"labels":[],"label_agreement":null},{"id":"W308559747","doi":"","title":"On William D. MacGillivray","year":2006,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Hollywood; Media studies; History; Art history; Sociology","score_opus":0.01918448343748276,"score_gpt":0.20599296854558774,"score_spread":0.186808485108105,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W308559747","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006237979,0.11028627,0.00054824265,0.37412885,0.118330516,0.00011912534,0.00043220632,0.00023720496,0.3952938],"genre_scores_gemma":[0.0048022876,0.020273598,0.00028955782,0.064343974,0.011079819,0.000060805214,0.0000895908,0.00014640682,0.8989139],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982949,0.00030236962,0.000058588965,0.0003514877,0.00080980215,0.00018284719],"domain_scores_gemma":[0.9975764,0.00049456116,0.00008298821,0.00014116945,0.0012352047,0.00046963326],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016033944,0.0009950133,0.0006099014,0.0013571047,0.0062337043,0.005993056,0.0013110277,0.0041483846,0.069015756],"category_scores_gemma":[0.0067288666,0.0005829417,0.00050947425,0.0008165276,0.002844454,0.0037514535,0.0027994982,0.008594183,0.0291245],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000052545824,0.000004030204,0.000023635761,0.00001565599,6.507149e-7,0.000023164968,0.00009938317,0.0000058753203,0.000022310489,0.0029808644,0.99123466,0.0055845017],"study_design_scores_gemma":[8.285709e-7,0.0000016436416,0.000048624377,0.000050147122,3.4189213e-7,0.000017990593,0.000078036006,0.0000030494084,0.000008646993,0.00023572589,0.9995534,0.0000016462739],"about_ca_topic_score_codex":0.07477224,"about_ca_topic_score_gemma":0.1552058,"teacher_disagreement_score":0.07477224,"about_ca_system_score_codex":0.0056647,"about_ca_system_score_gemma":0.00555171,"threshold_uncertainty_score":0.23088068},"labels":[],"label_agreement":null},{"id":"W3087099840","doi":"10.3390/arts9030098","title":"Tracing Tendencies in the Japanese Documentary Mode","year":2020,"lang":"en","type":"article","venue":"Arts","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Tracing; Mode (computer interface); History; Computer science; Programming language; Human–computer interaction","score_opus":0.058120874229756765,"score_gpt":0.24316776835732262,"score_spread":0.18504689412756586,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3087099840","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96114564,0.00032588767,0.0014468607,0.00044919946,0.000028578366,0.000030662097,0.0006317365,0.000030106312,0.035911445],"genre_scores_gemma":[0.9926715,0.00025275775,0.0015242546,0.000039654722,0.00002591257,0.000022689805,0.000303309,0.000031394906,0.0051286006],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.99949443,0.00012976943,0.00004730281,0.000133127,0.0001171112,0.0000782393],"domain_scores_gemma":[0.9940409,0.0014645932,0.0014195121,0.0005716249,0.002079427,0.0004239754],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012963068,0.00019327269,0.00016943095,0.0043381103,0.0014638158,0.0037255953,0.0003960952,0.00044789337,0.0050954362],"category_scores_gemma":[0.0087338295,0.00020496233,0.00011801594,0.005823313,0.0011597223,0.003159923,0.0012976397,0.00053740956,0.00076485885],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039061657,0.00008604448,0.53190297,0.0002715281,0.000052569147,0.0008238426,0.26413095,0.00040148682,0.008000728,0.06309297,0.009676178,0.121170215],"study_design_scores_gemma":[0.000019985928,0.00009475362,0.7771998,0.000195652,0.00010212454,0.00042107553,0.13258712,0.004758349,0.0031606548,0.008322544,0.07304558,0.00009244114],"about_ca_topic_score_codex":0.03344341,"about_ca_topic_score_gemma":0.041686557,"teacher_disagreement_score":0.03344341,"about_ca_system_score_codex":0.0016193266,"about_ca_system_score_gemma":0.0008141354,"threshold_uncertainty_score":0.066497505},"labels":[],"label_agreement":null},{"id":"W3088792197","doi":"10.17483/2368-6669.1270","title":"Special Edition Interview with Dr. Marilynn Wood","year":2020,"lang":"en","type":"article","venue":"Quality Advancement in Nursing Education - Avancées en formation infirmière","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta; University of Toronto","funders":"","keywords":"Library science; Art; Computer science","score_opus":0.06679254458218678,"score_gpt":0.3299465915768552,"score_spread":0.2631540469946684,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3088792197","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001180012,0.0089307,0.00015528372,0.86957633,0.058014493,0.000079116486,0.0013998258,0.00012220179,0.06054201],"genre_scores_gemma":[0.0071382974,0.0055201035,0.00013683681,0.51487833,0.021314582,0.00027342566,0.00062191556,0.00012395241,0.44999254],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999204,0.0001624552,0.000048250648,0.000110514266,0.00025725176,0.00021755854],"domain_scores_gemma":[0.9962153,0.0015909341,0.00019963112,0.00008293135,0.0011173802,0.00079378625],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018902052,0.0006326941,0.0006259731,0.0011133268,0.003885864,0.0028584267,0.0011512723,0.008004467,0.099335134],"category_scores_gemma":[0.008651582,0.00055000605,0.0003858399,0.0013919199,0.0007662285,0.003961147,0.0021222825,0.00805435,0.04012468],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000042388215,0.0000023361001,0.00006634984,0.000015426733,2.3590624e-7,0.00003431303,0.00013680414,0.0000038594467,0.000016361004,0.00019427628,0.9980261,0.0014996238],"study_design_scores_gemma":[0.0000032866267,0.0000050068975,0.0007836338,0.00005832951,6.475246e-7,0.000080151396,0.0011341886,0.000016229156,0.000019850102,0.00018377481,0.99770975,0.0000050998],"about_ca_topic_score_codex":0.029917156,"about_ca_topic_score_gemma":0.06427577,"teacher_disagreement_score":0.099335134,"about_ca_system_score_codex":0.0030940778,"about_ca_system_score_gemma":0.0038449976,"threshold_uncertainty_score":0.33230913},"labels":[],"label_agreement":null},{"id":"W3089213347","doi":"","title":"The Temperature at which Partisanship Spreads: A Genre Analysis of American Partisan Political Documentaries","year":2020,"lang":"en","type":"article","venue":"Crossings","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Winnipeg","funders":"","keywords":"Trustworthiness; Politics; Genre analysis; Polarization (electrochemistry); Political science; Appeal to emotion; Media studies; Law; Sociology; Social psychology; Psychology; Linguistics; Appeal; Philosophy","score_opus":0.029834057524108736,"score_gpt":0.25640374422167406,"score_spread":0.22656968669756533,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3089213347","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96903,0.0010886859,0.0006391853,0.0004274084,0.00006801144,0.000047927744,0.0004978925,0.00002415506,0.028176721],"genre_scores_gemma":[0.994831,0.0008901984,0.0006696176,0.000081226244,0.00013137766,0.000047913018,0.00049787434,0.000046915015,0.0028038088],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.998743,0.00050209434,0.00008266424,0.000118026044,0.00040242617,0.00015189005],"domain_scores_gemma":[0.98730695,0.0061942367,0.0020446267,0.0007419642,0.0030213587,0.0006908688],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021430892,0.00018766425,0.00022293079,0.006078113,0.0022352142,0.0041953498,0.00023502776,0.0002955632,0.0018700741],"category_scores_gemma":[0.010855844,0.00014522695,0.00016889995,0.0051024295,0.001258251,0.0017640323,0.0012680443,0.00078078813,0.0004516093],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0011897167,0.00020971219,0.29909456,0.0005767723,0.000109695735,0.0010214237,0.40973195,0.0003092047,0.016573245,0.016005091,0.014642408,0.24053623],"study_design_scores_gemma":[0.000015807731,0.00014561314,0.78539526,0.00027852057,0.00005035145,0.0005056841,0.1539575,0.00073644245,0.0017780502,0.0016479851,0.055435274,0.000053498647],"about_ca_topic_score_codex":0.005837417,"about_ca_topic_score_gemma":0.010646898,"teacher_disagreement_score":0.006078113,"about_ca_system_score_codex":0.0010198997,"about_ca_system_score_gemma":0.0004463145,"threshold_uncertainty_score":0.011606872},"labels":[],"label_agreement":null},{"id":"W3090054250","doi":"","title":"The Beginnings of the Beginnings: Canada's Top 10 Fiction Feature Film Debuts Since 1968","year":2004,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Feature (linguistics); Feature film; Art; History; Art history; Philosophy; Linguistics; Movie theater","score_opus":0.00899034091851317,"score_gpt":0.18128515872481615,"score_spread":0.17229481780630299,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3090054250","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.350731,0.012962893,0.00046189982,0.089407295,0.0022976012,0.00007640614,0.0055765645,0.0001404342,0.5383458],"genre_scores_gemma":[0.8689044,0.0034060467,0.00031582205,0.0049873595,0.00038738083,0.000014601625,0.0011808767,0.00011759311,0.12068602],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99745816,0.00013279764,0.00003350504,0.00019077647,0.0011626369,0.0010221282],"domain_scores_gemma":[0.99206275,0.0007793753,0.00041504967,0.00017419494,0.0043292767,0.0022393134],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013860493,0.00027887625,0.0003303511,0.0027577078,0.016568555,0.01657403,0.0010076468,0.002270107,0.016746894],"category_scores_gemma":[0.009741319,0.00032413844,0.00018964779,0.0042123785,0.0045997654,0.0028621464,0.0022251066,0.0050608795,0.0010739435],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040634262,0.00013105884,0.036391497,0.00036556748,0.00005022856,0.001329008,0.106648184,0.0004107243,0.0012991678,0.14461628,0.57654274,0.13180913],"study_design_scores_gemma":[0.000008330699,0.000015838572,0.06798889,0.0003322053,0.00002046548,0.00011253774,0.041610956,0.000110098445,0.0004997693,0.0013814141,0.88787705,0.000042401945],"about_ca_topic_score_codex":0.9770924,"about_ca_topic_score_gemma":0.9919419,"teacher_disagreement_score":0.08411554,"about_ca_system_score_codex":0.08411554,"about_ca_system_score_gemma":0.064354695,"threshold_uncertainty_score":0.6103038},"labels":[],"label_agreement":null},{"id":"W3090084996","doi":"","title":"Pen and Pixel Extra: Scenes from the General Assembly","year":2013,"lang":"en","type":"article","venue":"Journal of the Royal Astronomical Society of Canada","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Pixel; Computer graphics (images); Computer vision; Computer science; Artificial intelligence","score_opus":0.012101862034125674,"score_gpt":0.17944320596335897,"score_spread":0.1673413439292333,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3090084996","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06313272,0.0072578164,0.007372838,0.058889393,0.008568312,0.00015402619,0.02024472,0.003688909,0.8306912],"genre_scores_gemma":[0.28248572,0.004906491,0.012405963,0.0087827165,0.0046085096,0.000099218996,0.010887359,0.008929281,0.66689473],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99965584,0.00010145984,0.000006599697,0.000041631887,0.00009767305,0.000096802665],"domain_scores_gemma":[0.9988902,0.0003531444,0.00003334354,0.00015473412,0.00026398263,0.00030459207],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00066593423,0.0007918646,0.00031555843,0.0011719257,0.005003011,0.0046868357,0.0005844808,0.0012779953,0.08622704],"category_scores_gemma":[0.0029863124,0.0004069698,0.0003812463,0.0022126483,0.0014748796,0.0019913295,0.001869906,0.0027390695,0.013368576],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016804309,0.000029070805,0.00069993554,0.000083256804,0.000006414647,0.00027128268,0.0058781905,0.00020640303,0.00036536003,0.007500581,0.94513714,0.03965441],"study_design_scores_gemma":[0.000008497872,0.000009671788,0.0030573162,0.0000653252,0.0000045783067,0.00008495339,0.004793175,0.0001527498,0.00017778277,0.0011830626,0.9904507,0.000012242258],"about_ca_topic_score_codex":0.10778711,"about_ca_topic_score_gemma":0.3495121,"teacher_disagreement_score":0.10778711,"about_ca_system_score_codex":0.002120658,"about_ca_system_score_gemma":0.0013100116,"threshold_uncertainty_score":0.28845817},"labels":[],"label_agreement":null},{"id":"W3090143952","doi":"","title":"Children's Films of La Fête and Hollywood: Issues of Reality, Fantasy and National Identity","year":2005,"lang":"en","type":"article","venue":"Journal of Childhood Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Fantasy; Hollywood; Art; National identity; Identity (music); Art history; Aesthetics; Sociology; Literature; Political science; Law","score_opus":0.03212617443867232,"score_gpt":0.2974775070501036,"score_spread":0.2653513326114313,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3090143952","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7464389,0.0058834148,0.000494533,0.027288994,0.000339492,0.000034364468,0.0006174197,0.000025218282,0.21887769],"genre_scores_gemma":[0.9822903,0.002264332,0.00022209245,0.0007589779,0.0000653543,0.000030653275,0.000114947194,0.00003431521,0.014219149],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9991215,0.00040367784,0.000023063987,0.000081838996,0.00012775495,0.00024212114],"domain_scores_gemma":[0.9970933,0.0017919978,0.00034335357,0.00010484743,0.00027929174,0.0003871005],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016991744,0.00048768063,0.0003938062,0.0013106588,0.008887738,0.008708939,0.0007219253,0.0022242046,0.007582328],"category_scores_gemma":[0.00574468,0.00044823784,0.0002940432,0.0013300742,0.007462102,0.0052614333,0.0032168406,0.0054210373,0.0004067047],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010124126,0.000060270395,0.004983115,0.00011975482,0.00002074664,0.0017070962,0.91652393,0.000040893116,0.00069887587,0.05805982,0.012417062,0.005267296],"study_design_scores_gemma":[0.000014895316,0.000023080858,0.027787236,0.0005018435,0.00002812016,0.0011434879,0.8246898,0.000036247002,0.0006102494,0.003245226,0.14188655,0.000033142205],"about_ca_topic_score_codex":0.0368545,"about_ca_topic_score_gemma":0.10984345,"teacher_disagreement_score":0.0368545,"about_ca_system_score_codex":0.004643979,"about_ca_system_score_gemma":0.0014369574,"threshold_uncertainty_score":0.07327998},"labels":[],"label_agreement":null},{"id":"W3091168111","doi":"10.1016/j.emospa.2020.100737","title":"“Anyone can become a refugee:” strategies for empathic concern in activist documentaries on migration","year":2020,"lang":"en","type":"article","venue":"Emotion, space and society","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":15,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Saint Paul University","funders":"","keywords":"Empathy; Narrative; Refugee; Representation (politics); Aesthetics; Sociology; Psychology; Media studies; Social psychology; Political science; Art; Literature","score_opus":0.04320613256914363,"score_gpt":0.25616267861065306,"score_spread":0.21295654604150943,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3091168111","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5272084,0.0015190507,0.0048839655,0.1288902,0.0024162713,0.00014643068,0.00008108649,0.00010860034,0.334746],"genre_scores_gemma":[0.9713345,0.00032074383,0.0007137514,0.004848155,0.0002591925,0.00008122213,0.000029352645,0.000056921668,0.02235613],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9963231,0.0025871305,0.000071088776,0.00019127237,0.00021018863,0.0006171569],"domain_scores_gemma":[0.994261,0.00288919,0.00071994896,0.00036679266,0.000459838,0.0013031694],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0057452056,0.00056138856,0.00024595528,0.00090497255,0.017579947,0.010569607,0.0013964568,0.0046525435,0.01365071],"category_scores_gemma":[0.014808513,0.00030051835,0.0002820814,0.0007436008,0.010420693,0.008332157,0.0106033245,0.008880408,0.0015099498],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010656298,0.00013686075,0.0037190425,0.00011910837,0.000012517647,0.00054208393,0.8660099,0.000054867418,0.0007669257,0.074885614,0.029766703,0.02387987],"study_design_scores_gemma":[0.00001708828,0.000037052214,0.0020417508,0.00021530868,0.000009351199,0.00022644456,0.85189676,0.000118368014,0.00029890568,0.0058801193,0.13924189,0.000016913888],"about_ca_topic_score_codex":0.0035278157,"about_ca_topic_score_gemma":0.0076375287,"teacher_disagreement_score":0.017579947,"about_ca_system_score_codex":0.0029238346,"about_ca_system_score_gemma":0.0023178998,"threshold_uncertainty_score":0.045666218},"labels":[],"label_agreement":null},{"id":"W3091785415","doi":"10.5210/spir.v2020i0.11234","title":"THE MANY SIDES OF A COIN: EXPLORING THE COST AND VALUE OF TOKENS INCHATURBATE","year":2020,"lang":"en","type":"article","venue":"AoIR Selected Papers of Internet Research","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Security token; Payment; Value (mathematics); Currency; Contrast (vision); Unit of account; Unit (ring theory); Business; Internet privacy; Computer security; Computer science; Economics; World Wide Web; Monetary economics; Artificial intelligence; Psychology","score_opus":0.09814108652108532,"score_gpt":0.28710852244546653,"score_spread":0.1889674359243812,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3091785415","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7271987,0.004248246,0.010558381,0.009586558,0.00011290355,0.00007012521,0.00015122912,0.000030280946,0.24804354],"genre_scores_gemma":[0.99408877,0.0006330878,0.0011745223,0.00020979648,0.00003355841,0.000022255743,0.000022432478,0.000026641563,0.0037891255],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99761814,0.0014941425,0.000042777905,0.0001303188,0.00047119753,0.00024337079],"domain_scores_gemma":[0.9847836,0.012322255,0.0012865163,0.0003894513,0.0007686511,0.00044950744],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025160536,0.00027692778,0.00036958416,0.0022073362,0.0024935626,0.010508267,0.0011877007,0.0014862267,0.009723093],"category_scores_gemma":[0.019171128,0.00031209944,0.0003018202,0.002409644,0.010317761,0.0163533,0.0040913345,0.0021160257,0.00046319593],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005980818,0.00018354287,0.023377176,0.00026148823,0.00005054563,0.0005637751,0.018813476,0.0018091345,0.00083927973,0.90049964,0.0028344016,0.050169423],"study_design_scores_gemma":[0.00010293034,0.0003845995,0.058315374,0.0011069411,0.00019003185,0.00074224646,0.12016631,0.015308955,0.0022834584,0.7298167,0.071425855,0.0001566299],"about_ca_topic_score_codex":0.004034353,"about_ca_topic_score_gemma":0.0077631436,"teacher_disagreement_score":0.010508267,"about_ca_system_score_codex":0.005801548,"about_ca_system_score_gemma":0.0014615393,"threshold_uncertainty_score":0.042093337},"labels":[],"label_agreement":null},{"id":"W3091853931","doi":"10.1017/s0021911820001497","title":"Residual Futures: The Urban Ecologies of Literary and Visual Media of 1960s and 1970s Japan. By Franz Prichard. New York: Columbia University Press, 2019. 268 pp. ISBN: 9780231191319 (paper).","year":2020,"lang":"en","type":"article","venue":"The Journal of Asian Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Futures contract; Residual; History; Art history; Media studies; Economic history; Sociology; Financial economics; Economics; Computer science; Algorithm","score_opus":0.02945883946568825,"score_gpt":0.21253932130588962,"score_spread":0.18308048184020137,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3091853931","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003954693,0.91245306,0.0022507955,0.031157937,0.0028923121,0.000021769352,0.006755617,0.00027677917,0.04023706],"genre_scores_gemma":[0.06844358,0.7537903,0.006760548,0.002002256,0.00397821,0.00007777937,0.007250263,0.00037751024,0.15731956],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997818,0.000044184068,0.000016027792,0.000042402753,0.00008454197,0.000031112464],"domain_scores_gemma":[0.99941003,0.000192476,0.00007462155,0.000035767433,0.00014046035,0.0001466498],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00069026975,0.0013804685,0.0005833338,0.0044293725,0.0007597169,0.0031922995,0.00065744465,0.0008610598,0.026756132],"category_scores_gemma":[0.0011559272,0.0006202384,0.0005403432,0.007462487,0.0018255936,0.006463373,0.0018868364,0.002096196,0.0050383573],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004993542,0.000012134745,0.001994665,0.0007659083,0.00002713197,0.00007925446,0.0019712178,0.00043029332,0.0002847254,0.01920592,0.7476376,0.22754128],"study_design_scores_gemma":[0.00000453636,0.000010671162,0.014784787,0.0009810198,0.0000173994,0.000180835,0.002475686,0.00023010321,0.00012953492,0.008630591,0.97253335,0.000021397647],"about_ca_topic_score_codex":0.08651056,"about_ca_topic_score_gemma":0.1136914,"teacher_disagreement_score":0.08651056,"about_ca_system_score_codex":0.0035038164,"about_ca_system_score_gemma":0.0021118382,"threshold_uncertainty_score":0.17201406},"labels":[],"label_agreement":null},{"id":"W3092059796","doi":"10.1007/s10479-020-03804-4","title":"Early box office prediction in China’s film market based on a stacking fusion model","year":2020,"lang":"en","type":"article","venue":"Annals of Operations Research","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":33,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"Fundamental Research Funds for the Central Universities; National Natural Science Foundation of China","keywords":"Gradient boosting; Stacking; Computer science; Random forest; Boosting (machine learning); Artificial intelligence; Box office; Investment (military); Machine learning; Econometrics; Data mining; Economics; Business; Political science","score_opus":0.2255844233831955,"score_gpt":0.3631559994353164,"score_spread":0.1375715760521209,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3092059796","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9519534,0.00059024047,0.03955357,0.0010101547,0.00012320846,0.000033186134,0.0004422143,0.00020592666,0.0060879644],"genre_scores_gemma":[0.9955095,0.00012574712,0.0010872097,0.000035692927,0.00004811389,0.000009774603,0.00027137453,0.000012526637,0.0029001452],"study_design_codex":"simulation_or_modeling","study_design_gemma":"simulation_or_modeling","domain_scores_codex":[0.9996518,0.000060847477,0.000013715467,0.000089939866,0.000051590123,0.00013217227],"domain_scores_gemma":[0.99762684,0.0015474157,0.00019588413,0.000093626695,0.00034526558,0.00019100645],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014653242,0.0006453303,0.0012436197,0.0010744869,0.00062133983,0.0015447284,0.0010940159,0.0011546566,0.0053534512],"category_scores_gemma":[0.0034028857,0.0003599514,0.00093397294,0.00079828553,0.0006500708,0.0029051243,0.0005583163,0.0012967576,0.00036773292],"study_design_candidate":"simulation_or_modeling","study_design_consensus":"simulation_or_modeling","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00077811826,0.00033098357,0.03795377,0.00010273741,0.00011438137,0.00064782053,0.00020269449,0.88644385,0.0018091524,0.03576856,0.007884833,0.027963072],"study_design_scores_gemma":[0.0000052337487,0.000010558618,0.0011668137,0.0000016489465,0.000009718811,0.000004534437,0.00001205617,0.9972349,0.00008439667,0.0014113284,0.000053776002,0.0000049518408],"about_ca_topic_score_codex":0.034866434,"about_ca_topic_score_gemma":0.017954813,"teacher_disagreement_score":0.034866434,"about_ca_system_score_codex":0.0010884134,"about_ca_system_score_gemma":0.0011090561,"threshold_uncertainty_score":0.06932694},"labels":[],"label_agreement":null},{"id":"W3093647013","doi":"10.3138/jrpc.2019-0007","title":"Three Religious-Cultural Worldviews in<i>Noah</i>(2014)—Hedonism, Fundamentalism, and Ecofeminism","year":2020,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Fundamentalism; Spiritualities; Hedonism; Sociology; Ecofeminism; Aesthetics; Materialism; Spirituality; Buddhism; Environmental ethics; Disenchantment; Religious studies; Judaism; Mainstream; Epistemology; Philosophy; Theology; Law; Political science","score_opus":0.030298611739453207,"score_gpt":0.24867237464514158,"score_spread":0.21837376290568838,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3093647013","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7689198,0.003488719,0.0025550693,0.024588251,0.0010373528,0.000055743214,0.00015982681,0.00001790135,0.19917734],"genre_scores_gemma":[0.98940724,0.0009828231,0.00038960256,0.00071560056,0.00017894211,0.000014834362,0.000029125347,0.000016375105,0.008265403],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99947697,0.00030986997,0.000017227127,0.00005164219,0.00007035041,0.000073953066],"domain_scores_gemma":[0.9986895,0.00085205754,0.00020158307,0.000058795977,0.00008283555,0.00011522414],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001095737,0.00023104977,0.00018441967,0.0005948067,0.0045013363,0.004631958,0.00046791375,0.0010288531,0.0021257752],"category_scores_gemma":[0.002373901,0.00018975596,0.00014166752,0.0005778378,0.0099205235,0.0027961363,0.001664547,0.002364624,0.00013156465],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000100108955,0.000052215546,0.005365672,0.00019576731,0.00001259797,0.00069674064,0.7531671,0.00006970999,0.0012525398,0.21592005,0.009732378,0.013435069],"study_design_scores_gemma":[0.000015961208,0.00005809408,0.024370048,0.00044353883,0.000019274772,0.00074834446,0.68067306,0.00032823253,0.0011965606,0.0140942335,0.27801812,0.000034480487],"about_ca_topic_score_codex":0.007275048,"about_ca_topic_score_gemma":0.016001532,"teacher_disagreement_score":0.007275048,"about_ca_system_score_codex":0.0023746327,"about_ca_system_score_gemma":0.00066914957,"threshold_uncertainty_score":0.017229259},"labels":[],"label_agreement":null},{"id":"W3096448801","doi":"","title":"The Great War in 'The Armidale Express'","year":2017,"lang":"en","type":"book-chapter","venue":"RUNE (Research UNE)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Genealogy; History","score_opus":0.15983182703805315,"score_gpt":0.31999850832850096,"score_spread":0.1601666812904478,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3096448801","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.063462034,0.012073113,0.0006795499,0.070432305,0.0058322074,0.000029743544,0.00021889548,0.00014133505,0.8471307],"genre_scores_gemma":[0.24371254,0.0026272377,0.00031255503,0.011189227,0.00059741695,0.000017418128,0.000086995184,0.00012598389,0.7413307],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925715,0.00020677912,0.000016242953,0.000090520516,0.00023534497,0.00019399589],"domain_scores_gemma":[0.999554,0.00013794012,0.0000462366,0.000042144053,0.00009991192,0.00011983303],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007513894,0.00034218168,0.00017286585,0.0003477742,0.009254323,0.005013808,0.00030408436,0.0014669047,0.013210497],"category_scores_gemma":[0.0021837386,0.00021330183,0.00012146091,0.00054132316,0.0038808193,0.0015859054,0.00333317,0.0036521102,0.0024274497],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058594193,0.00002053224,0.0010489998,0.00018965935,0.000007728517,0.001317219,0.22887734,0.00006780756,0.0014271283,0.103972636,0.60295963,0.060052738],"study_design_scores_gemma":[9.160124e-7,0.000005652268,0.001338015,0.000072991614,0.0000010632316,0.00014430731,0.013741315,0.000010999389,0.00012217011,0.00053899107,0.98401827,0.000005355789],"about_ca_topic_score_codex":0.10162755,"about_ca_topic_score_gemma":0.22110023,"teacher_disagreement_score":0.10162755,"about_ca_system_score_codex":0.004439637,"about_ca_system_score_gemma":0.0021381725,"threshold_uncertainty_score":0.20207202},"labels":[],"label_agreement":null},{"id":"W3097416990","doi":"","title":"Werewolf, 78 min., 2016, Canada, Couleur, Version originale anglaise avec sous-titres français","year":2019,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.004099827743675414,"score_gpt":0.13865077211425095,"score_spread":0.13455094437057552,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3097416990","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0053680283,0.12442957,0.0025499107,0.032759912,0.04338728,0.00024217633,0.1013068,0.0015262658,0.68843],"genre_scores_gemma":[0.01872861,0.033479955,0.0013072212,0.0013224841,0.0017498678,0.00013914521,0.013765989,0.0009131943,0.9285936],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99794024,0.00014893374,0.00015939618,0.0003312029,0.0011536862,0.0002664711],"domain_scores_gemma":[0.9958897,0.00041060743,0.00011604042,0.00027668083,0.003097928,0.00020907703],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015359282,0.001252403,0.0010307349,0.005972483,0.0051738094,0.008674497,0.0012237029,0.0016063276,0.246673],"category_scores_gemma":[0.0089589795,0.0006499292,0.00068293134,0.010266553,0.0017338217,0.0030154267,0.0015345337,0.002707783,0.06950492],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056304274,0.000010288091,0.0005537147,0.00027833338,0.00001425815,0.00007060778,0.0004630909,0.00011512105,0.00013882767,0.010452827,0.9537076,0.034139104],"study_design_scores_gemma":[0.000004828981,0.00000265864,0.0019600387,0.00027596118,0.000004076482,0.000033023833,0.00020248507,0.000024087984,0.000085168416,0.0003833818,0.99701595,0.000008294701],"about_ca_topic_score_codex":0.76438993,"about_ca_topic_score_gemma":0.83314425,"teacher_disagreement_score":0.246673,"about_ca_system_score_codex":0.021507278,"about_ca_system_score_gemma":0.020952059,"threshold_uncertainty_score":0.8252034},"labels":[],"label_agreement":null},{"id":"W3099051277","doi":"","title":"JACQUELINE HOÀNG NGUYỄN ARTIST PORTFOLIO","year":2019,"lang":"vi","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The arts; Portfolio; Art history; Media arts; Art; Visual arts; Economics; Finance","score_opus":0.01780197016848773,"score_gpt":0.21094597138284557,"score_spread":0.19314400121435785,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3099051277","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0035252573,0.053543754,0.00084745465,0.21998642,0.06396707,0.00006259358,0.0013685322,0.00032936613,0.6563695],"genre_scores_gemma":[0.02017179,0.010220504,0.00034209824,0.00842326,0.0024405015,0.000013174272,0.00016651451,0.00019595688,0.95802623],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989895,0.00007476349,0.000017142209,0.00013864686,0.00058573985,0.00019416824],"domain_scores_gemma":[0.997581,0.0002408476,0.000039525265,0.00005350482,0.0011515537,0.00093364227],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0007623487,0.0004745267,0.00038302515,0.0009024664,0.011091537,0.008025432,0.0006934623,0.001521281,0.111868106],"category_scores_gemma":[0.0034402418,0.00022846115,0.00018910012,0.001243236,0.0014550291,0.0018719925,0.0014080777,0.002791508,0.018665778],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007687895,0.000004839519,0.00015894596,0.000017747901,0.0000014964006,0.00004287906,0.00034878054,0.000022165335,0.00005325734,0.004557782,0.98160523,0.013179068],"study_design_scores_gemma":[0.0000013024713,0.000001868104,0.00038026817,0.000026768479,9.0410845e-7,0.000031713746,0.0007222412,0.000019282616,0.00003932333,0.0002961773,0.99847585,0.000004263977],"about_ca_topic_score_codex":0.55331457,"about_ca_topic_score_gemma":0.7941578,"teacher_disagreement_score":0.8881319,"about_ca_system_score_codex":0.011729944,"about_ca_system_score_gemma":0.01733173,"threshold_uncertainty_score":0.8986321},"labels":[],"label_agreement":null},{"id":"W3099954881","doi":"10.37867/te120212","title":"THE CANADIAN DOCUMENTARY DRAMA: TRAJECTORY OF ITS GROWTH AND SALIENT FEATURES","year":2020,"lang":"en","type":"article","venue":"Towards Excellence","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Salient; Politics; Mythology; Colonialism; Hypocrisy; Aesthetics; History; Sociology; Art; Literature; Political science; Law","score_opus":0.02454259212556383,"score_gpt":0.2112381822749797,"score_spread":0.18669559014941586,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3099954881","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2670751,0.008843325,0.0015901993,0.015813146,0.00031419596,0.000118811244,0.0034493299,0.00015625845,0.7026397],"genre_scores_gemma":[0.95720035,0.0052630627,0.0013370379,0.00041877342,0.00006999994,0.000034912147,0.0008358568,0.00008292619,0.034757033],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9981602,0.00014874357,0.000026561645,0.0001635566,0.0009619074,0.00053906115],"domain_scores_gemma":[0.9974733,0.0003086186,0.0001754034,0.00009650485,0.0012788774,0.0006672986],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012116331,0.00059877004,0.00033578795,0.006938441,0.012054614,0.013904517,0.0015731781,0.0010931747,0.012488282],"category_scores_gemma":[0.0053132437,0.00029576162,0.00022639638,0.009765266,0.007003361,0.0022601997,0.0032522406,0.0019493725,0.0008382601],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028538698,0.000096406286,0.038051385,0.0006467745,0.000041254938,0.0015308663,0.18884434,0.000947377,0.003963355,0.46047452,0.106568635,0.1985497],"study_design_scores_gemma":[0.000008002908,0.000036109952,0.115779415,0.00042959116,0.000021190646,0.0006206431,0.14151607,0.00055427715,0.00080612785,0.0042989156,0.73585534,0.000074263655],"about_ca_topic_score_codex":0.95140743,"about_ca_topic_score_gemma":0.9712361,"teacher_disagreement_score":0.060051978,"about_ca_system_score_codex":0.060051978,"about_ca_system_score_gemma":0.0457378,"threshold_uncertainty_score":0.43570966},"labels":[],"label_agreement":null},{"id":"W3100735647","doi":"10.18146/tmg.588","title":"Queering New Cinema History: Affective Methodologies for Comparative History","year":2020,"lang":"en","type":"article","venue":"TMG Journal for Media History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"","keywords":"Movie theater; Hollywood; Ephemera; Queer; Mainstream; Scholarship; Aesthetics; Film studies; Exhibition; Sociology; Queer theory; Art; Visual arts; Media studies; Gender studies; Art history; Political science","score_opus":0.395101114201503,"score_gpt":0.3157241942924483,"score_spread":0.07937691990905471,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3100735647","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.041614853,0.04721359,0.41268578,0.028715746,0.0014504717,0.001392549,0.001304195,0.00021501946,0.46540782],"genre_scores_gemma":[0.7806029,0.019814443,0.17013204,0.0032924223,0.0015385485,0.0075200573,0.00073900307,0.0003058784,0.016054666],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.98209274,0.015952008,0.00029028786,0.00073165225,0.0005938555,0.0003394178],"domain_scores_gemma":[0.93104255,0.05820185,0.0026053784,0.005188581,0.0020583996,0.0009032604],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.027962895,0.0009271381,0.0009922604,0.012179552,0.006350763,0.010748677,0.0022888496,0.0017829634,0.016564615],"category_scores_gemma":[0.04920286,0.00047655607,0.0005467049,0.013097501,0.031513005,0.013027748,0.0055866498,0.0033494746,0.0010067861],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016228556,0.000042493055,0.00087434944,0.00030761122,0.000022272936,0.00006592849,0.023956535,0.00016525162,0.00007042913,0.9482828,0.0024749099,0.02372124],"study_design_scores_gemma":[0.000015677719,0.000045868488,0.0027936765,0.0012073644,0.000026836111,0.0000935892,0.05154591,0.0012695392,0.00018960753,0.8344249,0.10836701,0.000020030853],"about_ca_topic_score_codex":0.004136085,"about_ca_topic_score_gemma":0.0057984293,"teacher_disagreement_score":0.027962895,"about_ca_system_score_codex":0.0067481976,"about_ca_system_score_gemma":0.0038118025,"threshold_uncertainty_score":0.14788365},"labels":[],"label_agreement":null},{"id":"W3101485933","doi":"10.34019/1981-4070.2020.v14.31518","title":"O Efeito Arquivo: Imagens de Arquivo como uma Experiência de Recepção","year":2020,"lang":"pt","type":"article","venue":"Lumina","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Humanities; Art","score_opus":0.049924011986074567,"score_gpt":0.24883013136668614,"score_spread":0.19890611938061156,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3101485933","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07407101,0.013928672,0.032309093,0.019976452,0.0018150524,0.000083393286,0.00024934203,0.0004419101,0.8571249],"genre_scores_gemma":[0.7981746,0.0066617667,0.014358717,0.0034114767,0.00085653586,0.00013838253,0.00017756673,0.0005523889,0.17566843],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977344,0.0010157836,0.00006112373,0.00032429103,0.00065907254,0.00020527269],"domain_scores_gemma":[0.99689305,0.0017620656,0.00022694792,0.00036307803,0.00046101,0.00029383923],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020764868,0.0006332226,0.00032594008,0.0012981435,0.0040688273,0.0136298025,0.00094625214,0.0025377956,0.015155695],"category_scores_gemma":[0.0059822523,0.00031558546,0.00042634114,0.0011860264,0.010896447,0.011272221,0.0049795303,0.0035351051,0.0023939405],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013883608,0.00005488202,0.0017828888,0.0007743671,0.000020940695,0.0006744893,0.16744846,0.00028965328,0.007991614,0.6941485,0.028256094,0.09841933],"study_design_scores_gemma":[0.000027349892,0.0000878699,0.0031994984,0.0006539241,0.000036250898,0.0017437234,0.052419893,0.0006468791,0.0037905353,0.07285663,0.86446756,0.000069911024],"about_ca_topic_score_codex":0.00391495,"about_ca_topic_score_gemma":0.0042221644,"teacher_disagreement_score":0.015155695,"about_ca_system_score_codex":0.0032778597,"about_ca_system_score_gemma":0.0018418088,"threshold_uncertainty_score":0.050700903},"labels":[],"label_agreement":null},{"id":"W3101724709","doi":"10.18146/tmg.648","title":"Comparison of Canadian Urban and Small-town Exhibition Practices 1914-1929","year":2020,"lang":"en","type":"article","venue":"TMG Journal for Media History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Exhibition; Hollywood; Movie theater; Period (music); Geography; Variance (accounting); Newspaper; History; Visual arts; Economic geography; Media studies; Art history; Sociology; Art; Aesthetics; Business","score_opus":0.17884881823409207,"score_gpt":0.2752520148129954,"score_spread":0.09640319657890331,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3101724709","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93443596,0.0012005856,0.00026621172,0.0009784636,0.00003724373,0.000062715546,0.0021950284,0.000037094072,0.06078671],"genre_scores_gemma":[0.9831722,0.0012896374,0.00020785107,0.00006432027,0.000010013397,0.000015914373,0.00069549785,0.000021873771,0.014522672],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9994129,0.000045804823,0.000012228948,0.00007663903,0.00021160352,0.00024086064],"domain_scores_gemma":[0.99807227,0.00023659052,0.00019060215,0.000081255275,0.0008884816,0.0005307456],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005375727,0.0003089283,0.00021805757,0.0032467702,0.00734502,0.0029559897,0.0010646726,0.00029878967,0.009715397],"category_scores_gemma":[0.001795361,0.00023748215,0.00024525207,0.005533829,0.0019964192,0.0004765981,0.0016475439,0.00062563433,0.00038351162],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00058068126,0.0001987169,0.3338729,0.0006494094,0.00014400641,0.0020852946,0.43923837,0.00074683724,0.0064285276,0.013847594,0.035031676,0.16717598],"study_design_scores_gemma":[0.0000043013474,0.00003244223,0.75541896,0.0001621485,0.000026132033,0.00021148736,0.14681436,0.00015961636,0.00067216187,0.00007731192,0.09637811,0.00004303081],"about_ca_topic_score_codex":0.99117213,"about_ca_topic_score_gemma":0.998156,"teacher_disagreement_score":0.045559563,"about_ca_system_score_codex":0.045559563,"about_ca_system_score_gemma":0.025622224,"threshold_uncertainty_score":0.3305593},"labels":[],"label_agreement":null},{"id":"W310273423","doi":"","title":"Making and Remaking Class in Ken Loach's Recent Films","year":2003,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Militant; Working class; Politics; Movie theater; Power (physics); Gender studies; Film director; Sociology; Aesthetics; Realism; Oppression; Art; History; Law; Art history; Political science; Literature","score_opus":0.07929782910215771,"score_gpt":0.2642403483919452,"score_spread":0.1849425192897875,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W310273423","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1405156,0.025330499,0.0011607384,0.17467886,0.0122922715,0.00007096457,0.00025418625,0.00029236882,0.6454045],"genre_scores_gemma":[0.56725353,0.017327154,0.0011323171,0.021351626,0.0042212266,0.000072531504,0.00017765026,0.0004953172,0.3879686],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9989874,0.0004089918,0.000022867118,0.000073116185,0.00023268607,0.00027495256],"domain_scores_gemma":[0.9985246,0.0005451075,0.000109475535,0.000062428044,0.0002393285,0.00051894115],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011024735,0.00038645777,0.00021742417,0.0012339237,0.011986913,0.009872683,0.00084470154,0.0017545342,0.009987124],"category_scores_gemma":[0.0032477565,0.0003025883,0.00016936279,0.0008371534,0.005525383,0.0032995548,0.0028004355,0.0049408046,0.0015731563],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000069666814,0.000082104474,0.0013500345,0.00021484292,0.000015388696,0.0009087314,0.28422502,0.00005144331,0.0013805255,0.044589706,0.6217665,0.04534608],"study_design_scores_gemma":[0.0000039921288,0.00000775596,0.00144081,0.00017261317,0.000005194779,0.00014742717,0.08485173,0.000016302765,0.00023017626,0.0006296366,0.91248006,0.000014138094],"about_ca_topic_score_codex":0.04121203,"about_ca_topic_score_gemma":0.23375706,"teacher_disagreement_score":0.04121203,"about_ca_system_score_codex":0.00536914,"about_ca_system_score_gemma":0.0014129747,"threshold_uncertainty_score":0.08194429},"labels":[],"label_agreement":null},{"id":"W3105811459","doi":"10.5204/mcj.2685","title":"Sensory Jam","year":2006,"lang":"en","type":"article","venue":"M/C Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Exhibition; Entertainment; Visual arts; Media studies; Advertising; Art history; History; Sociology; Art; Business","score_opus":0.02793985648913772,"score_gpt":0.20508556537056424,"score_spread":0.17714570888142653,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3105811459","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006787161,0.0013898879,0.0024120943,0.00280241,0.001889957,0.00015031618,0.0010613751,0.0009518235,0.9825549],"genre_scores_gemma":[0.04705677,0.0017270875,0.001654832,0.0037375153,0.00053707673,0.000079730875,0.00097576965,0.0004469052,0.9437843],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99963,0.000047650185,0.000013426592,0.000067143206,0.0001368772,0.00010481336],"domain_scores_gemma":[0.99958235,0.000047201247,0.000024162637,0.000060882372,0.00017332462,0.000112028305],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003128591,0.00065457996,0.00030450296,0.0010154713,0.0020976518,0.0038239185,0.00081089756,0.0016212356,0.46541417],"category_scores_gemma":[0.001201687,0.0003013182,0.00045275694,0.0006124796,0.0009019093,0.0032290402,0.004432096,0.0014314865,0.16044673],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028997305,0.000096073876,0.00081331894,0.0011067525,0.000019693884,0.0008552635,0.00434825,0.00015667925,0.008900346,0.030111752,0.66328645,0.29001558],"study_design_scores_gemma":[0.000006310019,0.000038175476,0.0014264446,0.000112913076,0.000005847374,0.00042453155,0.0011527237,0.000083936044,0.00058846147,0.0013761121,0.9947712,0.000013227422],"about_ca_topic_score_codex":0.0039210874,"about_ca_topic_score_gemma":0.00892565,"teacher_disagreement_score":0.46541417,"about_ca_system_score_codex":0.0008876498,"about_ca_system_score_gemma":0.00077909173,"threshold_uncertainty_score":0.7625218},"labels":[],"label_agreement":null},{"id":"W3106564638","doi":"10.4000/hommesmigrations.11991","title":"Tout simplement noir","year":2020,"lang":"fr","type":"article","venue":"Hommes & migrations","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"World Federation of Science Journalists","funders":"","keywords":"Psychology","score_opus":0.05063116069005126,"score_gpt":0.25740063740436864,"score_spread":0.2067694767143174,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3106564638","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008474678,0.013856807,0.00485842,0.54660445,0.071992345,0.00007567096,0.0007206688,0.0008850558,0.35253188],"genre_scores_gemma":[0.05576424,0.0058285967,0.0025183584,0.095269926,0.014114241,0.00007985352,0.0003256048,0.00073698245,0.8253621],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965532,0.0008808597,0.000091102214,0.00076604343,0.0013105809,0.0003981755],"domain_scores_gemma":[0.9937779,0.0008802799,0.00050607,0.0006406439,0.0027371063,0.0014581148],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00222696,0.0010118835,0.00067517976,0.00095582026,0.0056788973,0.010529677,0.0011255763,0.0038456935,0.097323604],"category_scores_gemma":[0.018501308,0.00049864064,0.00047107897,0.0006902477,0.0044940836,0.010030266,0.0042805737,0.007847179,0.051661376],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006955641,0.000040317787,0.0009828798,0.00013106238,0.000020759737,0.00017136244,0.0027724404,0.000049987353,0.0007244302,0.059346694,0.89904946,0.03664105],"study_design_scores_gemma":[0.000005687291,0.000018896986,0.0007015578,0.00011506621,0.0000070892634,0.00014677778,0.0015244661,0.000048771188,0.00019778931,0.005168719,0.99204457,0.000020563331],"about_ca_topic_score_codex":0.009967379,"about_ca_topic_score_gemma":0.015443168,"teacher_disagreement_score":0.097323604,"about_ca_system_score_codex":0.0029050745,"about_ca_system_score_gemma":0.0026918282,"threshold_uncertainty_score":0.32557988},"labels":[],"label_agreement":null},{"id":"W3106653500","doi":"10.22215/etd/2000-04743","title":"The perfect order of a Canadian crowd: cinema in Ottawa, 1894-1896.","year":2000,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Order (exchange); Media studies; Computer science; Art history; Art; Sociology; Business","score_opus":0.01575227488986033,"score_gpt":0.2171873289210971,"score_spread":0.20143505403123677,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3106653500","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.60824114,0.020916618,0.00087050215,0.03619495,0.00069671025,0.00013315279,0.007562698,0.00007011729,0.32531416],"genre_scores_gemma":[0.9642546,0.002812836,0.00028637212,0.00030687312,0.000041084237,0.000008764372,0.00034156378,0.000016109898,0.031931814],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991671,0.000096363234,0.000023118819,0.000102923055,0.00025617852,0.0003542775],"domain_scores_gemma":[0.998114,0.00024813678,0.00019196628,0.0000627446,0.0008840374,0.00049916736],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006051833,0.00036548666,0.0002338663,0.0021868618,0.013681908,0.004630786,0.00088692264,0.0007717568,0.012302657],"category_scores_gemma":[0.003745321,0.00025405924,0.00019548504,0.0032807353,0.0049776454,0.0022107016,0.0016314206,0.0012767196,0.0005327777],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00045111298,0.00007737435,0.09216417,0.0005628017,0.000082192804,0.0013718012,0.33327562,0.0017027425,0.0007757714,0.19298549,0.24381615,0.13273478],"study_design_scores_gemma":[0.000010960946,0.00002783104,0.31068936,0.0005295487,0.000059918602,0.0002908181,0.24874894,0.0005655168,0.0005489709,0.004807312,0.4335896,0.00013117278],"about_ca_topic_score_codex":0.9950911,"about_ca_topic_score_gemma":0.99881065,"teacher_disagreement_score":0.09770548,"about_ca_system_score_codex":0.09770548,"about_ca_system_score_gemma":0.06239603,"threshold_uncertainty_score":0.7089062},"labels":[],"label_agreement":null},{"id":"W3110991656","doi":"10.33252/sih.2020.9.66.457","title":"From Object to Subject: Native Americans in Canadian Films","year":2020,"lang":"en","type":"article","venue":"STUDIES IN HUMANITIES","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subject (documents); Object (grammar); Native american; Genealogy; Geography; History; Computer science; Artificial intelligence; Library science","score_opus":0.1307457211962193,"score_gpt":0.28530060705338106,"score_spread":0.15455488585716176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3110991656","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85881317,0.0025797312,0.00020403431,0.0061973887,0.00034658684,0.00003629178,0.0004730177,0.000021785254,0.13132812],"genre_scores_gemma":[0.9849162,0.0014293572,0.000089458095,0.0005556325,0.000051106323,0.0000075576822,0.000107396714,0.000020988198,0.012822337],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989114,0.00027881144,0.000029954106,0.00012965663,0.00027300316,0.0003770948],"domain_scores_gemma":[0.9978255,0.00069431047,0.00024300595,0.000063021536,0.00073231,0.00044192318],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001189263,0.00045347112,0.00030425485,0.0020927507,0.014000836,0.00853538,0.0006410671,0.0009960154,0.009444833],"category_scores_gemma":[0.005488996,0.00027679713,0.00017378922,0.0035601417,0.004500757,0.0022248556,0.0017946955,0.0018482694,0.00038546548],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012045398,0.000036915855,0.018492004,0.00012093881,0.000015501515,0.00064368086,0.9461525,0.000026145823,0.0009876203,0.00685431,0.011315498,0.015234379],"study_design_scores_gemma":[0.000008404976,0.000015831063,0.043496646,0.00020348969,0.000025563822,0.0001736244,0.9033773,0.000042665513,0.00025401136,0.00041744177,0.0519549,0.000030142179],"about_ca_topic_score_codex":0.945904,"about_ca_topic_score_gemma":0.9690466,"teacher_disagreement_score":0.054095984,"about_ca_system_score_codex":0.017779766,"about_ca_system_score_gemma":0.012403219,"threshold_uncertainty_score":0.12900186},"labels":[],"label_agreement":null},{"id":"W3111507897","doi":"10.3138/cjfs-2020-0004","title":"World Cinema 3.0? The “World as Backdrop” for a Multimedial Age","year":2020,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Humanities; Art; Movie theater; Ethnology; Art history; Sociology","score_opus":0.09120980838073177,"score_gpt":0.2753841927265029,"score_spread":0.1841743843457711,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3111507897","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10196254,0.008048902,0.024602428,0.0531327,0.0014661672,0.00011989113,0.0010104384,0.00045186112,0.8092051],"genre_scores_gemma":[0.8505524,0.0063084885,0.01855376,0.0039896625,0.00076814945,0.00017693116,0.0005925505,0.00043246293,0.11862564],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993648,0.00031521573,0.0000140964385,0.00007213175,0.00012368923,0.00011020911],"domain_scores_gemma":[0.9987637,0.0005130678,0.00010001579,0.00014362812,0.00017172193,0.00030788442],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017365053,0.00032363329,0.00017902472,0.0010621273,0.0017931405,0.010543299,0.0006077436,0.0011459695,0.031253915],"category_scores_gemma":[0.004878551,0.0001995285,0.00019870662,0.0011795487,0.002406319,0.008201494,0.0021379925,0.0016819759,0.0022809978],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010224182,0.00003751515,0.0049516936,0.00018069356,0.000011137925,0.00020223041,0.019068679,0.00028313586,0.0010598733,0.80907106,0.0659193,0.09911241],"study_design_scores_gemma":[0.00001649126,0.000042320575,0.008341256,0.00057764136,0.000020805968,0.00021133244,0.026482979,0.0016082891,0.0009584826,0.095900685,0.8658019,0.000037889637],"about_ca_topic_score_codex":0.012227099,"about_ca_topic_score_gemma":0.015744912,"teacher_disagreement_score":0.031253915,"about_ca_system_score_codex":0.002238246,"about_ca_system_score_gemma":0.0017423524,"threshold_uncertainty_score":0.10455471},"labels":[],"label_agreement":null},{"id":"W3112025724","doi":"10.1017/9789048515059.015","title":"Operatic Cinematics: A New View from the Stalls","year":2013,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.035866675395749587,"score_gpt":0.21720811440505725,"score_spread":0.18134143900930766,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3112025724","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019135052,0.10952346,0.0078011085,0.3269234,0.030140186,0.00006638278,0.00031128133,0.000492805,0.5056064],"genre_scores_gemma":[0.4529438,0.08129452,0.0069654346,0.06008843,0.06186227,0.0001912458,0.00042664548,0.0016043257,0.3346234],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983559,0.0008623207,0.000042581967,0.00017766938,0.00039013394,0.00017128552],"domain_scores_gemma":[0.99689746,0.0011098546,0.00016631703,0.00025151065,0.0004926843,0.0010820851],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022962147,0.0007258948,0.00041086756,0.002335147,0.0066210674,0.015942978,0.0014027702,0.0032261454,0.030688975],"category_scores_gemma":[0.00516481,0.00035461906,0.00035121705,0.0010027493,0.013579225,0.011882952,0.007638959,0.00916507,0.003474334],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005293307,0.000044991757,0.0005393267,0.0003293248,0.000009212267,0.00034100105,0.062878944,0.00008347061,0.00063553615,0.363713,0.50657725,0.06479501],"study_design_scores_gemma":[0.0000037062528,0.000011843077,0.0003665181,0.00029367427,0.0000032989883,0.0003000823,0.010654004,0.0000682859,0.00006543292,0.0066151116,0.98161006,0.000007977324],"about_ca_topic_score_codex":0.005701705,"about_ca_topic_score_gemma":0.010286524,"teacher_disagreement_score":0.030688975,"about_ca_system_score_codex":0.0038245055,"about_ca_system_score_gemma":0.002002667,"threshold_uncertainty_score":0.10266483},"labels":[],"label_agreement":null},{"id":"W3112183236","doi":"10.4000/belphegor.3376","title":"Boillat Alain, Philippe Gilles, L’Adaptation. Des livres aux scénarios","year":2020,"lang":"fr","type":"article","venue":"Belphégor","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Movie theater; Art history","score_opus":0.08764150364561833,"score_gpt":0.2443989559834216,"score_spread":0.15675745233780325,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3112183236","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08566523,0.042524554,0.06335989,0.19731328,0.0034436726,0.00029568054,0.0030614566,0.0005648839,0.6037713],"genre_scores_gemma":[0.85354125,0.018756844,0.01823021,0.00488478,0.00051619497,0.00042762366,0.0009192855,0.0003663632,0.10235746],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985794,0.0009189737,0.000023125323,0.00012378361,0.00019151658,0.00016328672],"domain_scores_gemma":[0.9982899,0.00093735976,0.00011243077,0.00013623678,0.00032223033,0.00020179473],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002179629,0.00058164936,0.00041595267,0.0011598378,0.0027571346,0.0032720708,0.0013234484,0.0034340546,0.03101365],"category_scores_gemma":[0.007979181,0.00034353556,0.0007701728,0.0012120486,0.0016339172,0.0039385636,0.0018902709,0.0025169333,0.0035735636],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003958768,0.00011439599,0.0038065326,0.0003176002,0.00007769352,0.0013501721,0.0026876691,0.029466562,0.00095042866,0.76223075,0.12872638,0.069875956],"study_design_scores_gemma":[0.0000860742,0.00008937353,0.0064054374,0.0004948606,0.000050106377,0.00041411672,0.0048969644,0.01876776,0.00069212844,0.45766616,0.5103475,0.00008956312],"about_ca_topic_score_codex":0.060973227,"about_ca_topic_score_gemma":0.048257384,"teacher_disagreement_score":0.060973227,"about_ca_system_score_codex":0.004148162,"about_ca_system_score_gemma":0.0019445006,"threshold_uncertainty_score":0.12123662},"labels":[],"label_agreement":null},{"id":"W3112310965","doi":"10.3138/md.63.4.br6","title":"Tavia Nyong’o. <i>Afro-Fabulations: The Queer Drama of Black Life.</i>","year":2020,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Queer; Narrative; Art; Gender studies; Sociology; Visual arts; Literature; History; Aesthetics","score_opus":0.03958952469393135,"score_gpt":0.22021206211401728,"score_spread":0.18062253742008594,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3112310965","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0136158345,0.16152959,0.003203509,0.41000873,0.029908046,0.00006985865,0.0010620144,0.00018647965,0.380416],"genre_scores_gemma":[0.25947466,0.09391178,0.0022729072,0.05553914,0.013924771,0.0002285622,0.00081117306,0.00072754774,0.57310945],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997385,0.00009761846,0.000008718055,0.000046558616,0.000054737742,0.000053871125],"domain_scores_gemma":[0.99901044,0.00056471216,0.00009144469,0.000028314844,0.00016715105,0.00013782988],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00044562411,0.0006025944,0.00024205023,0.0009612522,0.003555535,0.003237697,0.00072609505,0.002213143,0.017746462],"category_scores_gemma":[0.002907914,0.00019772611,0.00018712928,0.0009199756,0.0016647023,0.0036118496,0.0017150776,0.0025598942,0.0030528724],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005630906,0.000017330085,0.0007557241,0.00022285455,0.000007830928,0.00021291146,0.007820391,0.00008648325,0.0002359569,0.09404942,0.8776371,0.018897682],"study_design_scores_gemma":[0.0000075033026,0.000011324951,0.0018718551,0.00034683375,0.0000058581413,0.00012540616,0.007401954,0.00017366912,0.00030674672,0.009973834,0.97976077,0.000014169925],"about_ca_topic_score_codex":0.025329106,"about_ca_topic_score_gemma":0.08514654,"teacher_disagreement_score":0.025329106,"about_ca_system_score_codex":0.0018702771,"about_ca_system_score_gemma":0.0009567067,"threshold_uncertainty_score":0.059367776},"labels":[],"label_agreement":null},{"id":"W3112456392","doi":"10.15695/amqst.v9i1-2.3658","title":"Michael Jemtrud Interview","year":2012,"lang":"en","type":"article","venue":"AmeriQuests","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Psychoanalysis; Sociology; Art; Psychology","score_opus":0.04755699611246828,"score_gpt":0.25576032208552363,"score_spread":0.20820332597305535,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3112456392","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0069613312,0.0063541397,0.00034997665,0.86451834,0.025118643,0.00041176315,0.002031893,0.00014237098,0.09411157],"genre_scores_gemma":[0.016690673,0.0020856683,0.00015624068,0.3402377,0.0049631526,0.0006415304,0.000337875,0.00007018893,0.634817],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989784,0.00020971027,0.000036834983,0.00015335153,0.00026488883,0.00035697932],"domain_scores_gemma":[0.99713033,0.0012280804,0.00014420357,0.000054585307,0.0007324128,0.0007103522],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016674513,0.0005850532,0.00078786263,0.00081511546,0.0071892357,0.0025067793,0.0009288874,0.013812009,0.104619786],"category_scores_gemma":[0.008278868,0.0006069815,0.0003159582,0.00095407746,0.0008887076,0.0023950452,0.0021105835,0.011720914,0.033467945],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004337947,0.000015959238,0.0002667395,0.00005129228,0.0000012577046,0.00019475122,0.0005105366,0.000020006775,0.0002191155,0.001706855,0.99394774,0.0030223797],"study_design_scores_gemma":[0.000015595879,0.000011587918,0.0011527021,0.00006202297,0.0000018938615,0.000056424426,0.001821878,0.000042933054,0.000104642146,0.0003854279,0.99633574,0.000009158733],"about_ca_topic_score_codex":0.016898641,"about_ca_topic_score_gemma":0.03761307,"teacher_disagreement_score":0.104619786,"about_ca_system_score_codex":0.0037163326,"about_ca_system_score_gemma":0.0035922301,"threshold_uncertainty_score":0.34998804},"labels":[],"label_agreement":null},{"id":"W3112735858","doi":"10.1525/fq.2020.74.2.47","title":"The Impossible Embrace","year":2020,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Quarter (Canadian coin); Soul; Art history; Visual arts; Film festival; Art; Work (physics); Media studies; Sociology; History; Engineering; Archaeology; Theology","score_opus":0.0279110528710801,"score_gpt":0.2084658055881271,"score_spread":0.18055475271704702,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3112735858","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014719204,0.008827195,0.008218737,0.11088586,0.0030903453,0.000032071926,0.00010885621,0.00010020265,0.85401756],"genre_scores_gemma":[0.74660665,0.0058281235,0.003191298,0.042969137,0.0020801811,0.00009623468,0.00011697924,0.0003538344,0.19875751],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9948449,0.0020758058,0.00010946841,0.0010274107,0.0011427209,0.0007996635],"domain_scores_gemma":[0.9970938,0.0008313905,0.00022506525,0.0006275046,0.00043084673,0.0007913892],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0039021128,0.00072172785,0.00058782555,0.00086264557,0.010821287,0.012364029,0.0011807886,0.0034917933,0.027726589],"category_scores_gemma":[0.009851367,0.0003657073,0.00044784,0.0005886511,0.033506703,0.013091433,0.011831783,0.007729754,0.0049166726],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002047657,0.00001239924,0.00039080105,0.00003254867,0.0000074923573,0.00012012101,0.00832693,0.0000488366,0.00016151846,0.9550453,0.026840495,0.008993042],"study_design_scores_gemma":[0.000008180115,0.000017690514,0.00033489492,0.0002210238,0.0000051792426,0.00020327014,0.0074989265,0.00010030257,0.000111991896,0.25112557,0.7403569,0.000015954027],"about_ca_topic_score_codex":0.007391733,"about_ca_topic_score_gemma":0.009365782,"teacher_disagreement_score":0.027726589,"about_ca_system_score_codex":0.003981417,"about_ca_system_score_gemma":0.0038135122,"threshold_uncertainty_score":0.09275466},"labels":[],"label_agreement":null},{"id":"W3113963439","doi":"","title":"Toronto International Film Festival : petite anthologie","year":2008,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.015811140535724483,"score_gpt":0.1738982427022816,"score_spread":0.1580871021665571,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3113963439","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020989623,0.105123475,0.0013212606,0.06956803,0.047560643,0.00019323219,0.028506506,0.0007149758,0.72602224],"genre_scores_gemma":[0.101021916,0.017873693,0.0010477288,0.0015070663,0.00717594,0.000057633522,0.004945799,0.0005363905,0.8658339],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99924326,0.00010064014,0.00002085669,0.000093956274,0.00033565884,0.00020562155],"domain_scores_gemma":[0.9987859,0.00009266074,0.00006452016,0.00007436118,0.00045268048,0.0005298194],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009145933,0.0014118273,0.00051155477,0.0030886345,0.007185932,0.008890498,0.0008250217,0.0013757291,0.12669976],"category_scores_gemma":[0.0018086977,0.0005413657,0.00036509524,0.0039142976,0.001475537,0.001213596,0.0017563417,0.0020946956,0.009693968],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006573183,0.000014023665,0.00044824812,0.00010247373,0.000009361646,0.00010893343,0.0011693313,0.00009525894,0.00032719524,0.009040378,0.9770479,0.011571098],"study_design_scores_gemma":[0.0000041759426,0.0000051261864,0.0031354374,0.000063393985,0.00000463831,0.000028956836,0.00068571075,0.00003062468,0.00014757393,0.00022622055,0.9956607,0.0000072873086],"about_ca_topic_score_codex":0.6071919,"about_ca_topic_score_gemma":0.86692435,"teacher_disagreement_score":0.39280808,"about_ca_system_score_codex":0.020452326,"about_ca_system_score_gemma":0.014063026,"threshold_uncertainty_score":0.7902428},"labels":[],"label_agreement":null},{"id":"W3114578926","doi":"10.33137/ijournal.v6i1.35269","title":"Rotten Tomatoes and Chill? MRAs and Their Impact on Decision-making","year":2020,"lang":"en","type":"article","venue":"The iJournal Student Journal of the Faculty of Information","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"MRAS; Context (archaeology); Preference; Focus group; Psychology; Marketing; Business; Engineering; Geography; Economics","score_opus":0.021249234594357316,"score_gpt":0.2687536412650512,"score_spread":0.24750440667069387,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3114578926","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9914323,0.00079944154,0.0001645343,0.00081182603,0.00001672056,0.000023477896,0.00009679873,0.000004381923,0.006650602],"genre_scores_gemma":[0.9984522,0.00038544834,0.0003574893,0.000119227676,0.000018217997,0.0000068175605,0.000038130685,0.000002093323,0.0006203054],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979265,0.0013159036,0.00014571038,0.00015449287,0.00031527426,0.00014210254],"domain_scores_gemma":[0.97840095,0.012081349,0.0060741915,0.0003414386,0.0012230402,0.0018790561],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032449716,0.000141324,0.00017865843,0.0005183346,0.0004859033,0.002078999,0.00021151254,0.0004876414,0.0040498963],"category_scores_gemma":[0.023061918,0.00013660491,0.00025705225,0.0003149636,0.00043451574,0.0008008501,0.00044024247,0.00063985673,0.0004369317],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007420647,0.00057419937,0.89654696,0.00024346811,0.00015117697,0.00069507054,0.021687122,0.00024301182,0.0019348512,0.0010327249,0.0021493149,0.0740001],"study_design_scores_gemma":[0.000046244964,0.0005238687,0.94793737,0.00018516766,0.0001206161,0.00069762184,0.039389275,0.0010590875,0.0007199312,0.00096500054,0.008307603,0.000048092654],"about_ca_topic_score_codex":0.0056408253,"about_ca_topic_score_gemma":0.014031623,"teacher_disagreement_score":0.0056408253,"about_ca_system_score_codex":0.00056526816,"about_ca_system_score_gemma":0.0005270284,"threshold_uncertainty_score":0.01716125},"labels":[],"label_agreement":null},{"id":"W311876237","doi":"","title":"\"I Leave to Several Futures (Not to All) My Garden of Forking Paths\": Proto-Interactivity in Late Fragment and the Tracey Fragments","year":2012,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Interactivity; Narrative; Adventure; Plot (graphics); Movie theater; Computer science; Art; Visual arts; Action (physics); Computer graphics (images); Multimedia; Artificial intelligence; Literature; Mathematics","score_opus":0.033752870019783096,"score_gpt":0.2654909541811926,"score_spread":0.2317380841614095,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W311876237","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4380012,0.0026887683,0.0105219865,0.01352982,0.00042915795,0.000078757854,0.00022711908,0.000285435,0.5342377],"genre_scores_gemma":[0.9619199,0.0004718696,0.00095834595,0.00064172794,0.000049505845,0.00002567149,0.00006119642,0.00011589187,0.035755888],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989778,0.00046507065,0.0000091485435,0.000118383105,0.00018047447,0.000249179],"domain_scores_gemma":[0.99911326,0.00033872612,0.000062139545,0.000079315425,0.00010286306,0.0003036504],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010320457,0.00049747754,0.00021138715,0.0006149585,0.012217151,0.0070475894,0.0012670091,0.0012964143,0.005937491],"category_scores_gemma":[0.0022625,0.0002563601,0.00026438123,0.00056363933,0.018989848,0.0039341887,0.0042107366,0.00341549,0.00037119022],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001738695,0.000020192954,0.00093006867,0.000054704422,0.0000072889293,0.0012125201,0.86994445,0.0000772304,0.0014093266,0.105340704,0.011722529,0.009107102],"study_design_scores_gemma":[0.000030287865,0.00009640272,0.0070523857,0.00023913903,0.00002573792,0.0019037945,0.48518714,0.0003429472,0.0011390421,0.010065987,0.49385273,0.00006446381],"about_ca_topic_score_codex":0.24794984,"about_ca_topic_score_gemma":0.3702405,"teacher_disagreement_score":0.24794984,"about_ca_system_score_codex":0.009912711,"about_ca_system_score_gemma":0.0035756242,"threshold_uncertainty_score":0.4930132},"labels":[],"label_agreement":null},{"id":"W3120190436","doi":"","title":"Watch Wonder Woman 1984(2020) Full Movie HD-1080p","year":2021,"lang":"en","type":"article","venue":"OSF Preprints (OSF Preprints)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Wonder; Art; Art history; Aesthetics; Psychology; Social psychology","score_opus":0.020843730447994605,"score_gpt":0.23071470279405676,"score_spread":0.20987097234606217,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3120190436","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00069404225,0.00026723385,0.0009202882,0.00072004326,0.0009407394,0.00010613075,0.004715022,0.005042018,0.98659444],"genre_scores_gemma":[0.002644793,0.00026671842,0.0004995031,0.0004361491,0.00020237527,0.000041738967,0.0022997707,0.0014756002,0.9921334],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998779,0.000008485831,0.0000035031173,0.000018622286,0.000059103502,0.00003234302],"domain_scores_gemma":[0.9996518,0.000025058542,0.000009748397,0.000031128897,0.00012402424,0.00015820655],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00019396424,0.00059385813,0.00033885715,0.0006803323,0.0011203315,0.0019938045,0.0005548944,0.0008774085,0.8894179],"category_scores_gemma":[0.0007948993,0.00034885493,0.00034838385,0.0006036248,0.00019993758,0.0016951632,0.0018996999,0.0010254737,0.7425936],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023245668,0.000008528481,0.00004822148,0.000031448028,8.4911045e-7,0.000033215958,0.00002560994,0.00001081687,0.0003032372,0.00050729065,0.98293245,0.0160749],"study_design_scores_gemma":[0.000008407102,0.000008740135,0.00049378513,0.000028538776,0.0000014510156,0.00005743847,0.000055382512,0.000038259204,0.00019854208,0.00013239056,0.99897254,0.0000045738225],"about_ca_topic_score_codex":0.0038750155,"about_ca_topic_score_gemma":0.012521568,"teacher_disagreement_score":0.11058211,"about_ca_system_score_codex":0.00043218426,"about_ca_system_score_gemma":0.00033128465,"threshold_uncertainty_score":0.15773189},"labels":[],"label_agreement":null},{"id":"W3120741933","doi":"10.26443/ijwpc.v8i1.267","title":"Superman does laundry too","year":2021,"lang":"en","type":"article","venue":"International Journal of Whole Person Care","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Superman; Laundry; Medicine; Biology; Botany; Engineering; Waste management","score_opus":0.025815856209388695,"score_gpt":0.24716057744300193,"score_spread":0.22134472123361323,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3120741933","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0030503336,0.0015591737,0.0006042757,0.06625084,0.044864416,0.00013720107,0.00097000477,0.00073135353,0.8818323],"genre_scores_gemma":[0.018309684,0.0012802357,0.00029650648,0.049049303,0.0055508194,0.00021668171,0.00047256713,0.00038777431,0.92443645],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985638,0.00024467835,0.000077397526,0.00020676437,0.0004594212,0.00044804317],"domain_scores_gemma":[0.99224347,0.0010018102,0.0004921695,0.0007333073,0.0023838333,0.0031454419],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0019802265,0.0005316295,0.0005628912,0.0006660917,0.004750941,0.0035158293,0.0008364142,0.0037882242,0.56485486],"category_scores_gemma":[0.0122623835,0.0003527719,0.00049998355,0.00051536906,0.0010589517,0.0032206436,0.0027383182,0.002845375,0.309305],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000876959,0.000023359238,0.0004301503,0.00007276906,0.000003915226,0.00010285684,0.00008465276,0.000010268321,0.00026974065,0.0020648434,0.9727989,0.024050964],"study_design_scores_gemma":[0.00001594428,0.000020353857,0.00065660954,0.00012614811,0.0000035890528,0.00012193252,0.00023009205,0.000025873262,0.00012019929,0.00057642313,0.99809664,0.0000061655796],"about_ca_topic_score_codex":0.004772757,"about_ca_topic_score_gemma":0.013718138,"teacher_disagreement_score":0.56485486,"about_ca_system_score_codex":0.0010774543,"about_ca_system_score_gemma":0.0028978388,"threshold_uncertainty_score":0.6206817},"labels":[],"label_agreement":null},{"id":"W3122320067","doi":"10.22215/etd/2014-10051","title":"Good for the Heart and Soul, Good for Business: The Cultural Politics of Documentary at the Hot Docs Film Festival","year":2014,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":14,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"Consumerism; Politics; Dissent; Mainstream; Media studies; Commercialization; Political science; Movie theater; Aesthetics; Sociology; Law; Art; Visual arts","score_opus":0.026148217332574348,"score_gpt":0.26268881644772646,"score_spread":0.2365405991151521,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3122320067","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6128159,0.009402331,0.00089999265,0.0475107,0.0007065629,0.00004135536,0.0002557852,0.000028500239,0.3283389],"genre_scores_gemma":[0.9856572,0.0014092142,0.00010039937,0.0005734559,0.00010679245,0.0000059538434,0.000024597566,0.000017170214,0.012105142],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99810445,0.0010367578,0.00002094272,0.000121938356,0.0002578099,0.00045803984],"domain_scores_gemma":[0.9970847,0.0011801069,0.0003006014,0.00014802857,0.0003112374,0.00097539846],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019950496,0.00022425831,0.00017838727,0.0008164583,0.01332706,0.013900301,0.0006858501,0.0010637647,0.0042357002],"category_scores_gemma":[0.003747412,0.00022756089,0.00010243378,0.0014471827,0.024317814,0.0020026222,0.00246707,0.0022047353,0.0002873868],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015247978,0.000060916485,0.015517574,0.00020847758,0.000031769865,0.0009928368,0.65712726,0.00026685678,0.00090970466,0.24890457,0.048297286,0.02753031],"study_design_scores_gemma":[0.000018580618,0.000039657898,0.041671053,0.00032625123,0.000023484834,0.00025413232,0.6296579,0.00017071124,0.00048609526,0.006607123,0.32070553,0.000039462284],"about_ca_topic_score_codex":0.4496425,"about_ca_topic_score_gemma":0.6788765,"teacher_disagreement_score":0.55035746,"about_ca_system_score_codex":0.02792662,"about_ca_system_score_gemma":0.013053332,"threshold_uncertainty_score":0.8940506},"labels":[],"label_agreement":null},{"id":"W3123059406","doi":"10.1017/9789048505449.007","title":"Drowning in Popcorn at the International Film Festival Rotterdam?: The Festival as a Multiplex of Cinephilia","year":2005,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":19,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Multiplex; Geography; Advertising; Business; Biology; Bioinformatics","score_opus":0.022833149167047172,"score_gpt":0.2326642426745349,"score_spread":0.20983109350748771,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3123059406","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07657217,0.15220818,0.001960329,0.32988533,0.15566467,0.00019679245,0.0004269069,0.00061153836,0.28247404],"genre_scores_gemma":[0.60422015,0.06535839,0.0016916909,0.03171209,0.061438825,0.00021237595,0.0003744362,0.0008950763,0.23409694],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99903095,0.0004409808,0.000034919463,0.00013420319,0.00016306978,0.00019599171],"domain_scores_gemma":[0.99754494,0.0007255279,0.00023743222,0.000137608,0.00039625907,0.00095817965],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019590314,0.00056003855,0.00030432883,0.0009730323,0.00569723,0.012706672,0.00075533654,0.0018298468,0.012019757],"category_scores_gemma":[0.004074456,0.0004635884,0.00018545054,0.0007561053,0.003815389,0.0044939704,0.003039885,0.0030355656,0.0018097477],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000102003745,0.000031585816,0.0012200457,0.00038201592,0.000013567452,0.0010988076,0.038970675,0.000028833776,0.001105144,0.012017747,0.9066781,0.03835151],"study_design_scores_gemma":[0.0000070944275,0.000020156538,0.0025781773,0.000319485,0.000007849775,0.00035151278,0.03588533,0.00002617071,0.00030225856,0.00037999134,0.96010923,0.000012824633],"about_ca_topic_score_codex":0.02214253,"about_ca_topic_score_gemma":0.08749808,"teacher_disagreement_score":0.02214253,"about_ca_system_score_codex":0.0031536538,"about_ca_system_score_gemma":0.002084939,"threshold_uncertainty_score":0.04402727},"labels":[],"label_agreement":null},{"id":"W3124016445","doi":"","title":"True Womanhood in Hollywood: Gendered Business Strategies and the Rise and Fall of the Woman Filmmaker, 1896-1928","year":2001,"lang":"en","type":"article","venue":"SSRN Electronic Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Screenwriting; Studio; Film director; Film industry; Context (archaeology); Argument (complex analysis); Gender studies; Quarter (Canadian coin); Art; Visual arts; Advertising; Movie theater; Political science; Sociology; Business; History; Art history; Medicine","score_opus":0.013401801747894078,"score_gpt":0.20082884328629094,"score_spread":0.18742704153839687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3124016445","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.59017223,0.018066842,0.0007391568,0.028283188,0.000465274,0.000023313049,0.000068850015,0.000014702837,0.3621664],"genre_scores_gemma":[0.95055455,0.003066479,0.00009885814,0.000735313,0.00012936899,0.000008222711,0.00000972666,0.000010215914,0.045387298],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99939716,0.00028631988,0.000011854077,0.00007000155,0.00007009742,0.00016469148],"domain_scores_gemma":[0.99893945,0.0006253629,0.00014682827,0.00002209858,0.000068505855,0.00019774301],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013077554,0.00024052357,0.00017455648,0.00074496196,0.0064928755,0.0058933925,0.00039666137,0.0010611508,0.005131849],"category_scores_gemma":[0.00241689,0.00024151379,0.00006772005,0.0005734354,0.009724966,0.003171327,0.0017759087,0.0018544694,0.00047051304],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010125351,0.00006115135,0.006125736,0.00006703985,0.0000059612576,0.00090061076,0.6741274,0.000041554198,0.00036037987,0.2712424,0.017918149,0.029048294],"study_design_scores_gemma":[0.000015203298,0.00007982681,0.026522655,0.00031161946,0.000012387358,0.00057076075,0.39419544,0.00010406535,0.0006288375,0.015574003,0.5619648,0.00002036664],"about_ca_topic_score_codex":0.017035596,"about_ca_topic_score_gemma":0.045183253,"teacher_disagreement_score":0.017035596,"about_ca_system_score_codex":0.0037390348,"about_ca_system_score_gemma":0.0010074769,"threshold_uncertainty_score":0.033872902},"labels":[],"label_agreement":null},{"id":"W3124414565","doi":"","title":"Book review: The Culture of Punishment: Prison, Society, and Spectacle","year":2012,"lang":"en","type":"article","venue":"SSRN Electronic Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Spectacle; Prison; Punishment (psychology); Criminology; Political science; Sociology; Law; Psychology; Social psychology","score_opus":0.010099572453518679,"score_gpt":0.22076811108833397,"score_spread":0.2106685386348153,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3124414565","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002975042,0.7896328,0.00022044504,0.11663706,0.062090304,0.000026563765,0.00035414234,0.00002958029,0.03071157],"genre_scores_gemma":[0.0071135126,0.7631344,0.00024257954,0.043788653,0.09572286,0.00007927504,0.00041673548,0.00008571439,0.089416206],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99887234,0.00030067947,0.00006911599,0.00015666371,0.000518791,0.00008237572],"domain_scores_gemma":[0.99103445,0.004659379,0.00062413415,0.00019600092,0.0029140522,0.0005719471],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012242006,0.00081229967,0.0015581049,0.0026643202,0.0011155222,0.005040792,0.0013358734,0.0045318166,0.038667277],"category_scores_gemma":[0.009708981,0.00040217632,0.00035603077,0.00584555,0.0017689528,0.0033445945,0.0010240205,0.0039197803,0.01056338],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004738604,0.0000041129206,0.000047516394,0.0003864951,0.000005430624,0.000007729147,0.000024959083,0.000022361828,0.000011364968,0.0015729822,0.9837959,0.014116448],"study_design_scores_gemma":[0.0000093484805,0.0000139572385,0.00065672863,0.0019040216,0.00001618591,0.000090553505,0.00011670393,0.000033498476,0.000023176975,0.0024486994,0.99467826,0.000008777915],"about_ca_topic_score_codex":0.010277988,"about_ca_topic_score_gemma":0.027767038,"teacher_disagreement_score":0.038667277,"about_ca_system_score_codex":0.0033223492,"about_ca_system_score_gemma":0.0059660748,"threshold_uncertainty_score":0.12935495},"labels":[],"label_agreement":null},{"id":"W3126276017","doi":"10.25384/sage.c.5105612","title":"Do Spoilers Really Spoil? Using Topic Modeling to Measure the Effect of Spoiler Reviews on Box Office Revenue","year":2020,"lang":"en","type":"article","venue":"Sage Journals Data","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Box office; Revenue; Advertising; Studio; Plot (graphics); Metric (unit); Film industry; Engineering; Econometrics; Computer science; Marketing; Mathematics; Business; Statistics; Art; Movie theater; Visual arts; Telecommunications","score_opus":0.1954401527074039,"score_gpt":0.3171995470632569,"score_spread":0.12175939435585303,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3126276017","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98541903,0.0011226233,0.009755628,0.0006649373,0.000050422415,0.000066559296,0.00060736155,0.00006666533,0.0022468693],"genre_scores_gemma":[0.9957568,0.00033891952,0.0024153497,0.00010458185,0.000102672275,0.00003757844,0.00066904334,0.000016814727,0.0005582253],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.996139,0.0023666904,0.0002277079,0.0006996514,0.00035532092,0.00021166394],"domain_scores_gemma":[0.8686439,0.10346924,0.020478576,0.0040028724,0.0020442156,0.0013612893],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009783723,0.00066127314,0.0007182923,0.002098199,0.00042757398,0.0022218633,0.0006038731,0.0012133174,0.0015822863],"category_scores_gemma":[0.045555912,0.00043168647,0.0015694159,0.002441794,0.00063354283,0.0021980747,0.0007340428,0.0019422651,0.0005150803],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.001015126,0.00041882138,0.95195407,0.00018017441,0.0011884845,0.0001509564,0.0010411722,0.010283289,0.0011360765,0.0022591252,0.0018092142,0.028563399],"study_design_scores_gemma":[0.00011639686,0.00071593147,0.86377233,0.000094826646,0.000999171,0.00021824685,0.0015296928,0.12320435,0.0019123814,0.004483403,0.002873484,0.00007980789],"about_ca_topic_score_codex":0.008240722,"about_ca_topic_score_gemma":0.005771391,"teacher_disagreement_score":0.009783723,"about_ca_system_score_codex":0.0007852396,"about_ca_system_score_gemma":0.0004413924,"threshold_uncertainty_score":0.051741898},"labels":[],"label_agreement":null},{"id":"W3126393443","doi":"10.3138/cras-2020-011","title":"From Disincorporation to Rematerialization: <i> Breaking Bad</i> and the Life of Cash","year":2021,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Capitalism; Materiality (auditing); Materialism; Aesthetics; Neoclassical economics; Sociology; Commodification; Literature; Philosophy; Economics; Epistemology; Art; Law; Market economy; Political science","score_opus":0.03056728215211143,"score_gpt":0.25632339343392896,"score_spread":0.22575611128181752,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3126393443","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06486163,0.22651426,0.004400679,0.26583052,0.0028634656,0.000022143075,0.00018911016,0.000115840536,0.4352024],"genre_scores_gemma":[0.8368845,0.11103326,0.00086883176,0.014370637,0.0029098322,0.00003884776,0.00007338347,0.00013197969,0.033688765],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981502,0.0011342359,0.000037370202,0.00012407474,0.00033956603,0.00021447394],"domain_scores_gemma":[0.994113,0.0042897477,0.000574977,0.0002860339,0.00046541705,0.00027082695],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023641023,0.00033580267,0.000277035,0.0027804147,0.003366291,0.011619777,0.0006461475,0.0016627476,0.006688858],"category_scores_gemma":[0.006500268,0.0002349413,0.00018055593,0.0032927573,0.017407322,0.01238663,0.0020078353,0.0030908012,0.0006512505],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050726434,0.000021126894,0.00073586294,0.00028598605,0.000009636771,0.00010839714,0.014661617,0.000099540935,0.00014462763,0.9051197,0.04383382,0.034928873],"study_design_scores_gemma":[0.000012744572,0.00002336845,0.0031756943,0.0012687957,0.000020756319,0.00018485304,0.024565287,0.00019534894,0.0003830821,0.1489447,0.82119477,0.000030643863],"about_ca_topic_score_codex":0.011522212,"about_ca_topic_score_gemma":0.009692156,"teacher_disagreement_score":0.011619777,"about_ca_system_score_codex":0.0055377563,"about_ca_system_score_gemma":0.0028377168,"threshold_uncertainty_score":0.04017949},"labels":[],"label_agreement":null},{"id":"W3126479914","doi":"10.31921/constelaciones.n6a8","title":"La pantalla dividida, composición y descomposición visual. Film y espacio, Montreal, 1967","year":2018,"lang":"es","type":"article","venue":"Constelaciones Revista de Arquitectura de la Universidad CEU San Pablo","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.009336029256029691,"score_gpt":0.2407449003503959,"score_spread":0.2314088710943662,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3126479914","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03131216,0.2177754,0.0027304615,0.01788849,0.0015764451,0.000065370245,0.0012848325,0.00014646049,0.72722036],"genre_scores_gemma":[0.4732485,0.110480405,0.0019084604,0.0010297011,0.0008968605,0.00007342786,0.00048794932,0.0001268468,0.41174784],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99963367,0.000099819394,0.000010569189,0.000081352904,0.0001012857,0.00007321109],"domain_scores_gemma":[0.9995771,0.00014529355,0.00003784657,0.00003155253,0.0001326913,0.00007545979],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043547922,0.0006867707,0.00016935957,0.0022948724,0.0024388535,0.004690203,0.00053482334,0.00066101423,0.032216158],"category_scores_gemma":[0.0017389661,0.00027887092,0.00012444185,0.004802821,0.0059839115,0.002152187,0.001175924,0.001099267,0.0015192623],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012330615,0.00003297093,0.0046588145,0.000601001,0.000019617053,0.00037838458,0.040282838,0.00041575174,0.0020142738,0.5007748,0.16688636,0.28381184],"study_design_scores_gemma":[0.000005366523,0.000017099692,0.02198391,0.0003538838,0.000012549093,0.00016421928,0.008600559,0.00008947814,0.00034667918,0.00828147,0.9601272,0.000017680864],"about_ca_topic_score_codex":0.59092027,"about_ca_topic_score_gemma":0.71108985,"teacher_disagreement_score":0.40907973,"about_ca_system_score_codex":0.013290761,"about_ca_system_score_gemma":0.005821472,"threshold_uncertainty_score":0.8229778},"labels":[],"label_agreement":null},{"id":"W3126585757","doi":"10.5204/mcj.2316","title":"Reading in the Dark","year":2004,"lang":"en","type":"article","venue":"M/C Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Reading (process); Linguistics; Computer science; Psychology; Philosophy","score_opus":0.03392699970963022,"score_gpt":0.23001118031018222,"score_spread":0.196084180600552,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3126585757","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.027338907,0.012967169,0.003675624,0.22943574,0.048189938,0.0001493468,0.0007459774,0.0012685601,0.67622876],"genre_scores_gemma":[0.14449918,0.0059567452,0.0025521463,0.10626859,0.008190169,0.000083361294,0.00043495113,0.0011656436,0.7308492],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992532,0.000267865,0.000028816823,0.00011026704,0.00021087112,0.0001289825],"domain_scores_gemma":[0.99814093,0.00036869504,0.00019985529,0.00020266695,0.0006167606,0.00047107143],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00081161567,0.000696595,0.00039112126,0.00062801235,0.0053185434,0.005632094,0.00052118726,0.002529632,0.07751258],"category_scores_gemma":[0.0062708324,0.00024425282,0.00043926784,0.0003994375,0.0030674213,0.0054897587,0.00350232,0.0060940115,0.023665523],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000084622625,0.000030039502,0.00070723565,0.00015407141,0.00001585025,0.0006498797,0.025299454,0.00001570872,0.0017690943,0.013270999,0.92699015,0.031012984],"study_design_scores_gemma":[0.000007765716,0.00003674544,0.0010252955,0.00018718945,0.000007877273,0.00050746463,0.016321607,0.00002062241,0.00039678835,0.0019227756,0.9795488,0.000017171811],"about_ca_topic_score_codex":0.0059494786,"about_ca_topic_score_gemma":0.012537172,"teacher_disagreement_score":0.07751258,"about_ca_system_score_codex":0.0010852262,"about_ca_system_score_gemma":0.0008327501,"threshold_uncertainty_score":0.25930542},"labels":[],"label_agreement":null},{"id":"W3126692678","doi":"10.1017/9789048542024.012","title":"Time/Frame: On Cinematic Duration","year":2020,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Duration (music); Frame (networking); Computer graphics (images); Computer science; Computer vision; Visual arts; Art; Telecommunications; Literature","score_opus":0.02395541041705051,"score_gpt":0.2100317967874603,"score_spread":0.1860763863704098,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3126692678","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.045215886,0.03507872,0.032029092,0.012481548,0.0027020217,0.000061869716,0.00023324126,0.000106292755,0.87209123],"genre_scores_gemma":[0.93463844,0.015970947,0.0067354627,0.0017188473,0.0030778963,0.00015723833,0.0001648985,0.0003232416,0.037213],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99908185,0.00044516605,0.000032597924,0.00015609669,0.00014998292,0.00013430824],"domain_scores_gemma":[0.99768,0.0014756307,0.00021677412,0.00017102515,0.0002547278,0.00020183981],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018798233,0.00046316153,0.00027937468,0.0017230872,0.0034685244,0.0062056133,0.0007514309,0.0011241083,0.011274389],"category_scores_gemma":[0.0060022697,0.00024403936,0.00030358753,0.0015451177,0.00979282,0.009107451,0.0029204267,0.0023350404,0.00075277366],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037789032,0.0000051096945,0.00031827515,0.00006573042,0.0000024804629,0.00005687838,0.013395536,0.00006320739,0.0002316175,0.9668026,0.0038455424,0.015175202],"study_design_scores_gemma":[0.00003406424,0.000088583714,0.003212029,0.00081690267,0.000028845912,0.0005346517,0.01649183,0.0006887451,0.0007811646,0.29497242,0.6823152,0.00003551964],"about_ca_topic_score_codex":0.007010687,"about_ca_topic_score_gemma":0.005353573,"teacher_disagreement_score":0.011274389,"about_ca_system_score_codex":0.0040066,"about_ca_system_score_gemma":0.00089079567,"threshold_uncertainty_score":0.037716627},"labels":[],"label_agreement":null},{"id":"W3126910728","doi":"10.3390/jrfm14020068","title":"Movie Title Keywords: A Text Mining and Exploratory Factor Analysis of Popular Movies in the United States and China","year":2021,"lang":"en","type":"article","venue":"Journal of risk and financial management","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Exploratory factor analysis; Perspective (graphical); China; Factor (programming language); Advertising; Exploratory analysis; Sentiment analysis; Film industry; Computer science; Political science; History; Data science; Marketing; Business; Artificial intelligence; Movie theater; Law","score_opus":0.018772601499639274,"score_gpt":0.21555210862358787,"score_spread":0.1967795071239486,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3126910728","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.99620545,0.000089898334,0.0003008506,0.000047593305,0.000005718186,0.000021854024,0.0028427504,0.000016491282,0.00046936504],"genre_scores_gemma":[0.9896951,0.00011964372,0.001675544,0.000018249708,0.000020732157,0.00004508214,0.0076870285,0.000007323386,0.00073121645],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99976176,0.000037293856,0.000038868227,0.0000549389,0.00006233983,0.000044777906],"domain_scores_gemma":[0.998697,0.00036212854,0.00028615695,0.00007237899,0.00040079028,0.0001815768],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00055296277,0.00032803995,0.0002902151,0.0044990443,0.00042729467,0.0004952524,0.0001956303,0.00020713818,0.0010037486],"category_scores_gemma":[0.0015603765,0.000077748824,0.00047943616,0.003428908,0.00015226558,0.00039263463,0.00035415194,0.00018065477,0.00023846416],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028982948,0.00019856662,0.9191051,0.00016292806,0.0001464528,0.0006019239,0.0011845928,0.0010520199,0.007941229,0.00024452544,0.0030874028,0.06598534],"study_design_scores_gemma":[0.0000054484913,0.00005787857,0.9929087,0.000011776858,0.00003154306,0.00007920522,0.0006581267,0.004780881,0.0005949973,0.00004129907,0.00081937655,0.000010819458],"about_ca_topic_score_codex":0.02941019,"about_ca_topic_score_gemma":0.03494627,"teacher_disagreement_score":0.02941019,"about_ca_system_score_codex":0.00041613317,"about_ca_system_score_gemma":0.0006764579,"threshold_uncertainty_score":0.058477998},"labels":[],"label_agreement":null},{"id":"W312699180","doi":"","title":"Film Festival Fever: Recent Testimonials","year":2006,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Memoir; Journalism; Art history; Exhibition; Insider; Art; Closet; Film director; Media studies; History; Sociology; Literature; Law; Political science; Archaeology","score_opus":0.05569122713607349,"score_gpt":0.24279155181086506,"score_spread":0.18710032467479157,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W312699180","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025248962,0.47955373,0.0018080319,0.24613716,0.10249582,0.00019587211,0.0027115617,0.0001806659,0.14166823],"genre_scores_gemma":[0.27826527,0.38929203,0.0035955394,0.09740241,0.0709805,0.00050351996,0.002827624,0.00043724006,0.15669587],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9965312,0.0017963845,0.0002461921,0.00029231716,0.00080153235,0.0003325063],"domain_scores_gemma":[0.9903233,0.0059039583,0.00071899995,0.0004929776,0.0015123554,0.001048408],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00389424,0.0009144224,0.00053006876,0.0032490257,0.009073647,0.005237227,0.0018437341,0.0051817824,0.014514857],"category_scores_gemma":[0.017668009,0.0004491172,0.00055177533,0.0057795392,0.003284931,0.0043193405,0.004941534,0.008057234,0.0025919331],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007386525,0.00004661899,0.00029372115,0.0012732605,0.000022666998,0.001243169,0.029642798,0.000050877257,0.0006065248,0.0058762864,0.9043821,0.05648815],"study_design_scores_gemma":[0.0000034765574,0.000016427992,0.00079475855,0.00094104715,0.0000056175477,0.00056695036,0.017028604,0.000019113355,0.00017152562,0.0003858508,0.98005015,0.000016405384],"about_ca_topic_score_codex":0.011812547,"about_ca_topic_score_gemma":0.026495986,"teacher_disagreement_score":0.014514857,"about_ca_system_score_codex":0.0041643768,"about_ca_system_score_gemma":0.0023598906,"threshold_uncertainty_score":0.048557043},"labels":[],"label_agreement":null},{"id":"W3127095078","doi":"10.3138/cras-2019-010","title":"Film Theory after Copjec","year":2020,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Psychoanalytic theory; Scholarship; Film theory; Movie theater; Subject (documents); Psychoanalysis; Criticism; Context (archaeology); Freudian slip; Philosophy; Literature; Art; Art history; History; Psychology; Law","score_opus":0.03707197021268841,"score_gpt":0.25250557552962344,"score_spread":0.21543360531693503,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3127095078","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011695017,0.08425853,0.003974046,0.14225417,0.008335752,0.000047515317,0.00014076805,0.00004451845,0.74924964],"genre_scores_gemma":[0.63236964,0.064026505,0.0020519285,0.03135381,0.010189845,0.00019967042,0.000163271,0.00019444054,0.2594509],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99885654,0.00053066143,0.000025070458,0.00022007714,0.00025134318,0.00011623947],"domain_scores_gemma":[0.9986457,0.0007175636,0.00006733629,0.000086762666,0.0003329987,0.00014962864],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010086198,0.00046744902,0.00032402042,0.0015817801,0.005573431,0.0061119036,0.00068662316,0.0022909509,0.010869709],"category_scores_gemma":[0.0037858263,0.000177884,0.00023442577,0.0014117024,0.009313941,0.005436902,0.0018576505,0.004516434,0.0011512553],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011975909,0.000017335009,0.00012823945,0.000071102615,0.0000024604099,0.00010070805,0.006079546,0.000054317505,0.00006402871,0.9184181,0.06543099,0.009621181],"study_design_scores_gemma":[0.000007753699,0.000016037258,0.0005712459,0.00032510344,0.0000039102847,0.00012788901,0.0043870024,0.00020997121,0.00016375797,0.14495908,0.849217,0.000011224248],"about_ca_topic_score_codex":0.025579197,"about_ca_topic_score_gemma":0.0129870325,"teacher_disagreement_score":0.025579197,"about_ca_system_score_codex":0.007925241,"about_ca_system_score_gemma":0.002573392,"threshold_uncertainty_score":0.057501912},"labels":[],"label_agreement":null},{"id":"W3127922020","doi":"","title":"Film and Pixel","year":2006,"lang":"en","type":"article","venue":"Journal of the Royal Astronomical Society of Canada","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Pixel; Computer science; Artificial intelligence","score_opus":0.005997221653392995,"score_gpt":0.15563152185276624,"score_spread":0.14963430019937324,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3127922020","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.035958566,0.016663639,0.0017028028,0.015316116,0.0015262968,0.000020150403,0.001335391,0.000093185714,0.9273838],"genre_scores_gemma":[0.6168182,0.012847228,0.001499836,0.001548229,0.0018959866,0.000020506603,0.0009351305,0.00023285873,0.36420214],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996251,0.00008632728,0.000015885718,0.00009000971,0.00012831802,0.000054407054],"domain_scores_gemma":[0.9984781,0.0004814991,0.00017506178,0.00016468116,0.00046942767,0.00023113421],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00038494234,0.00027353436,0.0002572452,0.0018790049,0.0019326159,0.007968464,0.00035709623,0.00074686867,0.12336239],"category_scores_gemma":[0.004539871,0.00021845858,0.00015950046,0.0028300001,0.0018448269,0.0040498814,0.0010080448,0.0010904762,0.006446969],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002022295,0.00008340662,0.008727121,0.00025350947,0.000040380073,0.00023863901,0.006550696,0.00021969345,0.00087938877,0.6236143,0.20518227,0.15400831],"study_design_scores_gemma":[0.00001675174,0.00002900487,0.017254002,0.00019985896,0.000044285767,0.00034945417,0.006045108,0.00034359505,0.0003747595,0.07058709,0.9047395,0.000016670174],"about_ca_topic_score_codex":0.02701665,"about_ca_topic_score_gemma":0.033368763,"teacher_disagreement_score":0.12336239,"about_ca_system_score_codex":0.0020087461,"about_ca_system_score_gemma":0.0011069293,"threshold_uncertainty_score":0.41268831},"labels":[],"label_agreement":null},{"id":"W312822709","doi":"10.3138/cjfs.15.2.96","title":"“The People Will Think…What I Tell them to Think”: Orson Welles and the Trailer for <i>Citizen Kane</i>","year":2006,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Ambivalence; Art; Art history; Sociology; Psychoanalysis; Psychology","score_opus":0.0249521684500257,"score_gpt":0.21378462869778125,"score_spread":0.18883246024775555,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W312822709","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023013353,0.03451996,0.002980988,0.640379,0.0071582203,0.000051416253,0.000080543796,0.000062041494,0.29175436],"genre_scores_gemma":[0.5629915,0.0267123,0.0021945154,0.071920656,0.004100262,0.00012271441,0.00006519103,0.00034727674,0.33154553],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9961876,0.0027752903,0.00006939708,0.0002563908,0.00043338817,0.00027798547],"domain_scores_gemma":[0.99355644,0.004523042,0.00043515302,0.0002179341,0.00081194966,0.00045556042],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004179891,0.0006006042,0.0002921308,0.0008101622,0.009319742,0.009058299,0.0006928097,0.0038477692,0.010530939],"category_scores_gemma":[0.012482944,0.00041147353,0.00026701528,0.00084768975,0.010706573,0.008992097,0.00247612,0.007907609,0.001911378],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000088270004,0.00003123395,0.00090864126,0.00023140627,0.000016875374,0.00036891864,0.22886592,0.000052408082,0.00037849514,0.35334042,0.39132544,0.02439193],"study_design_scores_gemma":[0.000010300503,0.000016148595,0.001283805,0.00046387207,0.000011228,0.00012500494,0.07895009,0.000075727265,0.00028846948,0.013984418,0.9047703,0.00002061611],"about_ca_topic_score_codex":0.028680997,"about_ca_topic_score_gemma":0.065489404,"teacher_disagreement_score":0.028680997,"about_ca_system_score_codex":0.005187193,"about_ca_system_score_gemma":0.0025475721,"threshold_uncertainty_score":0.057028115},"labels":[],"label_agreement":null},{"id":"W3128799672","doi":"","title":"Carpe Umbram: Spectacular Occultation in China!","year":2009,"lang":"en","type":"article","venue":"Journal of the Royal Astronomical Society of Canada","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Occultation; China; Astronomy; Geology; Astrobiology; Geography; Environmental science; Physics; Archaeology","score_opus":0.006434537002948301,"score_gpt":0.17785005643651441,"score_spread":0.17141551943356612,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3128799672","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6768882,0.013104549,0.0003921978,0.07842126,0.002694859,0.000026198073,0.002113019,0.00019693184,0.2261627],"genre_scores_gemma":[0.9071584,0.0021168292,0.00014090973,0.0024781034,0.00055055495,0.000007099032,0.00051399646,0.00005491383,0.086979225],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998078,0.000022994103,0.000005002185,0.000026482312,0.000045074827,0.00009274475],"domain_scores_gemma":[0.99955994,0.0000405529,0.00007397797,0.00005750958,0.00009025862,0.00017775729],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004466997,0.00035090046,0.00023202843,0.0010114406,0.0056279246,0.003019356,0.00047984667,0.0013710291,0.020541834],"category_scores_gemma":[0.0010634743,0.00017289438,0.00018787819,0.0025502562,0.003177967,0.0018320978,0.0020655664,0.0018414521,0.0011685364],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007081549,0.00006238372,0.12528035,0.0005166091,0.000108466586,0.009263785,0.112736784,0.00054094964,0.002095214,0.119503945,0.51024956,0.11893383],"study_design_scores_gemma":[0.000024842835,0.00005548774,0.21758817,0.00012919385,0.000040729017,0.000796354,0.04655299,0.0003386033,0.0004935382,0.0050661312,0.72884846,0.00006550411],"about_ca_topic_score_codex":0.23750752,"about_ca_topic_score_gemma":0.4354455,"teacher_disagreement_score":0.23750752,"about_ca_system_score_codex":0.0044092406,"about_ca_system_score_gemma":0.0032193535,"threshold_uncertainty_score":0.47225016},"labels":[],"label_agreement":null},{"id":"W3129397205","doi":"10.15215/aupress/9781926836997.01","title":"Reel Time: Movie Exhibitors and Movie Audiences in Prairie Canada, 1896 to 1986","year":2013,"lang":"en","type":"book","venue":"Athabasca University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Reel; Advertising; Art; Business","score_opus":0.015586890079150735,"score_gpt":0.1668578214220499,"score_spread":0.15127093134289918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3129397205","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1640665,0.09113814,0.00068865693,0.015479442,0.00084960164,0.000106023675,0.0043939096,0.00018803855,0.7230898],"genre_scores_gemma":[0.3110474,0.028195677,0.0003511082,0.0010213064,0.00023009184,0.000037141985,0.0008121098,0.00011175038,0.6581934],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959725,0.000022820344,0.000005714975,0.000055912493,0.00015939961,0.0001588595],"domain_scores_gemma":[0.9994332,0.00009845277,0.000049640326,0.000021332087,0.00021273566,0.00018452099],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003044066,0.00046739908,0.0002533232,0.0029877382,0.008787465,0.0036215838,0.00094367267,0.0007321108,0.014006037],"category_scores_gemma":[0.0011017108,0.00030233516,0.000179078,0.0045710145,0.0035183993,0.0021284868,0.0015239771,0.0012648556,0.0014237468],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013232841,0.00007886461,0.013307633,0.00046502613,0.00002090009,0.0011998754,0.26635423,0.000549355,0.0007870802,0.12180811,0.3242585,0.2710381],"study_design_scores_gemma":[0.000002409176,0.000006842479,0.022897145,0.00015758983,0.000004796403,0.00013678474,0.018615987,0.00005206295,0.00013586428,0.00034679353,0.9576292,0.00001441299],"about_ca_topic_score_codex":0.9761012,"about_ca_topic_score_gemma":0.9938338,"teacher_disagreement_score":0.042038146,"about_ca_system_score_codex":0.042038146,"about_ca_system_score_gemma":0.029667625,"threshold_uncertainty_score":0.30500948},"labels":[],"label_agreement":null},{"id":"W3129543201","doi":"10.1386/fm_00087_4","title":"Spiders and Doppelgängers in Denis Villeneuve’s Enemy (2013)","year":2020,"lang":"en","type":"article","venue":"Film Matters","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Zoology; Art; Biology","score_opus":0.031137833740852088,"score_gpt":0.20063996863144817,"score_spread":0.1695021348905961,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3129543201","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03240084,0.0761773,0.00058969547,0.17698444,0.014507063,0.00007201027,0.0016090698,0.00019447076,0.69746524],"genre_scores_gemma":[0.15963686,0.016527344,0.00035736937,0.00895393,0.001584226,0.000024611943,0.00048080357,0.00020073519,0.8122342],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991416,0.00011844544,0.000013697253,0.000081181446,0.00033573975,0.0003093232],"domain_scores_gemma":[0.9989378,0.00014370358,0.000045723747,0.000026999816,0.00034343277,0.00050229713],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006664466,0.0004346191,0.00033962252,0.0011161381,0.0144877955,0.007619998,0.0005491933,0.002037591,0.044182073],"category_scores_gemma":[0.0022904768,0.00032638008,0.00020174301,0.0013589063,0.0027772738,0.0019417264,0.0020299917,0.00302658,0.0043109325],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002422056,0.000012925531,0.0008555595,0.00005081636,0.0000039384418,0.00020357077,0.00843662,0.000034509692,0.00011960589,0.024386404,0.94299424,0.022877624],"study_design_scores_gemma":[0.0000017845607,0.0000024311607,0.0025729875,0.00010079674,0.0000022315203,0.00005717,0.008694652,0.000015049746,0.00004981199,0.0005925552,0.98790437,0.0000062470995],"about_ca_topic_score_codex":0.87549263,"about_ca_topic_score_gemma":0.9761736,"teacher_disagreement_score":0.87549263,"about_ca_system_score_codex":0.023939904,"about_ca_system_score_gemma":0.018638013,"threshold_uncertainty_score":0.2504812},"labels":[],"label_agreement":null},{"id":"W3131444182","doi":"","title":"Cirque Global: Quebec's Expanding Circus Boundaries","year":2016,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cirque; Art; Visual arts; Creativity; The arts; Aesthetics; Globe; Sociology; Media studies; Humanities; Political science; Geography; Law; Psychology","score_opus":0.027086294263668948,"score_gpt":0.23120865126410114,"score_spread":0.2041223570004322,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3131444182","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08164733,0.010633124,0.00168859,0.043504633,0.0021050624,0.00005397863,0.0005163141,0.00024018578,0.85961086],"genre_scores_gemma":[0.558052,0.0038127198,0.0016198574,0.0069764536,0.00028583716,0.00005111584,0.00036584976,0.00022664841,0.42860943],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99890006,0.00017633488,0.000014281307,0.00014793253,0.00039399983,0.00036736976],"domain_scores_gemma":[0.9981192,0.00033589746,0.00007763402,0.00015407507,0.00072989095,0.000583354],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012950394,0.00050458283,0.00029193563,0.0017006116,0.019700581,0.013279667,0.0015780042,0.0020825507,0.029214436],"category_scores_gemma":[0.0024503784,0.00027514712,0.00038484845,0.0024588527,0.009155744,0.003693825,0.0029913837,0.0024872737,0.0012277741],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007521402,0.000051843876,0.006483839,0.00016977784,0.000018869665,0.0011600977,0.05098069,0.0006684737,0.0010623272,0.39485562,0.42114547,0.12332784],"study_design_scores_gemma":[0.000005127686,0.000008709255,0.005764853,0.000115202805,0.0000063840653,0.0001195287,0.016503017,0.0002657351,0.00013579866,0.0033691896,0.97368467,0.000021815695],"about_ca_topic_score_codex":0.9684341,"about_ca_topic_score_gemma":0.9900489,"teacher_disagreement_score":0.067849904,"about_ca_system_score_codex":0.067849904,"about_ca_system_score_gemma":0.045881793,"threshold_uncertainty_score":0.4922878},"labels":[],"label_agreement":null},{"id":"W3133931001","doi":"10.3828/liverpool/9781911325666.003.0001","title":"Introduction: ‘History Really is Gone’","year":2018,"lang":"en","type":"book-chapter","venue":"Liverpool University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dystopia; Movie theater; History; Narrative; Art history; Entertainment; Art; Visual arts; Literature","score_opus":0.03589820460656676,"score_gpt":0.16824056433501774,"score_spread":0.132342359728451,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3133931001","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012685423,0.10413169,0.0011151158,0.039000325,0.013713079,0.000026007678,0.00051782286,0.00012843052,0.8400989],"genre_scores_gemma":[0.04557652,0.1008376,0.0012089456,0.020747084,0.014722074,0.00007546692,0.0011027118,0.00041024142,0.8153193],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996593,0.00009798781,0.000011371517,0.000070197624,0.00011881008,0.000042361422],"domain_scores_gemma":[0.99937785,0.00032544162,0.000035818026,0.000049036404,0.00013038755,0.00008141854],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040028468,0.0004741001,0.00033108034,0.00095446163,0.0016352253,0.0047077825,0.00054812204,0.0012388587,0.060609564],"category_scores_gemma":[0.0018716092,0.00021195305,0.00017568693,0.001515497,0.0020868378,0.004894492,0.001266401,0.0028828322,0.015954958],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016067488,0.000014138068,0.0002190435,0.00029022424,0.000002509031,0.00006663276,0.0022179964,0.00006431502,0.000114026705,0.19058883,0.7475488,0.058857437],"study_design_scores_gemma":[4.099594e-7,0.0000022470704,0.0001801092,0.00018916835,4.383675e-7,0.000029608156,0.0003270095,0.000008706807,0.000011262859,0.004762968,0.99448687,0.0000013328645],"about_ca_topic_score_codex":0.004971129,"about_ca_topic_score_gemma":0.006956875,"teacher_disagreement_score":0.060609564,"about_ca_system_score_codex":0.0020563349,"about_ca_system_score_gemma":0.0016589139,"threshold_uncertainty_score":0.2027592},"labels":[],"label_agreement":null},{"id":"W3134119164","doi":"10.1093/oxfordhb/9780190853617.013.22","title":"Fist to Face","year":2021,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Sound (geography); Criticism; Aesthetics; Object (grammar); Art; Uncanny; Movie theater; Rumble; Loudness; Visual arts; Acoustics; Literature; Philosophy; Engineering","score_opus":0.04224401612341978,"score_gpt":0.19125976108731543,"score_spread":0.14901574496389566,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3134119164","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005473501,0.0019317532,0.0010606016,0.007556955,0.0042284387,0.00003052466,0.00033954656,0.00033125692,0.98397356],"genre_scores_gemma":[0.0051438254,0.00077690557,0.0004243363,0.0028454,0.0006889014,0.000017733822,0.0001485577,0.00017481885,0.98977953],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942964,0.00011563924,0.000020145975,0.0001385859,0.00018862463,0.00010733433],"domain_scores_gemma":[0.9995223,0.000088160756,0.000026297848,0.00007354006,0.00014346633,0.00014622328],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003743655,0.00070926745,0.0005026284,0.00095396425,0.003492799,0.0051753973,0.0010605949,0.0022132536,0.54462737],"category_scores_gemma":[0.0021247861,0.0002741142,0.0004490707,0.0006601108,0.0012104316,0.004547463,0.004601421,0.0035385436,0.33393067],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018195879,0.000021632388,0.00011331804,0.000063938605,0.000002436881,0.0001727095,0.0008209406,0.000036305566,0.0001630313,0.06740641,0.8526405,0.07854056],"study_design_scores_gemma":[8.4669585e-7,0.00000287375,0.000035231336,0.000033465523,4.123838e-7,0.00009276752,0.00012678729,0.000011415852,0.000021116122,0.0012821687,0.99839133,0.000001583812],"about_ca_topic_score_codex":0.0027994332,"about_ca_topic_score_gemma":0.0046181455,"teacher_disagreement_score":0.54462737,"about_ca_system_score_codex":0.0016350897,"about_ca_system_score_gemma":0.0010012706,"threshold_uncertainty_score":0.64953375},"labels":[],"label_agreement":null},{"id":"W31353573","doi":"10.1111/jfbc.12788","title":"A Touch of Zen (Film)","year":2003,"lang":"en","type":"article","venue":"Sight & sound/Sight and sound","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Agence Universitaire de la Francophonie","keywords":"Art; Visual arts","score_opus":0.033632147116852064,"score_gpt":0.22027349328016504,"score_spread":0.186641346163313,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W31353573","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.083199315,0.0101386495,0.046878416,0.004000561,0.005065219,0.00070447923,0.0070755756,0.014553682,0.828384],"genre_scores_gemma":[0.15272598,0.003190243,0.03618911,0.0025801274,0.00031996306,0.0003158357,0.0034619293,0.0021000316,0.79911673],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994388,0.00005658505,0.000030596897,0.00020874794,0.00020180437,0.00006343054],"domain_scores_gemma":[0.99960405,0.000074798285,0.000034039596,0.00007523181,0.0001329491,0.00007884828],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039928523,0.0007172686,0.00053902576,0.0009140649,0.0009993641,0.0020348663,0.00096038537,0.0012516041,0.29298902],"category_scores_gemma":[0.00084279885,0.0004189057,0.00047587292,0.0007692292,0.0003445502,0.001628241,0.0018077373,0.0011703917,0.09388191],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0012037507,0.00020384873,0.0038055207,0.00188038,0.000063477106,0.0011530919,0.0010952345,0.00032652306,0.2572678,0.018856646,0.13525891,0.5788848],"study_design_scores_gemma":[0.00006335108,0.00031464337,0.00537241,0.00019837079,0.00006528985,0.0014346662,0.00054652104,0.0010386757,0.041945487,0.0015835345,0.94738704,0.000050075698],"about_ca_topic_score_codex":0.0009502636,"about_ca_topic_score_gemma":0.0016900918,"teacher_disagreement_score":0.29298902,"about_ca_system_score_codex":0.00042980668,"about_ca_system_score_gemma":0.0004306626,"threshold_uncertainty_score":0.98014593},"labels":[],"label_agreement":null},{"id":"W3135475186","doi":"10.1080/17400309.2021.1874205","title":"Untouchable: ‘disabling’ cinema’s contract on contact in <i>The Diving Bell and the Butterfly</i>","year":2021,"lang":"en","type":"article","venue":"New Review of Film and Television Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":26,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Bishop's University","funders":"","keywords":"Movie theater; Aesthetics; Narrative; Framing (construction); Normative; Gaze; Sociology; Politics; Art; Psychology; Gender studies; Psychoanalysis; Visual arts; Literature; History; Political science; Law","score_opus":0.04511370637053622,"score_gpt":0.28602418869885066,"score_spread":0.24091048232831444,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3135475186","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31239635,0.1575539,0.0055598933,0.068197556,0.005210961,0.00008195108,0.00021492869,0.00019297103,0.45059156],"genre_scores_gemma":[0.91692686,0.04510851,0.0010028908,0.004600157,0.0016882557,0.000053045682,0.000094660514,0.00009821776,0.030427434],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9991906,0.0005520156,0.000017492599,0.00005751707,0.000107418535,0.00007492209],"domain_scores_gemma":[0.998765,0.00087999285,0.000116036215,0.0000608753,0.000083948165,0.000094108174],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001055471,0.00030378965,0.00016681796,0.00074636744,0.0021916307,0.0049921772,0.0005793971,0.0010821208,0.004320387],"category_scores_gemma":[0.0027932145,0.00013548926,0.0001368936,0.0005539894,0.007935933,0.0039915955,0.0017250658,0.0016185966,0.00039645555],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015891252,0.00005350104,0.0019948373,0.0016948534,0.000042609823,0.0027889775,0.57847387,0.00013487977,0.005465825,0.22336261,0.09528336,0.090545714],"study_design_scores_gemma":[0.000017091208,0.00005762444,0.006343136,0.0014197156,0.000033291424,0.002989917,0.13780718,0.000104481776,0.0011438832,0.007561389,0.84249693,0.000025356336],"about_ca_topic_score_codex":0.0057448647,"about_ca_topic_score_gemma":0.009772135,"teacher_disagreement_score":0.0057448647,"about_ca_system_score_codex":0.0017636981,"about_ca_system_score_gemma":0.0008353195,"threshold_uncertainty_score":0.014453113},"labels":[],"label_agreement":null},{"id":"W3136988263","doi":"10.1080/10509208.2021.1888606","title":"Life, Death, or Something in between: Photographic Taxidermy in “Get out” (2017)","year":2021,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Dilemma; Art; Aesthetics; Art history; Visual arts; Philosophy; Epistemology","score_opus":0.06192149943344642,"score_gpt":0.2852674307476238,"score_spread":0.22334593131417735,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3136988263","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03579914,0.12621707,0.0014088489,0.37870476,0.028370999,0.000047393027,0.00071623985,0.00008938448,0.4286462],"genre_scores_gemma":[0.48770604,0.08277867,0.0012287486,0.08677816,0.0127085885,0.00009610009,0.00064541656,0.0004522834,0.32760605],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993401,0.00037418053,0.00001701252,0.000064422195,0.00012328391,0.0000809108],"domain_scores_gemma":[0.9992316,0.00036856375,0.00009285462,0.000049459784,0.00012632432,0.00013114621],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010864881,0.00039241606,0.00023095595,0.0010964401,0.005815971,0.006641163,0.00032372738,0.0021633191,0.015534041],"category_scores_gemma":[0.00316062,0.00020630934,0.00022897733,0.0012561926,0.005243799,0.0055246362,0.0021696999,0.0043748305,0.0028621668],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005931771,0.000018739789,0.0014731815,0.00024717953,0.000012469542,0.00033938215,0.051058132,0.000022628357,0.00012925881,0.11117549,0.793799,0.041665193],"study_design_scores_gemma":[0.000006634922,0.000009276438,0.0049896836,0.0009198436,0.000009094613,0.00045373585,0.048735794,0.000026877255,0.00013310797,0.007242814,0.9374593,0.000013886024],"about_ca_topic_score_codex":0.01833148,"about_ca_topic_score_gemma":0.0688372,"teacher_disagreement_score":0.01833148,"about_ca_system_score_codex":0.003210886,"about_ca_system_score_gemma":0.0014382113,"threshold_uncertainty_score":0.051966548},"labels":[],"label_agreement":null},{"id":"W3137361042","doi":"10.1080/00918369.2021.1892403","title":"It Feels Like Yesterday: Drag, Nostalgia, and Queer Affective History in <i>The Vaudevillians</i>","year":2021,"lang":"en","type":"article","venue":"Journal of Homosexuality","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Queer; Banner; Ethos; Fandom; Yesterday; Aesthetics; Mythology; Sociology; Art; Gender studies; Psychoanalysis; Literature; History; Psychology; Philosophy","score_opus":0.03729712390086039,"score_gpt":0.24774034927537622,"score_spread":0.21044322537451582,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3137361042","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33158594,0.01461253,0.0023606773,0.16006704,0.002810084,0.0000247591,0.00013576374,0.00013862997,0.48826456],"genre_scores_gemma":[0.9643336,0.0014166547,0.00012856079,0.0039605238,0.0003153357,0.000007693107,0.000013991543,0.00003884694,0.029784787],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989029,0.00072151,0.0000105105,0.000079302656,0.000107690554,0.00017811562],"domain_scores_gemma":[0.99881905,0.0005825159,0.00020391027,0.0000668328,0.00006946873,0.00025816428],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010841102,0.00028232732,0.0001524277,0.00065206445,0.012225291,0.009300144,0.00040971508,0.0015038785,0.005773835],"category_scores_gemma":[0.0036607734,0.00014859911,0.00011492471,0.0004598235,0.022833293,0.00475215,0.0025956084,0.003633067,0.00055992434],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039999537,0.000025118665,0.0017704043,0.000041911484,0.000007857065,0.00052670494,0.67906296,0.000048982572,0.00039432017,0.26556852,0.04126638,0.011246917],"study_design_scores_gemma":[0.000011045414,0.000027444918,0.0035982223,0.00020111806,0.000008338008,0.0006282704,0.590162,0.00010826699,0.00035830424,0.022929251,0.38193232,0.00003545876],"about_ca_topic_score_codex":0.021965697,"about_ca_topic_score_gemma":0.037734143,"teacher_disagreement_score":0.021965697,"about_ca_system_score_codex":0.003006296,"about_ca_system_score_gemma":0.0011214083,"threshold_uncertainty_score":0.04367566},"labels":[],"label_agreement":null},{"id":"W3137415359","doi":"10.1353/tfr.2016.0132","title":"Jean-Luc Godard, Cinema Historian by Michael Witt","year":2016,"lang":"en","type":"article","venue":"The French review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Prison; Dance; Sociology; Movie theater; Art history; Tribute; Nightlife; Art; History; Media studies; Visual arts","score_opus":0.026780550691871106,"score_gpt":0.22385593455599817,"score_spread":0.19707538386412707,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3137415359","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017281997,0.2784297,0.0009397438,0.06588546,0.047972515,0.00010812955,0.0020927754,0.00088085985,0.6019626],"genre_scores_gemma":[0.010235376,0.044834007,0.00035757027,0.0061616027,0.0031503388,0.000038363753,0.00047714723,0.0003027144,0.93444294],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99954516,0.00005441609,0.0000135809105,0.000082864004,0.0002286391,0.00007531475],"domain_scores_gemma":[0.99844354,0.00012867755,0.000055534125,0.00006558138,0.0010810938,0.00022547868],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005382185,0.0011394813,0.0004549762,0.00211608,0.004184854,0.0043126685,0.00090384023,0.0017454362,0.21494706],"category_scores_gemma":[0.0019294645,0.0004992085,0.00022682526,0.0020366218,0.0012400369,0.002439125,0.0012063674,0.0018987581,0.04200419],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000045602637,0.0000031681004,0.00007816021,0.000078231795,0.0000012852477,0.00003398294,0.0002542382,0.00001996219,0.0001154011,0.0012882956,0.9798132,0.01830954],"study_design_scores_gemma":[4.603472e-7,7.12721e-7,0.0002631191,0.00013086536,7.754921e-7,0.000031772244,0.00020485403,0.0000103931425,0.000022893508,0.00004002844,0.99929166,0.0000023739246],"about_ca_topic_score_codex":0.63530034,"about_ca_topic_score_gemma":0.8304756,"teacher_disagreement_score":0.63530034,"about_ca_system_score_codex":0.013647667,"about_ca_system_score_gemma":0.009379091,"threshold_uncertainty_score":0.7336949},"labels":[],"label_agreement":null},{"id":"W3139267362","doi":"10.22215/etd/2020-14032","title":"Black Soundtracks, White Subjects: The Decontextualization of Black Music in Contemporary Hollywood Cinema","year":2020,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Black music; Art; White (mutation); Movie theater; Subjectivity; Popular music; Musical; Incidental music; Hollywood; Literature; Scholarship; Music history; Visual arts; Aesthetics; Art history; Movement (music); Philosophy","score_opus":0.05898655995093473,"score_gpt":0.25357658647830095,"score_spread":0.19459002652736623,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3139267362","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7258391,0.003323843,0.0058796266,0.004717335,0.00025879734,0.000039646737,0.000048613827,0.000035915255,0.2598572],"genre_scores_gemma":[0.9853175,0.0009133241,0.00083507836,0.00047341484,0.00009714624,0.00002079651,0.00002026263,0.000055882665,0.012266608],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99912053,0.0005638923,0.000014840036,0.000087559514,0.00011823168,0.00009487507],"domain_scores_gemma":[0.9991385,0.0005137738,0.000114347116,0.00005420794,0.000074097145,0.00010509826],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017956918,0.00038869277,0.00018518195,0.0015535984,0.005562521,0.007580523,0.00036426052,0.00068881415,0.0040549524],"category_scores_gemma":[0.0022841142,0.0001983689,0.00014180497,0.0009340183,0.012363313,0.0036584437,0.003806293,0.0014985523,0.00025086128],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000671389,0.000020696443,0.0030054995,0.000079240555,0.000007697627,0.00026866293,0.8728018,0.000025520894,0.0017971611,0.09785619,0.0019829373,0.022087514],"study_design_scores_gemma":[0.00002029673,0.00006578605,0.022621185,0.0006525527,0.000031348827,0.000398453,0.7338217,0.00022975214,0.0014919939,0.023609685,0.21703018,0.000027092039],"about_ca_topic_score_codex":0.0064118085,"about_ca_topic_score_gemma":0.015358078,"teacher_disagreement_score":0.007580523,"about_ca_system_score_codex":0.0016850565,"about_ca_system_score_gemma":0.00094532716,"threshold_uncertainty_score":0.013565183},"labels":[],"label_agreement":null},{"id":"W3140134657","doi":"10.1386/slac_00041_5","title":"The Films of Jess Franco, Antonio Lázaro-Reboll and Ian Olney (eds) (2018)","year":2021,"lang":"en","type":"article","venue":"Studies in Spanish & Latin-American Cinemas","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Art; Medicine","score_opus":0.03870356027118398,"score_gpt":0.27090505381228336,"score_spread":0.23220149354109937,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3140134657","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007123114,0.9499634,0.00018642421,0.02113208,0.0059002507,0.0000067332,0.00017432119,0.000021612113,0.021902937],"genre_scores_gemma":[0.009524025,0.94472873,0.00042558828,0.003461302,0.008762466,0.000020338262,0.00031213183,0.000049934522,0.0327154],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941266,0.00016866154,0.000032927404,0.000101278856,0.00020215004,0.00008240975],"domain_scores_gemma":[0.9982343,0.0007515606,0.00025723726,0.000048556507,0.00046467816,0.00024366047],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014054077,0.0012901764,0.00090426026,0.0021637136,0.0013113156,0.006388632,0.0007085098,0.0016985759,0.0280573],"category_scores_gemma":[0.004370413,0.00047851977,0.00045224084,0.0023895826,0.0014478961,0.0038562939,0.0010749573,0.0025150294,0.0073670913],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004217164,0.000020853931,0.00063454953,0.0016231374,0.000018505554,0.00012948,0.0015087915,0.000089005494,0.0001925438,0.006839046,0.828304,0.16059804],"study_design_scores_gemma":[0.0000033451167,0.00000640746,0.0016966056,0.001896984,0.000010007782,0.00021859015,0.0011696089,0.000020346717,0.00004812691,0.0012376697,0.99368423,0.000007920009],"about_ca_topic_score_codex":0.025883911,"about_ca_topic_score_gemma":0.02760591,"teacher_disagreement_score":0.0280573,"about_ca_system_score_codex":0.0029698547,"about_ca_system_score_gemma":0.0031665224,"threshold_uncertainty_score":0.09386104},"labels":[],"label_agreement":null},{"id":"W314716529","doi":"","title":"Immersed in the Single Channel: Experimental Media from Theater to Gallery","year":2012,"lang":"en","type":"article","venue":"Millennium film journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Object (grammar); Visual arts; Nothing; Reading (process); Art history; Aesthetics; Computer science; Philosophy","score_opus":0.05752561474589101,"score_gpt":0.2359025781618121,"score_spread":0.17837696341592107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W314716529","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.826566,0.0013746477,0.0052684783,0.001954333,0.0007749964,0.0021197654,0.0010759016,0.00030132648,0.16056466],"genre_scores_gemma":[0.9441594,0.001026794,0.010346333,0.0019767054,0.00023449358,0.0045490507,0.0005857073,0.0005057281,0.036615785],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979042,0.00088885275,0.00010498754,0.00046316232,0.00039681446,0.00024186536],"domain_scores_gemma":[0.99332243,0.004664283,0.0002297139,0.0010154803,0.00039982126,0.0003683649],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020186594,0.00075597415,0.0005314159,0.00079825014,0.0028189218,0.0051966575,0.001722076,0.0019252104,0.034289353],"category_scores_gemma":[0.013502798,0.0006388059,0.0007137729,0.00051412825,0.003642017,0.0044339923,0.004147374,0.0040550386,0.0029563913],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.02480626,0.09479336,0.010565069,0.00689286,0.000555991,0.002512478,0.2480619,0.0024291663,0.105585545,0.10682545,0.057206515,0.3397654],"study_design_scores_gemma":[0.012546601,0.054473836,0.08108393,0.003526622,0.0019060946,0.0032238455,0.13974893,0.0056972,0.11795481,0.099032514,0.4797478,0.001057922],"about_ca_topic_score_codex":0.0023771024,"about_ca_topic_score_gemma":0.002392729,"teacher_disagreement_score":0.034289353,"about_ca_system_score_codex":0.0011194961,"about_ca_system_score_gemma":0.0006578596,"threshold_uncertainty_score":0.11470932},"labels":[],"label_agreement":null},{"id":"W3150391402","doi":"10.2979/filmhistory.25.4.62","title":"Four Cents to Sea: 16mm, the Royal Canadian Naval Film Society, and the Mobilization of Entertainment","year":2013,"lang":"en","type":"article","venue":"Film History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Entertainment; Mobilization; Political science; Media studies; Art; Visual arts; Law; Sociology","score_opus":0.017776343503490635,"score_gpt":0.17206853109413686,"score_spread":0.15429218759064622,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3150391402","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11400193,0.06443775,0.00024708192,0.5763252,0.005771804,0.00003405728,0.0011027269,0.00004235103,0.23803721],"genre_scores_gemma":[0.6910327,0.0223415,0.00018674826,0.01463248,0.0019339897,0.00003083979,0.00027562256,0.00006344296,0.2695027],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9987464,0.00022163372,0.000036030997,0.00008329658,0.00040060066,0.00051193946],"domain_scores_gemma":[0.99543273,0.0010542462,0.00044558613,0.000099206256,0.0013779461,0.0015902682],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00222381,0.00049351726,0.00037353343,0.0027363407,0.015457796,0.014579558,0.0012640511,0.005585503,0.032007232],"category_scores_gemma":[0.013092017,0.00033166417,0.00021407893,0.005456557,0.0057840785,0.006358251,0.0021881682,0.0050715585,0.001108981],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018564027,0.00007185328,0.018496385,0.00020654955,0.00003179064,0.00035602183,0.038693983,0.0002116002,0.00013493773,0.17509758,0.69186234,0.0746513],"study_design_scores_gemma":[0.000013823593,0.000017740891,0.037099864,0.00065300247,0.00004598066,0.00009421268,0.0964362,0.00018503454,0.00016685118,0.0091069,0.8560993,0.000081033126],"about_ca_topic_score_codex":0.9416327,"about_ca_topic_score_gemma":0.9807545,"teacher_disagreement_score":0.058367312,"about_ca_system_score_codex":0.050893653,"about_ca_system_score_gemma":0.045020442,"threshold_uncertainty_score":0.36926103},"labels":[],"label_agreement":null},{"id":"W3154117532","doi":"10.1080/23268743.2021.1891960","title":"Pornoarchaeology of Kent Monkman’s<i>Group of Seven Inches</i>","year":2021,"lang":"en","type":"article","venue":"Porn Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Movie theater; Categorization; Indigenous; Art; Human sexuality; Visual arts; History; Sociology; Computer science; Gender studies; Artificial intelligence; Biology; Ecology","score_opus":0.058827039387546395,"score_gpt":0.2617228480075551,"score_spread":0.20289580862000867,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3154117532","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2941433,0.00457203,0.0017989562,0.015847247,0.00042238057,0.00004829058,0.0002337855,0.00004539168,0.6828886],"genre_scores_gemma":[0.8971567,0.0013052622,0.00038836637,0.00063612795,0.00009582404,0.000023495551,0.000056262736,0.000044453445,0.10029351],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99963176,0.00015060943,0.000006589878,0.00006621202,0.000046345885,0.00009846829],"domain_scores_gemma":[0.99949825,0.00014187847,0.000104784056,0.00004295943,0.00007009595,0.00014207899],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004197235,0.0002078843,0.00010117507,0.0008554771,0.0049013714,0.0038609311,0.00041050912,0.0006593437,0.009593871],"category_scores_gemma":[0.0011888903,0.00015528903,0.00006235242,0.00084206363,0.005704736,0.0023430109,0.0016393602,0.0011517779,0.00055660936],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000097545526,0.000055045144,0.0073186327,0.0001350294,0.000004137767,0.000653214,0.28759173,0.00014172339,0.00076016184,0.5916786,0.06496984,0.0465943],"study_design_scores_gemma":[0.000002546833,0.000027750097,0.023947315,0.00021047205,0.0000030210522,0.00040052508,0.1181699,0.00014712386,0.00026443103,0.0069920165,0.84981984,0.000015082042],"about_ca_topic_score_codex":0.05005312,"about_ca_topic_score_gemma":0.12615761,"teacher_disagreement_score":0.05005312,"about_ca_system_score_codex":0.0043484764,"about_ca_system_score_gemma":0.0016755827,"threshold_uncertainty_score":0.099523544},"labels":[],"label_agreement":null},{"id":"W3154280435","doi":"10.1080/07053436.2021.1899395","title":"Le Festival de Cannes et la montée du cinéma d’auteur à l’ère de la mondialisation","year":2021,"lang":"fr","type":"article","venue":"Loisir et Société / Society and Leisure","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Agence Nationale de la Recherche","keywords":"Humanities; Art; Auteur theory; Movie theater; Art history","score_opus":0.01567090744401796,"score_gpt":0.2644976559463043,"score_spread":0.24882674850228637,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3154280435","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27447516,0.024826385,0.0055407844,0.04439999,0.004688508,0.000079245474,0.00060017704,0.00021727046,0.6451725],"genre_scores_gemma":[0.8932064,0.0034755673,0.0013249802,0.0006928295,0.0013234584,0.000026222451,0.00011520649,0.00009005295,0.099745214],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999131,0.0003357151,0.000014724789,0.0001190169,0.0002063431,0.00019324117],"domain_scores_gemma":[0.9983394,0.0007233677,0.00021878096,0.00010986593,0.00017437135,0.00043426882],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013584114,0.00048091248,0.00024223422,0.0012511022,0.0039292024,0.0068630436,0.00045085052,0.0014280526,0.012368899],"category_scores_gemma":[0.0047091073,0.00023595057,0.00027998933,0.0011257054,0.0031225397,0.0020689424,0.0016134492,0.0024547777,0.00064553204],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00070005126,0.00013847242,0.016347209,0.000367066,0.00006275114,0.001235958,0.05792874,0.00072174036,0.0027679931,0.6911757,0.11867533,0.10987904],"study_design_scores_gemma":[0.000020204056,0.00005184441,0.04021432,0.00019399011,0.000011146423,0.0004999501,0.009166792,0.00033471847,0.0007100913,0.0068410416,0.94191456,0.00004133641],"about_ca_topic_score_codex":0.05436217,"about_ca_topic_score_gemma":0.092560716,"teacher_disagreement_score":0.05436217,"about_ca_system_score_codex":0.0046802764,"about_ca_system_score_gemma":0.0015196146,"threshold_uncertainty_score":0.10809153},"labels":[],"label_agreement":null},{"id":"W3155886284","doi":"10.3390/jrfm14050189","title":"Insuring Hollywood: A Movie Returns Index and the American Stock Market","year":2021,"lang":"en","type":"article","venue":"Journal of risk and financial management","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Index (typography); Hollywood; Film industry; Exhibition; Stock market index; Venture capital; Investment (military); Business; Stock market; Point (geometry); Risk–return spectrum; Economics; Financial economics; Actuarial science; Finance; Movie theater; History; Art history; Political science","score_opus":0.010622747769408424,"score_gpt":0.20099138003777606,"score_spread":0.19036863226836764,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3155886284","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94203246,0.001782052,0.012099943,0.0011757399,0.00013072176,0.00007085109,0.008249387,0.00029482323,0.034163937],"genre_scores_gemma":[0.9886624,0.00052815484,0.0036989423,0.000051659,0.00020230871,0.000018977318,0.0043180273,0.00001833128,0.0025012153],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9997379,0.00006348275,0.000024195313,0.000032846336,0.00011733137,0.000024148105],"domain_scores_gemma":[0.9989083,0.0001880154,0.0003805813,0.000066148896,0.00029541706,0.0001615384],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005838781,0.0002872164,0.00016290191,0.0022117663,0.00017210077,0.0012576412,0.00024266513,0.00032884,0.0022869],"category_scores_gemma":[0.0026600068,0.00005889538,0.00015990429,0.0025289163,0.00016408591,0.0014579771,0.00036467958,0.00039466872,0.0007180637],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004725798,0.00032185277,0.7851814,0.000083157145,0.00012700366,0.0002991969,0.00030094164,0.007201955,0.0020809409,0.01956067,0.020522732,0.16384752],"study_design_scores_gemma":[0.00001715736,0.00014491864,0.91625094,0.000037754453,0.000054616637,0.00029669882,0.00028763784,0.05585443,0.001743189,0.0072791013,0.017984563,0.00004901279],"about_ca_topic_score_codex":0.007217687,"about_ca_topic_score_gemma":0.007216296,"teacher_disagreement_score":0.007217687,"about_ca_system_score_codex":0.00041716185,"about_ca_system_score_gemma":0.00019406728,"threshold_uncertainty_score":0.014351308},"labels":[],"label_agreement":null},{"id":"W3157597730","doi":"","title":"Wanda Strauven (Hg.), The Cinema of Attractions Reloaded.: Amsterdam: Amsterdam University Press 2006. (Film Culture in Transition) ISBN 90-5356-944-8. 464 S. Preis: € 50,99.","year":2009,"lang":"en","type":"article","venue":"[rezens.tfm]","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Art history","score_opus":0.022071001829257322,"score_gpt":0.21481791068849262,"score_spread":0.1927469088592353,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3157597730","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013746686,0.7801298,0.00080963556,0.016283091,0.0039002039,0.000021480877,0.0011913921,0.00033198524,0.19595778],"genre_scores_gemma":[0.026737755,0.37670225,0.0012982496,0.003101283,0.0011605637,0.0001009658,0.0015239859,0.0005531942,0.5888217],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996202,0.000085638305,0.00003809277,0.000086871274,0.00011828099,0.000050839575],"domain_scores_gemma":[0.99942493,0.0001989118,0.00009026536,0.000040959476,0.00012279191,0.000122034944],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057992176,0.0011312152,0.00067237526,0.0015354824,0.0015930738,0.0075035286,0.00093669863,0.002451022,0.17622098],"category_scores_gemma":[0.0015862883,0.0010398256,0.00039095365,0.0031219488,0.0009488468,0.0075539197,0.0017887802,0.0026067533,0.068527736],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003454294,0.000016924596,0.00028936024,0.0009726411,0.000009377811,0.0001507117,0.004038581,0.00008193717,0.00051696226,0.009554677,0.80205,0.1822844],"study_design_scores_gemma":[0.0000030440808,0.00000421638,0.0013778373,0.0007430652,0.00000598912,0.00017774603,0.0014591607,0.000018675606,0.0000709259,0.0010602982,0.9950741,0.000004932693],"about_ca_topic_score_codex":0.023620162,"about_ca_topic_score_gemma":0.052585103,"teacher_disagreement_score":0.17622098,"about_ca_system_score_codex":0.0024015172,"about_ca_system_score_gemma":0.0021470492,"threshold_uncertainty_score":0.58951795},"labels":[],"label_agreement":null},{"id":"W3158206133","doi":"","title":"Dying hard : reasserting American strength through popular action films, 1984-1989","year":2011,"lang":"en","type":"article","venue":"TSpace","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Action (physics); Physics","score_opus":0.12721326600969876,"score_gpt":0.306020689960957,"score_spread":0.17880742395125823,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3158206133","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.91793823,0.0012414615,0.00012673138,0.006596525,0.00026492632,0.000028824708,0.00053371943,0.000010649379,0.0732589],"genre_scores_gemma":[0.9855688,0.0007024862,0.00008025104,0.0004942443,0.00007169104,0.000012838844,0.00017773478,0.0000103086495,0.01288166],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99944264,0.0001982676,0.000019306406,0.000045250854,0.00012678784,0.000167722],"domain_scores_gemma":[0.9971475,0.00096659595,0.00056197454,0.00014965456,0.0004961237,0.0006781145],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015805102,0.00021827662,0.00017983773,0.0012110538,0.0044708177,0.0028819044,0.0005356159,0.0008541234,0.004756087],"category_scores_gemma":[0.006237776,0.000221496,0.000093058574,0.0016308025,0.0019463078,0.001862852,0.0023570992,0.0030212668,0.00041874158],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00045507224,0.0003969706,0.1499738,0.00023247459,0.00007924586,0.0006756733,0.6448459,0.00011454734,0.00090786925,0.016282665,0.08168962,0.104346216],"study_design_scores_gemma":[0.000017550541,0.000077346864,0.37156025,0.00018413976,0.00004472947,0.00014047336,0.45391035,0.00012143666,0.00057551253,0.00089844974,0.17244424,0.00002557449],"about_ca_topic_score_codex":0.06510193,"about_ca_topic_score_gemma":0.22180948,"teacher_disagreement_score":0.06510193,"about_ca_system_score_codex":0.002387943,"about_ca_system_score_gemma":0.0013139566,"threshold_uncertainty_score":0.12944597},"labels":[],"label_agreement":null},{"id":"W3159974493","doi":"10.1386/jptv_00039_7","title":"‘Filming the invisible’: Barrie Gavin in conversation with John Wyver","year":2021,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; Filmmaking; Art; Art history; Performance art; Visual arts; Sociology; Communication; Movie theater","score_opus":0.023695286371782684,"score_gpt":0.22166364731110294,"score_spread":0.19796836093932024,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3159974493","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.031122576,0.07502721,0.001332517,0.7659147,0.007581625,0.000039927596,0.00009100492,0.000057542366,0.118832916],"genre_scores_gemma":[0.50925696,0.07413071,0.00237201,0.20413704,0.0083244685,0.00022073377,0.00012038021,0.0004698956,0.20096786],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99764496,0.0015862947,0.000043431344,0.00030610667,0.00019767764,0.00022157432],"domain_scores_gemma":[0.9965772,0.0022762718,0.00026034965,0.00006407233,0.00023624288,0.0005858426],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027634902,0.0005019519,0.00052355404,0.00067672326,0.010099073,0.008312425,0.00081853475,0.0037232365,0.005944841],"category_scores_gemma":[0.009709659,0.0004223333,0.00019402806,0.0009300941,0.00810298,0.0075549777,0.0028919107,0.0074022436,0.0008770917],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000095271804,0.00006428982,0.0012706451,0.00017264068,0.000015799013,0.001601711,0.18853325,0.000097427444,0.0006742298,0.0936864,0.6931886,0.0205998],"study_design_scores_gemma":[0.0000052413434,0.000015202968,0.0011591411,0.00046333266,0.0000036045567,0.0003015919,0.04464172,0.000045511122,0.00011671353,0.0034809704,0.9497473,0.000019705387],"about_ca_topic_score_codex":0.035696067,"about_ca_topic_score_gemma":0.053043734,"teacher_disagreement_score":0.035696067,"about_ca_system_score_codex":0.004838705,"about_ca_system_score_gemma":0.0016326621,"threshold_uncertainty_score":0.070976555},"labels":[],"label_agreement":null},{"id":"W3160084287","doi":"10.14288/1.0394173","title":"Splitting space : destabilizing the suburban house in postwar art and contemporary horror film","year":2021,"lang":"en","type":"article","venue":"cIRcle (University of British Columbia)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Space (punctuation); Art; Aesthetics; Urban space; Visual arts; Art history; Economic geography; Geography; Computer science","score_opus":0.019763939780208534,"score_gpt":0.16771200250654453,"score_spread":0.14794806272633598,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3160084287","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8429779,0.0017980051,0.003813584,0.0032371562,0.00027597716,0.000040278952,0.00003730794,0.000045362183,0.1477744],"genre_scores_gemma":[0.9932742,0.0003419354,0.0003450186,0.000121234305,0.000035990022,0.000014203488,0.000010586458,0.000021086822,0.005835672],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987728,0.0007425111,0.00002881863,0.00010700826,0.00015686503,0.00019209005],"domain_scores_gemma":[0.99928766,0.0003724659,0.00011846253,0.0000830404,0.000053997865,0.000084494066],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015916722,0.00035598697,0.00023142237,0.00091946655,0.009015098,0.0060438314,0.000848939,0.0008656291,0.0026606228],"category_scores_gemma":[0.0016805225,0.00023882251,0.00020307969,0.0008030392,0.02267974,0.00423964,0.0042126547,0.002031686,0.00019264162],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048844555,0.000026922482,0.0017531631,0.000047022295,0.000005170462,0.0006419795,0.88653064,0.00010067457,0.0007669048,0.10097514,0.0014375442,0.0076660546],"study_design_scores_gemma":[0.0000058735855,0.000034681452,0.0061585745,0.000110213834,0.000007410703,0.00036954513,0.8969216,0.00017498479,0.0009269442,0.007784975,0.08749132,0.000013898065],"about_ca_topic_score_codex":0.009538384,"about_ca_topic_score_gemma":0.033255316,"teacher_disagreement_score":0.009538384,"about_ca_system_score_codex":0.0036569505,"about_ca_system_score_gemma":0.0009652992,"threshold_uncertainty_score":0.026533186},"labels":[],"label_agreement":null},{"id":"W3160939238","doi":"","title":"Pen and Pixel","year":2007,"lang":"en","type":"article","venue":"Journal of the Royal Astronomical Society of Canada","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Pixel; Computer science; Geology; Artificial intelligence","score_opus":0.009109792761233923,"score_gpt":0.17870677261419407,"score_spread":0.16959697985296016,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3160939238","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013076215,0.0049170954,0.07115456,0.003430114,0.007152708,0.000090028574,0.0075470605,0.017102582,0.88729835],"genre_scores_gemma":[0.022581428,0.004627993,0.049443167,0.0016289782,0.0018093197,0.00011621731,0.0058049555,0.006687131,0.90730095],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992066,0.000108587235,0.00006124878,0.00020987462,0.00034460146,0.00006912982],"domain_scores_gemma":[0.9985092,0.00026830216,0.000068257476,0.0005355254,0.00046710155,0.00015162153],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00055501686,0.0010743258,0.00084076676,0.002143853,0.0010207293,0.0061415983,0.0012885425,0.0010448133,0.5333454],"category_scores_gemma":[0.0045174714,0.00053154613,0.00053616037,0.004109662,0.0008886983,0.005417298,0.0020364067,0.0013692798,0.2831982],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007650101,0.00001744291,0.00014957102,0.00018360006,0.000008452895,0.000064824715,0.00006314696,0.00034156884,0.00068108016,0.07903536,0.5786883,0.3406902],"study_design_scores_gemma":[0.000006458063,0.0000075627513,0.000066342625,0.00003653474,0.000004462462,0.00010017007,0.000029542325,0.0004875207,0.0004334009,0.011804551,0.98701686,0.0000065824233],"about_ca_topic_score_codex":0.0024733301,"about_ca_topic_score_gemma":0.0034184777,"teacher_disagreement_score":0.5333454,"about_ca_system_score_codex":0.0007472848,"about_ca_system_score_gemma":0.0011957245,"threshold_uncertainty_score":0.66562617},"labels":[],"label_agreement":null},{"id":"W3162656978","doi":"","title":"Unfinished Business: The New Wave of Women's Horror Cinema","year":2018,"lang":"en","type":"dissertation","venue":"QSpace (Queen's University Library)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; French New Wave; Art history; Art","score_opus":0.011295941782937056,"score_gpt":0.1764407188014358,"score_spread":0.16514477701849875,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3162656978","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23165159,0.04793228,0.008529195,0.15234609,0.008420812,0.00021554521,0.00029248017,0.00025374215,0.5503582],"genre_scores_gemma":[0.86635137,0.02151289,0.0035881207,0.008562575,0.0045814705,0.00010589742,0.00014767026,0.00026113953,0.094888985],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9969625,0.0014429754,0.000056358513,0.00023638042,0.0008565235,0.0004453343],"domain_scores_gemma":[0.9975561,0.0009850886,0.00021050456,0.00021066803,0.00033647742,0.00070125906],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036082184,0.00039834596,0.00029642702,0.0012006749,0.007596654,0.012753656,0.001181945,0.0014490831,0.008808615],"category_scores_gemma":[0.0036997804,0.0003216677,0.00025651293,0.0009341162,0.009219918,0.0062377728,0.0060247523,0.0035886392,0.00070829643],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000090783986,0.00005439691,0.0025797759,0.00052010827,0.000015576046,0.0006472731,0.5562136,0.0001026714,0.0030408818,0.20984675,0.08540556,0.1414826],"study_design_scores_gemma":[0.0000059367853,0.000039655664,0.00215795,0.00033489172,0.000007919765,0.00042342438,0.11085364,0.000090399946,0.0005118552,0.0040107043,0.8815431,0.000020423968],"about_ca_topic_score_codex":0.020544702,"about_ca_topic_score_gemma":0.05442692,"teacher_disagreement_score":0.020544702,"about_ca_system_score_codex":0.0065263472,"about_ca_system_score_gemma":0.0040162173,"threshold_uncertainty_score":0.047352195},"labels":[],"label_agreement":null},{"id":"W3162738346","doi":"","title":"Pen and Pixel","year":2007,"lang":"en","type":"article","venue":"Journal of the Royal Astronomical Society of Canada","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Pixel; Computer science; Geology; Artificial intelligence","score_opus":0.009109792761233923,"score_gpt":0.17870677261419407,"score_spread":0.16959697985296016,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3162738346","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013076215,0.0049170954,0.07115456,0.003430114,0.007152708,0.000090028574,0.0075470605,0.017102582,0.88729835],"genre_scores_gemma":[0.022581428,0.004627993,0.049443167,0.0016289782,0.0018093197,0.00011621731,0.0058049555,0.006687131,0.90730095],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992066,0.000108587235,0.00006124878,0.00020987462,0.00034460146,0.00006912982],"domain_scores_gemma":[0.9985092,0.00026830216,0.000068257476,0.0005355254,0.00046710155,0.00015162153],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00055501686,0.0010743258,0.00084076676,0.002143853,0.0010207293,0.0061415983,0.0012885425,0.0010448133,0.5333454],"category_scores_gemma":[0.0045174714,0.00053154613,0.00053616037,0.004109662,0.0008886983,0.005417298,0.0020364067,0.0013692798,0.2831982],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007650101,0.00001744291,0.00014957102,0.00018360006,0.000008452895,0.000064824715,0.00006314696,0.00034156884,0.00068108016,0.07903536,0.5786883,0.3406902],"study_design_scores_gemma":[0.000006458063,0.0000075627513,0.000066342625,0.00003653474,0.000004462462,0.00010017007,0.000029542325,0.0004875207,0.0004334009,0.011804551,0.98701686,0.0000065824233],"about_ca_topic_score_codex":0.0024733301,"about_ca_topic_score_gemma":0.0034184777,"teacher_disagreement_score":0.5333454,"about_ca_system_score_codex":0.0007472848,"about_ca_system_score_gemma":0.0011957245,"threshold_uncertainty_score":0.66562617},"labels":[],"label_agreement":null},{"id":"W3163306211","doi":"10.1177/13548565211014464","title":"Algorithms and taste-making: Exposing the Netflix Recommender System's operational logics","year":2021,"lang":"en","type":"article","venue":"Convergence The International Journal of Research into New Media Technologies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":114,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Recommender system; Taste; Computer science; Materialism; Consumption (sociology); Perspective (graphical); Key (lock); Politics; Power (physics); Production (economics); Multimedia; World Wide Web; Sociology; Artificial intelligence; Epistemology; Computer security; Political science; Social science; Economics; Law","score_opus":0.15211023919243427,"score_gpt":0.35578079326248846,"score_spread":0.2036705540700542,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3163306211","genre_codex":"methods","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12527366,0.004364549,0.510325,0.05020813,0.00050257,0.00013908537,0.00044737416,0.0005883679,0.30815122],"genre_scores_gemma":[0.89382696,0.0015900191,0.0905491,0.0017491401,0.0002489579,0.00010154827,0.00012708567,0.00014383589,0.011663476],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99732995,0.001728391,0.00007798861,0.0003008417,0.0004319237,0.00013087528],"domain_scores_gemma":[0.9946997,0.0040417053,0.00024329909,0.0006099925,0.00025976874,0.00014550652],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0042346446,0.00038176344,0.00028633958,0.0010889181,0.0023091973,0.008698888,0.0007977688,0.0020829816,0.0059192507],"category_scores_gemma":[0.010309142,0.00037005043,0.0007478341,0.0009532007,0.014821494,0.012028299,0.0030561453,0.0031940264,0.00082540023],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031437557,0.000019539171,0.00038091632,0.000036523405,0.000008043606,0.000058173686,0.0042196643,0.0014124537,0.0005073092,0.98080117,0.0012590305,0.01126572],"study_design_scores_gemma":[0.000038883372,0.000037666934,0.000741515,0.00009246173,0.000019589375,0.00013082464,0.0024908304,0.018251656,0.0012234694,0.9270473,0.049885392,0.000040452636],"about_ca_topic_score_codex":0.0045168693,"about_ca_topic_score_gemma":0.0023089258,"teacher_disagreement_score":0.9976908,"about_ca_system_score_codex":0.003511907,"about_ca_system_score_gemma":0.0013247309,"threshold_uncertainty_score":0.025480807},"labels":[],"label_agreement":null},{"id":"W3164538291","doi":"10.3366/edinburgh/9781474438056.003.0018","title":"The Finnish Cinema Colony in North America, 1938−1941","year":2019,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Movie theater; Immigration; Negotiation; Film industry; Geography; World War II; Distribution (mathematics); Economy; Economic geography; Political science; Economic history; History; Art history; Archaeology; Economics; Law","score_opus":0.025977866272382313,"score_gpt":0.18261227411704642,"score_spread":0.1566344078446641,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3164538291","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.650981,0.02653393,0.0001791211,0.0036241012,0.00023560051,0.00004487754,0.0003417046,0.000025944111,0.31803375],"genre_scores_gemma":[0.90885776,0.01524783,0.00029448615,0.0002314106,0.00006794997,0.00003924883,0.00027174962,0.000021419226,0.07496818],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997148,0.000040036222,0.000007804835,0.000049024133,0.00009010393,0.00009823212],"domain_scores_gemma":[0.99968994,0.00010832835,0.00004321927,0.000014142071,0.000067621746,0.000076845165],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00035974232,0.00030774338,0.00023769125,0.0013702204,0.006947627,0.004147301,0.00065223227,0.00070910796,0.0060856333],"category_scores_gemma":[0.0009148089,0.00032180204,0.00014718807,0.0025040288,0.0017014828,0.0017997426,0.0017910115,0.0009762215,0.0004271171],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019711145,0.00017965783,0.034916077,0.0006688805,0.00004309642,0.007307551,0.5798705,0.00030762973,0.0032490282,0.092336036,0.06812573,0.2127987],"study_design_scores_gemma":[0.000010833624,0.000052425497,0.24000518,0.0005892168,0.00003708781,0.0013165567,0.16806538,0.0002546236,0.00052559184,0.0020899144,0.5870152,0.000037953167],"about_ca_topic_score_codex":0.36289123,"about_ca_topic_score_gemma":0.6435315,"teacher_disagreement_score":0.6371088,"about_ca_system_score_codex":0.008544161,"about_ca_system_score_gemma":0.0054529146,"threshold_uncertainty_score":0.721558},"labels":[],"label_agreement":null},{"id":"W3164865657","doi":"10.1111/var.12228","title":"Glamorous Work: Notes from the Red Carpet","year":2021,"lang":"en","type":"article","venue":"Visual Anthropology Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Negotiation; Mediation; Movie theater; Film festival; Work (physics); Intermediary; Visual arts; Value (mathematics); Ethnography; Media studies; Sociology; Advertising; Art; Aesthetics; Business; Engineering; Social science; Marketing; Anthropology; Computer science","score_opus":0.06499629257705568,"score_gpt":0.3184020886313977,"score_spread":0.253405796054342,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3164865657","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46314856,0.023320384,0.001941388,0.0856861,0.0013881527,0.000110290035,0.0003178874,0.00005480024,0.42403245],"genre_scores_gemma":[0.93637687,0.009359848,0.0004893625,0.0038309975,0.0006133227,0.00004586074,0.00007080907,0.00007382292,0.049139097],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9960104,0.0023677417,0.000055454082,0.0003663231,0.0005322919,0.00066772423],"domain_scores_gemma":[0.98753893,0.009201538,0.00088008086,0.0006514845,0.0006823329,0.0010455861],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0053327084,0.00059374183,0.00045025224,0.003119734,0.0203009,0.0085004205,0.0018091653,0.0026187433,0.009132193],"category_scores_gemma":[0.010606041,0.0003651083,0.0003638791,0.003276877,0.019511815,0.003506288,0.0050481027,0.005414853,0.00089644507],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011428465,0.00009600449,0.0023109198,0.00026461013,0.000014772299,0.003027273,0.80209416,0.00011278496,0.0002277111,0.10758312,0.058700196,0.025454158],"study_design_scores_gemma":[0.000008269876,0.00003875963,0.007646687,0.00083467335,0.0000066350713,0.00047660276,0.68386555,0.00008806895,0.0001790816,0.004413357,0.30241865,0.000023656714],"about_ca_topic_score_codex":0.08397642,"about_ca_topic_score_gemma":0.15582015,"teacher_disagreement_score":0.08397642,"about_ca_system_score_codex":0.008498556,"about_ca_system_score_gemma":0.0034503182,"threshold_uncertainty_score":0.16697526},"labels":[],"label_agreement":null},{"id":"W3167272604","doi":"10.1287/serv.2021.0273","title":"Value of Stars on Broadway: A Case Study","year":2021,"lang":"en","type":"article","venue":"Service Science","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Revenue; Profit (economics); Business; Value (mathematics); Marketing; Service (business); Set (abstract data type); Metaphor; Microeconomics; Economics; Accounting; Computer science","score_opus":0.04354865930274617,"score_gpt":0.26579516156856003,"score_spread":0.22224650226581386,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3167272604","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9861275,0.00015187755,0.0018637439,0.0008204298,0.000011810769,0.000082293656,0.00015324357,0.0000125279275,0.010776543],"genre_scores_gemma":[0.9921502,0.00031345055,0.0030086604,0.000114251314,0.00002105141,0.00006243969,0.000104076425,0.00001335344,0.0042124996],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.99757546,0.0016577758,0.00006400796,0.000119113894,0.0002780437,0.00030566554],"domain_scores_gemma":[0.9900214,0.007074843,0.00066578755,0.0003990794,0.0006339596,0.0012048534],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023070078,0.00031920176,0.00024580312,0.0015468171,0.0033252586,0.0024857172,0.0007016249,0.0013908069,0.0048492462],"category_scores_gemma":[0.0074492535,0.00020342483,0.00036118214,0.0022061153,0.0013990552,0.00225539,0.0020637861,0.0010347837,0.0005022996],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0016411828,0.007859036,0.38281232,0.0010500987,0.0001976646,0.0545003,0.21185324,0.012230397,0.006638562,0.06952972,0.02334355,0.22834392],"study_design_scores_gemma":[0.00015375887,0.002633353,0.17138316,0.0004969483,0.00013188619,0.015284046,0.6478194,0.022661977,0.0070674024,0.012980859,0.11923658,0.00015069806],"about_ca_topic_score_codex":0.0071373736,"about_ca_topic_score_gemma":0.01699842,"teacher_disagreement_score":0.0071373736,"about_ca_system_score_codex":0.0027608147,"about_ca_system_score_gemma":0.0010900794,"threshold_uncertainty_score":0.020031214},"labels":[],"label_agreement":null},{"id":"W3167450355","doi":"10.3138/mous.17.1.04","title":"Riffing on <i>Lysistrata</i>: Gender and Social Critique in Spike Lee’s <i>Chi-raq</i>","year":2020,"lang":"en","type":"article","venue":"Mouseion Journal of the Classical Association of Canada","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Status quo; Human sexuality; Gender studies; Sociology; Comedy; Psychology; Social psychology; Art; Political science; Literature","score_opus":0.02187698423449832,"score_gpt":0.2043248197176985,"score_spread":0.18244783548320018,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3167450355","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25037277,0.00360099,0.0041042357,0.13430841,0.0015486904,0.00004656593,0.00013789859,0.00008892634,0.60579157],"genre_scores_gemma":[0.94199014,0.0006122655,0.00042724112,0.0066894824,0.00026894003,0.000023495193,0.000021983229,0.00007492614,0.049891587],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988422,0.0006974125,0.00001678579,0.00009244564,0.0001811058,0.00017014985],"domain_scores_gemma":[0.9983754,0.001094961,0.000096834345,0.000083630286,0.00018759709,0.0001614707],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012284325,0.00029492928,0.00017440309,0.0006343615,0.0071078474,0.0069831787,0.0005857931,0.0021802823,0.0052097905],"category_scores_gemma":[0.0035644528,0.00014589318,0.00018747663,0.0007155157,0.011579578,0.0029687057,0.0027280813,0.0044731232,0.00037815617],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005413503,0.00002146761,0.0013345148,0.00006573431,0.000009015057,0.00084582565,0.28590935,0.00016076466,0.0008290784,0.6406381,0.057178292,0.012953836],"study_design_scores_gemma":[0.000016496544,0.000030598516,0.002995227,0.00018642926,0.00001112101,0.00027664014,0.16954623,0.0004604127,0.0010415041,0.049265627,0.77612936,0.000040361625],"about_ca_topic_score_codex":0.022798976,"about_ca_topic_score_gemma":0.05295588,"teacher_disagreement_score":0.022798976,"about_ca_system_score_codex":0.0074612508,"about_ca_system_score_gemma":0.0023177676,"threshold_uncertainty_score":0.054135382},"labels":[],"label_agreement":null},{"id":"W3171327942","doi":"10.18192/rceh.v44i1.5910","title":"Shifting from Identity to Marketing: Central American Cinema as a Brand for Sales, not a Place in the Making","year":2021,"lang":"en","type":"article","venue":"Revista Canadiense de Estudios Hispánicos","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Perspective (graphical); Place branding; Filmmaking; Sociology; Reading (process); Identity (music); Value (mathematics); Politics; Aesthetics; Gaze; Advertising; Close reading; Media studies; Marketing; Visual arts; Business; History; Political science; Psychology; Art; Computer science; Literature","score_opus":0.02662717398271254,"score_gpt":0.2553686999846791,"score_spread":0.22874152600196657,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3171327942","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.74112874,0.0036264553,0.0068921503,0.022744445,0.00024615368,0.00003905805,0.000042978485,0.000013971579,0.22526607],"genre_scores_gemma":[0.99341536,0.001035581,0.0005828761,0.0005145164,0.00007210747,0.0000090512185,0.000009767716,0.000007671932,0.0043530725],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99964166,0.0001659717,0.0000057896614,0.00006277816,0.000046502635,0.00007722862],"domain_scores_gemma":[0.99930835,0.0003101612,0.00012220867,0.000051694915,0.000090294,0.00011728486],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012217194,0.00020767191,0.00018255538,0.00093892217,0.0027915451,0.008528696,0.00042268776,0.0009264581,0.0038460717],"category_scores_gemma":[0.0015346169,0.000116044765,0.00012302262,0.0014835389,0.008777159,0.005001153,0.0017828997,0.001500129,0.00017300273],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006699746,0.0000986093,0.012394999,0.00009792836,0.00001191305,0.0006524303,0.12647752,0.00021759367,0.00067307136,0.8172833,0.004942194,0.03708342],"study_design_scores_gemma":[0.000024292252,0.000078211335,0.06494726,0.0006924474,0.00007576947,0.00068497687,0.5222536,0.0032042193,0.0014470888,0.24191579,0.1646334,0.000042905474],"about_ca_topic_score_codex":0.021760354,"about_ca_topic_score_gemma":0.026706537,"teacher_disagreement_score":0.021760354,"about_ca_system_score_codex":0.0034350615,"about_ca_system_score_gemma":0.0017340875,"threshold_uncertainty_score":0.04326737},"labels":[],"label_agreement":null},{"id":"W3173990740","doi":"10.1386/vi_00029_1","title":"Multipli-city, My Winnipeg and a pedagogy of the permanent circuit","year":2021,"lang":"en","type":"article","venue":"Visual Inquiry","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Movie theater; Intersection (aeronautics); Visual arts; Event (particle physics); Sociology; Assemblage (archaeology); Space (punctuation); Media studies; Art history; Aesthetics; Art; History; Computer science; Geography; Archaeology; Cartography","score_opus":0.09880039522110927,"score_gpt":0.3205574251576917,"score_spread":0.22175702993658242,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3173990740","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04600797,0.009565101,0.0023528058,0.039251696,0.0023282939,0.00010425871,0.0002530016,0.00015412907,0.8999827],"genre_scores_gemma":[0.4983669,0.006871309,0.0020276704,0.0036922116,0.00018867828,0.000050917417,0.00014263172,0.00024253102,0.48841715],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996468,0.000081737606,0.0000063484795,0.000075345604,0.00006930321,0.000120418474],"domain_scores_gemma":[0.9997228,0.000034111366,0.00001670306,0.000018152505,0.00005065671,0.00015763206],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029839994,0.00042866322,0.00015218431,0.00051511003,0.0065931687,0.0054202145,0.0006199885,0.00081085775,0.028322078],"category_scores_gemma":[0.0014997515,0.00021089091,0.0001077143,0.0006137839,0.0036424706,0.0022626994,0.002675294,0.0017036151,0.0014611802],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000621889,0.000026501231,0.0020764447,0.00021775412,0.000008922513,0.0008092855,0.07459216,0.00015498306,0.0009963014,0.48184913,0.35082954,0.088376835],"study_design_scores_gemma":[0.000003110963,0.0000075648077,0.0013730979,0.00011125207,0.0000031375494,0.00011385406,0.012815945,0.000032640368,0.00009921232,0.0014002114,0.9840366,0.0000034427605],"about_ca_topic_score_codex":0.5241661,"about_ca_topic_score_gemma":0.7737298,"teacher_disagreement_score":0.4758339,"about_ca_system_score_codex":0.011213896,"about_ca_system_score_gemma":0.007529646,"threshold_uncertainty_score":0.95727235},"labels":[],"label_agreement":null},{"id":"W3174217617","doi":"10.3138/topia.23-24.449","title":"Unfurling the Visual Review of Elavia, Firoza, ed. 2008. <i>Cinematic Folds: The Furling and Unfurling of Images.</i> Toronto: Pleasure Dome","year":2010,"lang":"en","type":"article","venue":"TOPIA Canadian Journal of Cultural Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dome (geology); Pleasure; Medicine; Geology; Psychology; Neuroscience; Paleontology","score_opus":0.02492803351331612,"score_gpt":0.26992964507251915,"score_spread":0.24500161155920303,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3174217617","genre_codex":"review","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00010229924,0.9570925,0.0001938967,0.027441027,0.0069698812,0.000003352999,0.000105238796,0.000036299665,0.008055511],"genre_scores_gemma":[0.007244297,0.92279005,0.0007207399,0.013217158,0.015058537,0.000020044776,0.00026068094,0.00015453836,0.040533967],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99870443,0.00043639998,0.00010435573,0.00013659954,0.0005019677,0.00011625791],"domain_scores_gemma":[0.9933106,0.0024216343,0.00044819876,0.00021331132,0.0030608065,0.00054551114],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024264315,0.0011429671,0.0009410734,0.006643422,0.0017584069,0.0075389557,0.0011739329,0.0023229988,0.02308791],"category_scores_gemma":[0.009158954,0.0006576185,0.00043789693,0.0045294915,0.0023184228,0.006076341,0.0015211543,0.002750035,0.011342443],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013146175,0.0000028502757,0.00008749398,0.00051723066,0.0000072588377,0.00002584123,0.00047188372,0.000021762406,0.000042514475,0.0035756677,0.94770086,0.047533512],"study_design_scores_gemma":[0.0000018232572,0.0000026718328,0.000364121,0.0012639776,0.000007150059,0.000110824956,0.00034208968,0.000012653681,0.000037824317,0.0008273177,0.997024,0.000005485875],"about_ca_topic_score_codex":0.03912203,"about_ca_topic_score_gemma":0.097815804,"teacher_disagreement_score":0.03912203,"about_ca_system_score_codex":0.0045627295,"about_ca_system_score_gemma":0.005634618,"threshold_uncertainty_score":0.07778865},"labels":[],"label_agreement":null},{"id":"W3175574503","doi":"10.26686/wgtn.14404826.v1","title":"All Feelings are Queer Feelings: Queer Worlding Through Affect in the Films of Xavier Dolan","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Temporality; Shame; Heteronormativity; Queer theory; Gender studies; Aesthetics; Sociology; Psychoanalysis; Art; Psychology; Social psychology; Philosophy","score_opus":0.06314045014273854,"score_gpt":0.2743986799388124,"score_spread":0.21125822979607384,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3175574503","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.54535276,0.007565265,0.0018966085,0.033565152,0.00070012215,0.000046649377,0.00022386885,0.00005000306,0.4105996],"genre_scores_gemma":[0.96494395,0.0019482578,0.00034081406,0.0016831333,0.00009300514,0.000016978702,0.000032636854,0.000038342565,0.03090277],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989656,0.0007031513,0.000008322723,0.000063580876,0.00013451795,0.00012470764],"domain_scores_gemma":[0.99929774,0.00033465843,0.000090641595,0.00003030169,0.00012245226,0.0001241868],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000940248,0.00032233878,0.00016279476,0.00059417833,0.011184515,0.0067625605,0.00037218627,0.0008674477,0.0035043159],"category_scores_gemma":[0.0018940126,0.00019711716,0.00018807536,0.00061752397,0.010637842,0.003401353,0.00152882,0.002911468,0.00020464598],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039340866,0.000021670261,0.002235252,0.00005872459,0.000012097142,0.00057811476,0.8919046,0.0000948848,0.0011879206,0.080157325,0.014856253,0.008853756],"study_design_scores_gemma":[0.0000068634085,0.000019554718,0.012176101,0.00020987444,0.000014706607,0.00033998897,0.68261796,0.00013043486,0.00052920764,0.0057093385,0.2982042,0.00004173869],"about_ca_topic_score_codex":0.20352013,"about_ca_topic_score_gemma":0.3924481,"teacher_disagreement_score":0.20352013,"about_ca_system_score_codex":0.00911651,"about_ca_system_score_gemma":0.0018543466,"threshold_uncertainty_score":0.404671},"labels":[],"label_agreement":null},{"id":"W317752634","doi":"","title":"Peter Greenaway, Tulse Luper Suitcases (Parts I-III, 2003-04), The Montreal Festival of Nouveau Cinema, October 14-24, 2004Peter Greenaway, Tulse Luper Suitcases (Parts I-III, 2003-04), The Montreal Festival of Nouveau Cinema, October 14-24, 2004","year":2005,"lang":"en","type":"article","venue":"Ciel variable : Art, photo, médias, culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Movie theater; Film festival; Art history; Visual arts; Media studies; Sociology","score_opus":0.023171045422024056,"score_gpt":0.22593846218227404,"score_spread":0.20276741676024998,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W317752634","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018793993,0.12708718,0.004774001,0.19636296,0.023831256,0.0007229958,0.05479374,0.0018912121,0.5717427],"genre_scores_gemma":[0.033839047,0.014588649,0.000821456,0.0019371641,0.001547674,0.00014390463,0.004597006,0.00042445876,0.9421006],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99955946,0.00005531642,0.000012943865,0.00006982995,0.00018892404,0.00011344338],"domain_scores_gemma":[0.9982058,0.0002657331,0.00012158146,0.00007204617,0.00071161025,0.00062322855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013252131,0.0007780055,0.00055291277,0.0017510161,0.0057250652,0.0046014646,0.00086782925,0.0016014598,0.19386569],"category_scores_gemma":[0.0048119808,0.00042727205,0.00022414715,0.0027522945,0.0006271342,0.002318445,0.0013033858,0.0017283948,0.036227323],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017061147,0.000009741771,0.00028197633,0.000020237381,0.0000012131895,0.000009544468,0.0000659435,0.000030927295,0.000026145746,0.0008882626,0.9903222,0.008326696],"study_design_scores_gemma":[0.000013294187,0.000012148267,0.010218952,0.000078578596,0.0000058812784,0.000012136895,0.0008370426,0.00007873102,0.00013988726,0.001069967,0.9875141,0.000019401474],"about_ca_topic_score_codex":0.39981836,"about_ca_topic_score_gemma":0.7260691,"teacher_disagreement_score":0.60018164,"about_ca_system_score_codex":0.0074608056,"about_ca_system_score_gemma":0.0048081824,"threshold_uncertainty_score":0.7949823},"labels":[],"label_agreement":null},{"id":"W3180262758","doi":"10.1017/9781108773522.033","title":"<i>Native Son</i> on Stage and Screen","year":2021,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Wright; Hollywood; Movie theater; Art history; Art; Performance art; Racism; Architecture; Media studies; Visual arts; Sociology; Gender studies","score_opus":0.037707631760507496,"score_gpt":0.19041943613558723,"score_spread":0.15271180437507975,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3180262758","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.032306455,0.029146867,0.0018410274,0.016040796,0.0017997301,0.000021473455,0.00014420507,0.0000807472,0.9186187],"genre_scores_gemma":[0.2148446,0.016280098,0.0008801902,0.0023599588,0.0008140433,0.00002434159,0.000087725006,0.00008436673,0.7646246],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998343,0.000066964494,0.0000028714746,0.00002846626,0.00004101953,0.000026419142],"domain_scores_gemma":[0.99980956,0.00009635239,0.000015013605,0.000009374599,0.000043565527,0.00002608181],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019638235,0.0002450959,0.000117934935,0.00031112172,0.0010011232,0.0017060464,0.00016678727,0.00037865146,0.011270993],"category_scores_gemma":[0.00065734755,0.00011427789,0.00008404379,0.000346388,0.001406379,0.0017724895,0.00046063247,0.0009935721,0.0016576365],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037260237,0.000035978486,0.0023887728,0.00016446058,0.000006265554,0.00031018842,0.028061232,0.00012566544,0.0008195604,0.4603502,0.3985834,0.10911703],"study_design_scores_gemma":[0.0000015910689,0.00001856015,0.0029968293,0.00013044651,0.0000027493513,0.00020533371,0.0042430065,0.00011248151,0.00019784318,0.0063412418,0.9857444,0.0000053637314],"about_ca_topic_score_codex":0.016239183,"about_ca_topic_score_gemma":0.032351684,"teacher_disagreement_score":0.016239183,"about_ca_system_score_codex":0.0013005628,"about_ca_system_score_gemma":0.000631112,"threshold_uncertainty_score":0.037705243},"labels":[],"label_agreement":null},{"id":"W3182326240","doi":"10.1007/s10824-021-09425-4","title":"Some economics of movie exhibition: increasing returns and Imax revenue premium","year":2021,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Cultural economics; Exhibition; Economics; Revenue; The arts; Art; Visual arts; Finance","score_opus":0.028559560400357367,"score_gpt":0.2248014026619141,"score_spread":0.19624184226155672,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3182326240","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85752606,0.010456094,0.017008347,0.013678105,0.00015462958,0.00009516755,0.0010122686,0.00014707219,0.0999221],"genre_scores_gemma":[0.9911261,0.0015349783,0.0004798942,0.00017481277,0.0003214079,0.000008100801,0.00006813604,0.0000164918,0.00627013],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.9997142,0.00011359941,0.000016090158,0.000048697035,0.000036753474,0.00007066401],"domain_scores_gemma":[0.98918813,0.007077175,0.0019973584,0.00045232772,0.0005830996,0.000701889],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012102864,0.00047647636,0.00067251944,0.0012253725,0.00051802886,0.0032082726,0.00096729555,0.0016771875,0.014200568],"category_scores_gemma":[0.010183049,0.00038194036,0.000624151,0.00115392,0.0016255273,0.0036098387,0.0008438882,0.0024687804,0.00048686875],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007300431,0.0005777088,0.04880255,0.0004695678,0.0002322083,0.0011596826,0.00073120045,0.036327165,0.0038499103,0.84144175,0.013541124,0.05213717],"study_design_scores_gemma":[0.00022484985,0.00049655867,0.18405718,0.0002901734,0.0005642152,0.0012406777,0.0026148928,0.17066167,0.002077013,0.621317,0.016253639,0.00020208514],"about_ca_topic_score_codex":0.004248898,"about_ca_topic_score_gemma":0.003897989,"teacher_disagreement_score":0.014200568,"about_ca_system_score_codex":0.0017815246,"about_ca_system_score_gemma":0.00032706908,"threshold_uncertainty_score":0.047505617},"labels":[],"label_agreement":null},{"id":"W3187854164","doi":"","title":"There’s a good girl","year":2021,"lang":"en","type":"article","venue":"Sight & sound/Sight and sound","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Girl; Art; Trope (literature); Movie theater; Mulligan; Art history; Psychoanalysis; Aesthetics; Visual arts; Literature; Psychology; Computer science","score_opus":0.03431566045060182,"score_gpt":0.22218768458923022,"score_spread":0.1878720241386284,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3187854164","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024718612,0.008651335,0.0015987671,0.6012134,0.016902959,0.000059452574,0.00020511432,0.00032719615,0.34632316],"genre_scores_gemma":[0.19117738,0.007077605,0.0015958765,0.25425565,0.0036614153,0.00006657213,0.00017815728,0.0005866452,0.5414007],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99833554,0.00072656595,0.000031136275,0.00019108091,0.00030174042,0.00041397888],"domain_scores_gemma":[0.99737203,0.00037925778,0.00020672883,0.000101285594,0.00049700757,0.0014436122],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014623028,0.0006772307,0.0003668128,0.0006525867,0.012863167,0.0075546666,0.0007179179,0.0044237683,0.04362017],"category_scores_gemma":[0.0073851584,0.00045114287,0.00038935454,0.00034388484,0.0050898287,0.0083736805,0.0040070247,0.010390168,0.0145753985],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038041493,0.00004647723,0.0020767371,0.00008833668,0.000011692083,0.0011645078,0.033559695,0.000025319407,0.0004954362,0.024387654,0.91257,0.025536157],"study_design_scores_gemma":[0.0000060736243,0.000040211165,0.0015696556,0.00023892139,0.0000073228152,0.0013323724,0.061905168,0.000040476098,0.00020972236,0.0024409106,0.93218136,0.000027691683],"about_ca_topic_score_codex":0.017509803,"about_ca_topic_score_gemma":0.0421552,"teacher_disagreement_score":0.04362017,"about_ca_system_score_codex":0.0018735202,"about_ca_system_score_gemma":0.0023747582,"threshold_uncertainty_score":0.14592403},"labels":[],"label_agreement":null},{"id":"W3188783826","doi":"10.33178/alpha.8.10","title":"Rendering (the) Visible II","year":2015,"lang":"en","type":"article","venue":"Alphaville Journal of Film and Screen Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rendering (computer graphics); Media studies; Sociology; Computer graphics (images); Computer science","score_opus":0.06099256327968785,"score_gpt":0.2397544150531547,"score_spread":0.17876185177346685,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3188783826","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0073207715,0.0017418688,0.019584049,0.00819957,0.0116825225,0.00014106803,0.0011570308,0.0045121345,0.945661],"genre_scores_gemma":[0.106616795,0.0019532063,0.022831045,0.003840423,0.002196407,0.00011555937,0.001311694,0.00397896,0.8571559],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931526,0.00012632491,0.000016139003,0.00011090499,0.00029460486,0.00013688058],"domain_scores_gemma":[0.99934334,0.000116900585,0.000031939948,0.00017840925,0.00014629697,0.00018315378],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00094959064,0.0005829314,0.00023872759,0.0010242703,0.0018753598,0.0071376846,0.0006830378,0.0012404881,0.19116989],"category_scores_gemma":[0.0025158967,0.00035005543,0.0005209278,0.0006871491,0.0014023527,0.0025071644,0.0035528804,0.0022971162,0.030489434],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015857567,0.000036202106,0.00030450695,0.00013460826,0.000007714543,0.00017316132,0.002480159,0.00029039898,0.004957906,0.09701903,0.7275769,0.16686088],"study_design_scores_gemma":[0.00000863308,0.00001862229,0.00036865895,0.000049232123,0.00000261439,0.00006248418,0.00040505582,0.00017463394,0.0006178564,0.0037118522,0.9945714,0.000009079657],"about_ca_topic_score_codex":0.0059582097,"about_ca_topic_score_gemma":0.015301576,"teacher_disagreement_score":0.19116989,"about_ca_system_score_codex":0.0011710079,"about_ca_system_score_gemma":0.0010242556,"threshold_uncertainty_score":0.63952696},"labels":[],"label_agreement":null},{"id":"W3191353222","doi":"10.33831/jws.v22i1.220","title":"A Feminist Critique of “I’m Thinking of Ending Things”: A Trapped Young Woman in the Dream of a Man","year":2021,"lang":"en","type":"article","venue":"Kadın/Woman 2000 Journal for Womens Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Praise; Dream; Wonder; Existentialism; Criticism; Character (mathematics); Psychoanalysis; Subject (documents); Aesthetics; Art; Perspective (graphical); Sociology; Literature; Psychology; Philosophy; Visual arts; Epistemology; Social psychology","score_opus":0.04838387336737291,"score_gpt":0.29751790985904236,"score_spread":0.24913403649166946,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3191353222","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0865535,0.029024053,0.0065922923,0.5137179,0.0035087545,0.00008205978,0.00025607378,0.0000933607,0.36017197],"genre_scores_gemma":[0.8840676,0.008246928,0.0013490263,0.026686814,0.0009966696,0.000099419325,0.000041630836,0.00013049891,0.07838139],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99720484,0.0019362969,0.000033847413,0.00019237722,0.0002910941,0.00034145775],"domain_scores_gemma":[0.998116,0.0012808333,0.0001512577,0.000042494055,0.00019168145,0.00021773613],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031207204,0.0006575759,0.000318697,0.00080853695,0.015159676,0.0074170954,0.0012605679,0.0042007356,0.0041786847],"category_scores_gemma":[0.0045911693,0.00036653067,0.00023386585,0.00074886496,0.029550968,0.0055354717,0.0028621028,0.006590593,0.0005725758],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045028304,0.000013225036,0.00055478327,0.00010680111,0.000005350332,0.0010825444,0.5296431,0.00007409052,0.00033714305,0.38602552,0.07585542,0.0062571117],"study_design_scores_gemma":[0.000009812869,0.000019207846,0.0008317787,0.0003758702,0.00000649052,0.0007787113,0.39266586,0.00012885193,0.00046553774,0.016041428,0.58865714,0.000019352145],"about_ca_topic_score_codex":0.07369414,"about_ca_topic_score_gemma":0.11487839,"teacher_disagreement_score":0.07369414,"about_ca_system_score_codex":0.010352297,"about_ca_system_score_gemma":0.0047491128,"threshold_uncertainty_score":0.14653039},"labels":[],"label_agreement":null},{"id":"W3193855037","doi":"","title":"Modes of Denial and Gratification in Childrens Cinema in Canada","year":2005,"lang":"en","type":"dissertation","venue":"Shodhganga","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Denial; Gratification; Psychology; Sociology; Social psychology; Art; Psychoanalysis; Art history","score_opus":0.013806494477376365,"score_gpt":0.20660445665080407,"score_spread":0.1927979621734277,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3193855037","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97802395,0.00046157723,0.00009721541,0.0014634564,0.000011208579,0.000017642116,0.00025839274,0.0000070321335,0.019659538],"genre_scores_gemma":[0.9963315,0.00020050371,0.000058677077,0.000034090095,0.000003539487,0.0000033944643,0.000049030412,0.0000044216376,0.0033148362],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99898237,0.00020235362,0.00002946392,0.00008421938,0.00026586858,0.00043567346],"domain_scores_gemma":[0.9946287,0.0015566206,0.0008216312,0.0001290183,0.0015948301,0.001269049],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00082210667,0.00014391336,0.00020866792,0.001803544,0.0066484152,0.0046470547,0.00091505033,0.00080517895,0.007061809],"category_scores_gemma":[0.00731147,0.00022550384,0.00015415173,0.0026770784,0.0028678526,0.0011932731,0.001616743,0.0015213498,0.00019369811],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00044686717,0.00023011943,0.37920246,0.00015305346,0.000045123503,0.0019638645,0.5065251,0.0005841947,0.0017640765,0.043919295,0.009807995,0.055357806],"study_design_scores_gemma":[0.000014266469,0.000031320524,0.4740621,0.00016774275,0.000023162442,0.00034641946,0.48063374,0.00095787673,0.00040180338,0.0018555331,0.04143748,0.00006864101],"about_ca_topic_score_codex":0.9665024,"about_ca_topic_score_gemma":0.9824448,"teacher_disagreement_score":0.039413508,"about_ca_system_score_codex":0.039413508,"about_ca_system_score_gemma":0.030716693,"threshold_uncertainty_score":0.2859664},"labels":[],"label_agreement":null},{"id":"W3194299182","doi":"","title":"D’une crise sanitaire à une crise cinématographique : le cinémaFrançais à l’épreuve de la covid-19: Fermez les salles de cinéma, hurlait la covid-19","year":2021,"lang":"fr","type":"preprint","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Canadian Heritage","funders":"","keywords":"Coronavirus disease 2019 (COVID-19); 2019-20 coronavirus outbreak; Political science; Medicine; Virology; Internal medicine; Disease","score_opus":0.03454968388294521,"score_gpt":0.2628532162482148,"score_spread":0.22830353236526957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3194299182","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47806427,0.0101223625,0.010629499,0.13182764,0.0018462454,0.00023211274,0.00023915441,0.00015701707,0.36688176],"genre_scores_gemma":[0.95481604,0.0024046742,0.0027213756,0.0033854116,0.00045608266,0.000083765284,0.000056259723,0.000087718654,0.035988614],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9944964,0.003967946,0.00007067842,0.00040705106,0.0005210803,0.0005368587],"domain_scores_gemma":[0.989037,0.0055375355,0.0013317292,0.00078123645,0.0011488575,0.0021637324],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0057833055,0.00037575065,0.00027684332,0.0011667823,0.007932037,0.009498934,0.0008119433,0.003124155,0.019363232],"category_scores_gemma":[0.013736221,0.00035520943,0.00035166234,0.0011375048,0.010093055,0.0059948605,0.0048607304,0.0045293756,0.0013569943],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004038156,0.00051460497,0.022871692,0.000650925,0.00006991166,0.0012671282,0.3147043,0.0005758583,0.0040880544,0.50303984,0.05875252,0.09306142],"study_design_scores_gemma":[0.00008132408,0.00019849856,0.035417035,0.00093127874,0.00004864662,0.00060796767,0.15638253,0.0008393508,0.0015471923,0.028380089,0.77549314,0.000072909206],"about_ca_topic_score_codex":0.020338966,"about_ca_topic_score_gemma":0.03111654,"teacher_disagreement_score":0.020338966,"about_ca_system_score_codex":0.004610452,"about_ca_system_score_gemma":0.005595828,"threshold_uncertainty_score":0.06477642},"labels":[],"label_agreement":null},{"id":"W3194352871","doi":"10.1353/crc.2021.0007","title":"Bridges within the Arts: Bob Dylan and Martin Scorsese","year":2021,"lang":"en","type":"article","venue":"Canadian review of comparative literature","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Storytelling; Art history; Memoir; The arts; Waltz; White (mutation); Narrative; Literature; Visual arts","score_opus":0.035520405937021125,"score_gpt":0.2618955764184051,"score_spread":0.22637517048138397,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3194352871","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00677929,0.62499964,0.0003251768,0.25792542,0.0046832473,0.000021026382,0.00020764665,0.000028560691,0.10502991],"genre_scores_gemma":[0.16599113,0.54177153,0.0008741413,0.05319269,0.0062374934,0.00010031866,0.0002731456,0.00015783831,0.2314018],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985708,0.00065008504,0.00003043491,0.00015673491,0.00039087734,0.00020093421],"domain_scores_gemma":[0.9971727,0.001373576,0.00021585707,0.000080464444,0.0006746393,0.00048280277],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001680997,0.0005416919,0.00041114513,0.0026356694,0.0051224288,0.006440656,0.00079519214,0.0025034249,0.013236262],"category_scores_gemma":[0.0055316933,0.00035301817,0.00014866289,0.0033343404,0.0049247835,0.0045499154,0.0031608772,0.0037787778,0.002970058],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004426467,0.00003421422,0.00063592097,0.00053246354,0.000010602549,0.000261571,0.015699489,0.000047953265,0.00013809743,0.071764596,0.8546427,0.056188073],"study_design_scores_gemma":[0.0000038112937,0.0000053814024,0.0013574952,0.000848553,0.0000037697012,0.0001073309,0.011536415,0.000012519368,0.000057502166,0.0016029698,0.98445815,0.0000061452033],"about_ca_topic_score_codex":0.14677542,"about_ca_topic_score_gemma":0.27941248,"teacher_disagreement_score":0.14677542,"about_ca_system_score_codex":0.007909061,"about_ca_system_score_gemma":0.006997451,"threshold_uncertainty_score":0.29184222},"labels":[],"label_agreement":null},{"id":"W3194385941","doi":"","title":"Sandra Brewster, Works from series: Smith, Blur ; Video: Walk on by, Optica centre d’art contemporain, Montréal","year":2021,"lang":"en","type":"article","venue":"Esse/Esse arts + opinions","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Brewster; Art; Series (stratigraphy); Art history; Visual arts; Computer graphics (images); Computer science; Optics; Physics; Geology","score_opus":0.02088951977947182,"score_gpt":0.21232888973487665,"score_spread":0.19143936995540484,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3194385941","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015334572,0.13796797,0.002511422,0.20950955,0.11349412,0.00011590291,0.0035587298,0.001857583,0.5294514],"genre_scores_gemma":[0.005935758,0.01685613,0.00041998,0.0047250977,0.010907486,0.000025657722,0.00030722644,0.00060245016,0.96022016],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991779,0.0000896274,0.000022882083,0.00021154185,0.00039297485,0.00010516788],"domain_scores_gemma":[0.9975528,0.00033721226,0.000097919714,0.000118510776,0.0013217492,0.00057187525],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009707831,0.0013855861,0.00061917765,0.002644808,0.0053672483,0.005688541,0.0010698019,0.0021829864,0.23675683],"category_scores_gemma":[0.0048805163,0.00061598566,0.00035192375,0.0023461338,0.0016266032,0.0031520142,0.0015787715,0.0026474257,0.0918911],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000025691684,0.0000016448166,0.00002304441,0.000017430088,5.925712e-7,0.000008206111,0.000074598196,0.000009349409,0.000037648988,0.00056698435,0.99292505,0.0063328543],"study_design_scores_gemma":[0.0000014210061,0.0000018457532,0.00027666584,0.000037365564,0.0000013776489,0.000023711165,0.00020069542,0.000017389133,0.0000698916,0.0001654223,0.99919957,0.0000045888664],"about_ca_topic_score_codex":0.28162387,"about_ca_topic_score_gemma":0.54528564,"teacher_disagreement_score":0.28162387,"about_ca_system_score_codex":0.0075729396,"about_ca_system_score_gemma":0.0054612476,"threshold_uncertainty_score":0.7920305},"labels":[],"label_agreement":null},{"id":"W3195677250","doi":"10.7202/1080278ar","title":"Beyond “The Last Doubler”: Reproductive Futurism and the Politics of Care in Larissa Lai’s The Tiger Flu","year":2021,"lang":"en","type":"article","venue":"Studies in Canadian Literature","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Tiger; Politics; Geography; Political science; Law; Mathematics","score_opus":0.013881187986489088,"score_gpt":0.23440627506180764,"score_spread":0.22052508707531854,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3195677250","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.063295245,0.020972962,0.00097289524,0.61677814,0.001162896,0.000026332227,0.00008658156,0.000030462048,0.2966745],"genre_scores_gemma":[0.89366,0.003344888,0.0002748275,0.053070847,0.0004205358,0.000022346076,0.000018163819,0.000045333934,0.04914309],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9962232,0.0014038342,0.00003432318,0.00022538227,0.0003848656,0.0017283445],"domain_scores_gemma":[0.99648273,0.0016194349,0.00024625976,0.00011016821,0.000472507,0.0010688368],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00442702,0.0002919785,0.0003644752,0.0006772365,0.030396692,0.008760236,0.0011652091,0.007909069,0.008525955],"category_scores_gemma":[0.0066802558,0.00025462403,0.0003304084,0.00087478734,0.03879947,0.003953313,0.0046399273,0.009204072,0.00046226018],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000517225,0.000020550551,0.0012289636,0.00004140563,0.000007722525,0.0008522173,0.119726434,0.0001064215,0.0001898285,0.77680165,0.089292996,0.011680161],"study_design_scores_gemma":[0.000028548602,0.00002913059,0.0044169994,0.0004293565,0.000017940774,0.00045425264,0.14020471,0.00013986815,0.0002553073,0.09012475,0.7638103,0.000088851455],"about_ca_topic_score_codex":0.7853352,"about_ca_topic_score_gemma":0.90542334,"teacher_disagreement_score":0.21466482,"about_ca_system_score_codex":0.055566944,"about_ca_system_score_gemma":0.036185034,"threshold_uncertainty_score":0.431858},"labels":[],"label_agreement":null},{"id":"W319645872","doi":"","title":"Roundtable: History of Canadian Film Studies","year":2011,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; The arts; Humanities; Context (archaeology); Art history; Round table; Art; Sociology; Media studies; History; Visual arts; Archaeology","score_opus":0.19787726842686107,"score_gpt":0.24111260686165087,"score_spread":0.0432353384347898,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W319645872","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0049427915,0.27786192,0.00031499888,0.1313702,0.030968202,0.00019836155,0.0061050705,0.00015450711,0.54808396],"genre_scores_gemma":[0.12707373,0.26190645,0.0012094404,0.017375812,0.008164093,0.00026221244,0.0038981503,0.0003515417,0.5797586],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9954065,0.00046733196,0.00017572957,0.00055479875,0.0021481807,0.0012474534],"domain_scores_gemma":[0.99215674,0.00088873476,0.00022745912,0.00036029526,0.004808874,0.0015578372],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030585027,0.0011152804,0.00094128633,0.010232073,0.017465807,0.01127136,0.0026867266,0.0030298866,0.08266966],"category_scores_gemma":[0.0070999973,0.0006750057,0.0005137104,0.020847319,0.0062293666,0.004454836,0.0035187074,0.0039017773,0.0055326507],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.000044940884,0.000016105916,0.00036226137,0.00070264854,0.0000069756616,0.00007527553,0.0029100927,0.000039261624,0.00017024476,0.04686786,0.9063725,0.042431906],"study_design_scores_gemma":[0.0000018671185,0.0000021210074,0.0016326797,0.0002854272,0.0000029662697,0.000012383833,0.0013747945,0.0000068569225,0.00004240563,0.0002720824,0.9963582,0.000008114061],"about_ca_topic_score_codex":0.9742168,"about_ca_topic_score_gemma":0.9839326,"teacher_disagreement_score":0.8283175,"about_ca_system_score_codex":0.17168245,"about_ca_system_score_gemma":0.12777402,"threshold_uncertainty_score":0.96073097},"labels":[],"label_agreement":null},{"id":"W3198001602","doi":"10.7202/1079805ar","title":"Ciné-militantisme et nostalgie : le cas brésilien du Cine Vaz Lobo","year":2021,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.02943916661358622,"score_gpt":0.2440476999922595,"score_spread":0.21460853337867328,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3198001602","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30246526,0.01286206,0.0027412735,0.030664336,0.0005236624,0.000051559462,0.000044658118,0.000041823714,0.6506053],"genre_scores_gemma":[0.9846235,0.0015522247,0.00015165561,0.00043824894,0.00008640482,0.000014281761,0.000011008517,0.00001407459,0.013108576],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9986216,0.0008336234,0.000019837233,0.00011929112,0.00012686104,0.0002787138],"domain_scores_gemma":[0.99869055,0.0007068881,0.00020418096,0.00007600114,0.000118456795,0.00020396766],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010744603,0.00031767623,0.00019247216,0.0010866113,0.0071664653,0.008239963,0.00077931036,0.0014767086,0.0051397868],"category_scores_gemma":[0.002523159,0.00020983907,0.0001691654,0.0009741487,0.017967496,0.0037767212,0.004531111,0.002132895,0.00030061492],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016571363,0.00002452127,0.0025903676,0.000144431,0.0000058221017,0.0006691485,0.31955382,0.00009396127,0.0005658948,0.6655893,0.0031972586,0.0075490354],"study_design_scores_gemma":[0.000014718277,0.0000373096,0.01318349,0.0007819357,0.00002318493,0.00077641354,0.36148864,0.00028497874,0.0006380863,0.03310278,0.5896432,0.000025240746],"about_ca_topic_score_codex":0.023971934,"about_ca_topic_score_gemma":0.054177947,"teacher_disagreement_score":0.023971934,"about_ca_system_score_codex":0.0055493326,"about_ca_system_score_gemma":0.002930979,"threshold_uncertainty_score":0.04766482},"labels":[],"label_agreement":null},{"id":"W3198957423","doi":"10.3138/cjfs-2021-0026","title":"Cinema of Pain: On Quebec’s Nostalgic Screen","year":2021,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Movie theater; Art; Aesthetics; Literature; Visual arts","score_opus":0.05336245438230565,"score_gpt":0.23437238519699446,"score_spread":0.1810099308146888,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3198957423","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21408287,0.03149609,0.0010618173,0.25761396,0.0063713966,0.00009179563,0.003661616,0.00019580657,0.4854246],"genre_scores_gemma":[0.7939358,0.006489815,0.00044089096,0.011333711,0.0007807087,0.00003487174,0.0004853817,0.00012282183,0.18637595],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914885,0.00016900437,0.000013754058,0.000063511754,0.00029917614,0.000305766],"domain_scores_gemma":[0.9976604,0.00041896885,0.00011267256,0.00006061407,0.0011487012,0.0005986184],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009573528,0.00032171217,0.00025756107,0.0013848552,0.011286429,0.0059905,0.0007638009,0.0021491006,0.030484894],"category_scores_gemma":[0.004057443,0.00018385294,0.00029925918,0.0016559551,0.0024282236,0.0013866851,0.0013198779,0.0036621809,0.0009947679],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026884716,0.00010852913,0.012824532,0.00024729292,0.00004360407,0.0012160745,0.03704899,0.00030425208,0.0013495382,0.06257042,0.7881182,0.09589967],"study_design_scores_gemma":[0.00001665408,0.000026822383,0.042880584,0.00028888474,0.000021690832,0.00021670558,0.026600456,0.0002407747,0.0002157064,0.0008875685,0.9285571,0.00004709388],"about_ca_topic_score_codex":0.97616893,"about_ca_topic_score_gemma":0.99140716,"teacher_disagreement_score":0.03439157,"about_ca_system_score_codex":0.03439157,"about_ca_system_score_gemma":0.020676324,"threshold_uncertainty_score":0.24952948},"labels":[],"label_agreement":null},{"id":"W3200907787","doi":"10.7202/1081111ar","title":"“The Eternal Triangle of Barrie Moviedom”","year":2021,"lang":"en","type":"article","venue":"Ontario History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Per capita; Rural area; Media studies; Sociology; History; Aesthetics; Art; Advertising; Visual arts; Political science; Business; Law; Demography","score_opus":0.03810466851835887,"score_gpt":0.18385288821499915,"score_spread":0.14574821969664029,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3200907787","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23048149,0.00487292,0.0029324687,0.03350827,0.00035338773,0.000051150186,0.0004698812,0.00009133754,0.7272391],"genre_scores_gemma":[0.9114162,0.0012188868,0.00044710375,0.00089791074,0.000058612,0.000016102491,0.00005484862,0.000033592394,0.0858568],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995111,0.00017917962,0.0000060036286,0.00008124037,0.000080199534,0.00014229724],"domain_scores_gemma":[0.99948114,0.00012634262,0.000058073965,0.000050920906,0.000089216286,0.00019435534],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047959064,0.00016129583,0.00013215156,0.00062209414,0.009437391,0.004752716,0.00043293348,0.0005377231,0.013701105],"category_scores_gemma":[0.0013236791,0.00019593308,0.00008737059,0.00092760724,0.011737092,0.0018682398,0.0020092567,0.0012764911,0.00064541394],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019975171,0.000022107977,0.012037168,0.00018428385,0.00001633704,0.0012122402,0.22137043,0.0002054351,0.001934971,0.6258384,0.093582466,0.04339647],"study_design_scores_gemma":[0.0000075891603,0.000026481042,0.03510402,0.00021368437,0.000006858674,0.00035906138,0.084866636,0.00012130353,0.00025552922,0.008698921,0.8703104,0.00002947791],"about_ca_topic_score_codex":0.41160786,"about_ca_topic_score_gemma":0.6875959,"teacher_disagreement_score":0.58839214,"about_ca_system_score_codex":0.009241779,"about_ca_system_score_gemma":0.0035214704,"threshold_uncertainty_score":0.8184241},"labels":[],"label_agreement":null},{"id":"W3201292659","doi":"10.5210/spir.v2021i0.12224","title":"STREAMING SMALL SHARED SPACES: EXPLORING THE CONNECTEDNESS OF THE PHYSICAL SPACES OF MICROSTREAMERS AND THEIR AUDIENCE","year":2021,"lang":"en","type":"article","venue":"AoIR Selected Papers of Internet Research","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Casual; Social connectedness; Amateur; Shared space; Space (punctuation); Performative utterance; Sociology; Aesthetics; Media studies; Advertising; Computer science; Psychology; Social psychology; Art; Political science; Business; Law","score_opus":0.08117155310500598,"score_gpt":0.27556782452668427,"score_spread":0.19439627142167828,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3201292659","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9545411,0.00047833036,0.008518289,0.0010314996,0.00007049952,0.000066390116,0.0001216757,0.00005864626,0.035113644],"genre_scores_gemma":[0.9948278,0.00021472298,0.0016569538,0.0001363227,0.000023492477,0.0000565171,0.00005727516,0.00004187895,0.0029849668],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9983473,0.0009346178,0.000038228223,0.00027925096,0.00019546483,0.00020526719],"domain_scores_gemma":[0.99682474,0.0017511332,0.00050670694,0.00024265112,0.00022224213,0.0004526272],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001646045,0.0003682349,0.00035044644,0.0014593495,0.0039347326,0.005376315,0.0010772075,0.0010787541,0.0077364277],"category_scores_gemma":[0.007594825,0.00028875394,0.00026762873,0.0009881081,0.005987429,0.007804611,0.007415993,0.0013616075,0.00067699386],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010114564,0.0000423527,0.026808124,0.0001765578,0.00001768943,0.00091198215,0.9348184,0.000161691,0.0016392823,0.01490393,0.0012013129,0.019217597],"study_design_scores_gemma":[0.000006776981,0.000073889576,0.022834033,0.00016078132,0.000018886394,0.00053870433,0.9359923,0.0006193062,0.0004421657,0.008205684,0.031078769,0.000028632354],"about_ca_topic_score_codex":0.003288958,"about_ca_topic_score_gemma":0.0058845347,"teacher_disagreement_score":0.0077364277,"about_ca_system_score_codex":0.0010775683,"about_ca_system_score_gemma":0.00083990954,"threshold_uncertainty_score":0.025880873},"labels":[],"label_agreement":null},{"id":"W3202331064","doi":"10.3138/jrpc.2021-0031","title":"<i>Defa’-e Moghaddas</i>(The Sacred Defense),<i>Hamdeli va Mehrvarzi</i>(Camaraderie and Love from Knowing the Other), and the Making of Social Cinema in Post-Revolutionary Islamic Iran","year":2021,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Islam; Drama; Sociology; Entertainment; Economic Justice; Meaning (existential); Sacrifice; Literature; Aesthetics; Law; Media studies; Art; Theology; Political science; Philosophy","score_opus":0.01689879978452205,"score_gpt":0.22753860324213218,"score_spread":0.21063980345761013,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3202331064","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.518466,0.006357838,0.0015318671,0.014233192,0.0010618982,0.000043407657,0.00008512718,0.00006554204,0.45815516],"genre_scores_gemma":[0.98546845,0.0013262538,0.0005368744,0.0002821784,0.00016402,0.000010137097,0.000023206723,0.000016275004,0.012172611],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99975973,0.000120816185,0.000004874165,0.00002071349,0.000039395607,0.00005434458],"domain_scores_gemma":[0.9996778,0.00014836162,0.000045850094,0.000021323453,0.000049630267,0.00005706283],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007882952,0.0002342794,0.000057710506,0.00064639514,0.002599459,0.0025932293,0.0003133896,0.00055732916,0.004133324],"category_scores_gemma":[0.001055916,0.0001321488,0.00009708106,0.00045175655,0.0034375677,0.0015344517,0.0010693779,0.00090846326,0.00023696173],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027615405,0.00020653172,0.013114725,0.0005287613,0.000023898423,0.00205243,0.42515886,0.00043491123,0.014077317,0.3074966,0.070759244,0.16587056],"study_design_scores_gemma":[0.000021244416,0.00007901407,0.037136123,0.0003184483,0.000020624853,0.0010927608,0.17484984,0.000464163,0.003027387,0.009497178,0.77346426,0.000028919336],"about_ca_topic_score_codex":0.0059010466,"about_ca_topic_score_gemma":0.016353186,"teacher_disagreement_score":0.0059010466,"about_ca_system_score_codex":0.001931358,"about_ca_system_score_gemma":0.0008346293,"threshold_uncertainty_score":0.014013052},"labels":[],"label_agreement":null},{"id":"W3203190025","doi":"10.3998/mij.95","title":"Taking Netflix to the Cinema: National Cinema Value Chain Disruptions in the Age of Streaming","year":2021,"lang":"en","type":"article","venue":"Media Industries","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":28,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of British Columbia","funders":"University of British Columbia; University of Melbourne","keywords":"Movie theater; Context (archaeology); Entertainment; Value (mathematics); Advertising; Broadcasting (networking); Media studies; Feature (linguistics); Sociology; Political science; Business; Art; Geography; Computer science; Visual arts; Law; Computer security","score_opus":0.08115145279938143,"score_gpt":0.27037940900024793,"score_spread":0.1892279562008665,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3203190025","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.699458,0.004614822,0.0023328664,0.03068091,0.00018820258,0.000027315618,0.00020377789,0.000035825255,0.2624583],"genre_scores_gemma":[0.9912661,0.0013580531,0.00029617728,0.0005079496,0.00004864766,0.0000044624553,0.000027564813,0.000012861662,0.00647814],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993387,0.00021506334,0.000012916025,0.00007128069,0.00015218543,0.00020999167],"domain_scores_gemma":[0.9980965,0.0006727908,0.00027830462,0.0001155295,0.00032219404,0.0005146344],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011826273,0.00014889639,0.00013085824,0.0009582087,0.005500808,0.008702399,0.0006003389,0.001110771,0.005752065],"category_scores_gemma":[0.004569904,0.0001301199,0.00009931786,0.0010761879,0.0074890824,0.0048861196,0.0026996224,0.0019299127,0.00023143031],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000086308464,0.000041238673,0.021520922,0.00013308707,0.000012281649,0.0021515903,0.33890703,0.00044487935,0.0009751536,0.57096225,0.015962109,0.048803147],"study_design_scores_gemma":[0.000007966231,0.000052232288,0.05870662,0.0005883066,0.00002489762,0.00093131966,0.41961163,0.0016638852,0.0010973639,0.049033504,0.46823677,0.000045566154],"about_ca_topic_score_codex":0.36755732,"about_ca_topic_score_gemma":0.47436568,"teacher_disagreement_score":0.36755732,"about_ca_system_score_codex":0.016065197,"about_ca_system_score_gemma":0.0068475646,"threshold_uncertainty_score":0.7308358},"labels":[],"label_agreement":null},{"id":"W320458768","doi":"","title":"Distance Hirokazu Kore-Eda. (Toronto International Film Festival)","year":2001,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Heaven; Plot (graphics); Narrative; Meaning (existential); Afterlife; Media studies; Art history; Sociology; History; Art; Literature; Psychology","score_opus":0.026452185489400516,"score_gpt":0.23767229787147418,"score_spread":0.21122011238207367,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W320458768","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021746965,0.037947547,0.00058890705,0.03536237,0.037351273,0.0004222011,0.008842747,0.0009235917,0.8568144],"genre_scores_gemma":[0.029676005,0.005488946,0.00037592486,0.0020124773,0.0013270873,0.000058504545,0.001162441,0.00024880693,0.9596499],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997979,0.000014915812,0.0000070098877,0.00004408103,0.00006974224,0.00006639306],"domain_scores_gemma":[0.9994429,0.000014619764,0.000018846575,0.000015865897,0.00014062956,0.00036715987],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00036690405,0.0008692138,0.00028956612,0.0007203045,0.0051375804,0.0030699493,0.00047673212,0.0008747389,0.17865495],"category_scores_gemma":[0.00052823283,0.00028481704,0.0002068165,0.0007882276,0.0005946451,0.0011464467,0.0020589004,0.0016158911,0.027689824],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032687072,0.000010834405,0.00035713654,0.00011536317,0.0000023679788,0.00030152095,0.0033160017,0.000013772963,0.0006873107,0.0009475847,0.97975093,0.014464431],"study_design_scores_gemma":[0.0000023717969,0.0000063631846,0.00232092,0.000053247666,0.0000017286861,0.00008848223,0.0023749634,0.000009317903,0.000088294844,0.000026869455,0.9950224,0.0000050032736],"about_ca_topic_score_codex":0.18583328,"about_ca_topic_score_gemma":0.5745323,"teacher_disagreement_score":0.18583328,"about_ca_system_score_codex":0.005533351,"about_ca_system_score_gemma":0.003307246,"threshold_uncertainty_score":0.59766036},"labels":[],"label_agreement":null},{"id":"W3208134163","doi":"10.18192/cjcs.vi8.5792","title":"Marriage as Madness","year":2020,"lang":"en","type":"article","venue":"Conversations The Journal of Cavellian Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Comedy; Happiness; Aside; Remarriage; Hollywood; Sociology; Institution; Element (criminal law); Aesthetics; Literature; Gender studies; Art; Law; Social science; Art history; Political science; Anthropology","score_opus":0.09758372580621431,"score_gpt":0.27029306711645884,"score_spread":0.1727093413102445,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3208134163","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.089855485,0.049955808,0.0025638544,0.25296345,0.003216964,0.00004002753,0.00019882673,0.000087758635,0.60111785],"genre_scores_gemma":[0.92660135,0.010547056,0.00041159344,0.01587594,0.0010580618,0.000027214706,0.000048295817,0.000036601454,0.045393918],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984445,0.0009252118,0.000032848955,0.00015620462,0.00021011896,0.00023122366],"domain_scores_gemma":[0.9987657,0.00046022388,0.00016929537,0.000112798036,0.00011424571,0.000377693],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013178443,0.00024205506,0.00025403552,0.0007814555,0.0069389837,0.005094264,0.00048166877,0.0017521633,0.011507032],"category_scores_gemma":[0.0044764434,0.00013360818,0.00015792159,0.00079022354,0.019751938,0.00539126,0.0046389853,0.003098791,0.000782938],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022192351,0.000019629259,0.0010328433,0.00005153272,0.0000050918475,0.00032469508,0.06623234,0.00003956384,0.00008370627,0.87428945,0.039058954,0.018840073],"study_design_scores_gemma":[0.000008569961,0.00004825385,0.0021045795,0.00032018815,0.0000067273195,0.0008539434,0.06845712,0.000120296805,0.00010995714,0.16644241,0.76151085,0.00001706808],"about_ca_topic_score_codex":0.006807906,"about_ca_topic_score_gemma":0.007416625,"teacher_disagreement_score":0.011507032,"about_ca_system_score_codex":0.002434493,"about_ca_system_score_gemma":0.0015895109,"threshold_uncertainty_score":0.038494885},"labels":[],"label_agreement":null},{"id":"W3208533526","doi":"10.3366/film.2021.0177","title":"Sisyphean Unproductivity in Narrative Film","year":2021,"lang":"en","type":"article","venue":"Film-Philosophy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Movie theater; Narrative; Ideology; Aesthetics; Sociology; HERO; Productivity; Gender studies; Literature; Art; Political science; Law","score_opus":0.04298313849439623,"score_gpt":0.23227831771379887,"score_spread":0.18929517921940264,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3208533526","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.69806206,0.0070219664,0.00962549,0.003435937,0.00021208354,0.000059949638,0.00011826042,0.000036598,0.2814276],"genre_scores_gemma":[0.9935423,0.0009706624,0.0005300524,0.00011143105,0.00006300305,0.000023665856,0.000029124494,0.00001956281,0.0047102035],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976413,0.0015629929,0.00006914439,0.00021281549,0.00030043322,0.0002133892],"domain_scores_gemma":[0.99552685,0.003205132,0.0007034029,0.00024532838,0.00017550058,0.00014377959],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017533513,0.00042929174,0.00025310135,0.0015165616,0.0037775359,0.007829286,0.0007076339,0.00085785816,0.004090367],"category_scores_gemma":[0.006394535,0.00028166754,0.00025998632,0.0013206883,0.017299041,0.0064041335,0.0044395067,0.0015995054,0.00016537786],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012918015,0.000061806124,0.0067224796,0.00034537775,0.000024283507,0.0013812976,0.57272756,0.00023689016,0.0015997125,0.39975753,0.0013176174,0.01569631],"study_design_scores_gemma":[0.000041916468,0.00024306112,0.039852824,0.0012868016,0.00007200567,0.002889303,0.52919316,0.001378788,0.0030865616,0.1203962,0.30148283,0.00007651897],"about_ca_topic_score_codex":0.002651822,"about_ca_topic_score_gemma":0.0029245426,"teacher_disagreement_score":0.007829286,"about_ca_system_score_codex":0.0028040505,"about_ca_system_score_gemma":0.00061052106,"threshold_uncertainty_score":0.020344973},"labels":[],"label_agreement":null},{"id":"W3209569600","doi":"10.5281/zenodo.1211520","title":"Docuverse: Approaches To Expanding Documentary","year":2018,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Université du Québec","funders":"","keywords":"Documentary evidence; History; Archaeology","score_opus":0.1516085224720768,"score_gpt":0.24763294486729964,"score_spread":0.09602442239522285,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3209569600","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012901356,0.013583453,0.11106878,0.036274116,0.00276286,0.0003661898,0.00029890935,0.0015426411,0.8212017],"genre_scores_gemma":[0.30649793,0.010536377,0.14698255,0.0066150147,0.002051878,0.001310807,0.0008541228,0.0041162535,0.521035],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9873224,0.008768672,0.0004478958,0.0012075308,0.0015807373,0.00067292195],"domain_scores_gemma":[0.97393155,0.018627863,0.00068393565,0.0032994067,0.0017619842,0.0016952482],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01488847,0.00081267674,0.00050413335,0.0049470984,0.010840724,0.02170329,0.0035466584,0.0054622786,0.04459914],"category_scores_gemma":[0.022589905,0.00063625426,0.00084421143,0.0032303496,0.02059313,0.021441067,0.01329003,0.005819888,0.005667462],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045456636,0.000037635997,0.00019210353,0.00040605728,0.000007652132,0.00026652895,0.07705636,0.00027312455,0.00060294254,0.76470095,0.0759672,0.08044397],"study_design_scores_gemma":[0.000010251984,0.000012762122,0.00014473156,0.00042596433,0.0000032193132,0.00024398483,0.009925313,0.00017889815,0.0002583115,0.027098894,0.961684,0.000013608861],"about_ca_topic_score_codex":0.00535124,"about_ca_topic_score_gemma":0.008828729,"teacher_disagreement_score":0.04459914,"about_ca_system_score_codex":0.010508182,"about_ca_system_score_gemma":0.005066477,"threshold_uncertainty_score":0.14919901},"labels":[],"label_agreement":null},{"id":"W3211590205","doi":"10.1093/oxfordhb/9780190877996.013.23","title":"Representing Ourselves into Existence","year":2021,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Carleton University","funders":"","keywords":"Queer; Transgender; Lesbian; Face (sociological concept); Sociology; Visual arts; Carving; Gender studies; Movie theater; Identity (music); Media studies; Art; Aesthetics; Social science","score_opus":0.05379497277745298,"score_gpt":0.20884548733258773,"score_spread":0.15505051455513474,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3211590205","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005707338,0.009527132,0.0056805206,0.020863587,0.002096451,0.000028869737,0.000048166108,0.00009953332,0.9559484],"genre_scores_gemma":[0.4467929,0.017541401,0.004631514,0.0085980445,0.0018485006,0.0001347895,0.00017749259,0.00030954063,0.51996577],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9976162,0.0014575006,0.00004630328,0.00027589808,0.00034410317,0.00026011898],"domain_scores_gemma":[0.99879813,0.0004726533,0.00007686651,0.000253399,0.00013617244,0.00026263623],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002242393,0.00061845017,0.0004136409,0.00071182806,0.0063597215,0.012625039,0.0010094489,0.001971402,0.026323125],"category_scores_gemma":[0.0026097677,0.000209522,0.00033113654,0.00076188357,0.022556504,0.011918991,0.008007462,0.004908945,0.00570148],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006110504,0.000012227354,0.00010581374,0.00004828441,0.0000021535727,0.000060291655,0.031558737,0.000079510035,0.00013638695,0.9172749,0.032140423,0.018575244],"study_design_scores_gemma":[0.0000015860712,0.000009535551,0.00007877048,0.00020511923,0.0000019733573,0.00008072741,0.014228331,0.000059174756,0.00008230431,0.059973534,0.9252745,0.000004545399],"about_ca_topic_score_codex":0.0025754243,"about_ca_topic_score_gemma":0.0029654105,"teacher_disagreement_score":0.026323125,"about_ca_system_score_codex":0.0031146796,"about_ca_system_score_gemma":0.0031373135,"threshold_uncertainty_score":0.088059604},"labels":[],"label_agreement":null},{"id":"W3212253941","doi":"10.32920/ryerson.14665620.v1","title":"Funny feelings: taking love to the cinema with Woody Allen","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University; University of Toronto; Toronto Metropolitan University; Centre for Social Innovation; Brock University; York University","funders":"","keywords":"Movie theater; Phenomenology (philosophy); Feeling; Embodied cognition; Philosophy of love; Aesthetics; Psychoanalysis; Infatuation; Representation (politics); Art; Art history; Philosophy; Psychology; Epistemology","score_opus":0.04510057543463713,"score_gpt":0.2372424745439251,"score_spread":0.19214189910928797,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3212253941","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36657655,0.014489552,0.008293737,0.078169435,0.0033820583,0.000084956686,0.000097583325,0.0001463119,0.5287598],"genre_scores_gemma":[0.90959215,0.007408158,0.0026126988,0.005173208,0.00077878544,0.000047291865,0.000039440867,0.00007578957,0.07427261],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99907506,0.0006141457,0.000009141637,0.0000804588,0.00013606374,0.000085186395],"domain_scores_gemma":[0.99861133,0.000791897,0.00014503581,0.000058438985,0.00013091153,0.00026234533],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00097448425,0.00030295897,0.0001586766,0.00046367745,0.004316089,0.0043672267,0.0003450408,0.00076692685,0.0043841884],"category_scores_gemma":[0.003735821,0.00019818703,0.00012370925,0.0003954792,0.0036953506,0.003996304,0.0019911486,0.0021077532,0.00045252868],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000083566934,0.000094707015,0.002293001,0.00019333888,0.000018505538,0.0021273717,0.48675326,0.00018411492,0.0022148292,0.31990495,0.11876441,0.06736805],"study_design_scores_gemma":[0.000009242249,0.000062523875,0.0034108046,0.00029135591,0.000014920097,0.001369989,0.1620738,0.00026087218,0.0005642658,0.018782914,0.81312543,0.00003378373],"about_ca_topic_score_codex":0.003937662,"about_ca_topic_score_gemma":0.010071767,"teacher_disagreement_score":0.0043841884,"about_ca_system_score_codex":0.0009821497,"about_ca_system_score_gemma":0.0005582207,"threshold_uncertainty_score":0.014666557},"labels":[],"label_agreement":null},{"id":"W3213643934","doi":"10.32920/ryerson.14644896.v1","title":"Screen Stars as Style Icons: an Examination of Audrey Hepburn and Sarah Jessica Parker","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Style (visual arts); Mythology; Order (exchange); Narrative; Art; Aesthetics; Advertising; Visual arts; Literature; Business","score_opus":0.04135037535217872,"score_gpt":0.2490366204983925,"score_spread":0.20768624514621378,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3213643934","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42342848,0.016282924,0.005110561,0.064432,0.0011562576,0.00024029249,0.00017299864,0.00010396101,0.48907256],"genre_scores_gemma":[0.91445076,0.012820762,0.002823011,0.0068681883,0.00030771893,0.00011753406,0.00007452404,0.00017393849,0.062363565],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99728787,0.0017531753,0.000063428226,0.00015940139,0.0005881145,0.0001479399],"domain_scores_gemma":[0.99497175,0.0031136633,0.0004581345,0.00016225674,0.0008534656,0.00044060615],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031639284,0.00037542984,0.00023943241,0.0023763392,0.0070519326,0.008473152,0.00069411163,0.0017072188,0.0037623579],"category_scores_gemma":[0.0070786467,0.00040434094,0.00024500152,0.0015919934,0.010271248,0.0064860717,0.0027985666,0.0029806558,0.00052887824],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059948525,0.000052907915,0.0033308486,0.00030867054,0.0000109738785,0.0018515941,0.8172789,0.000090111826,0.0012690516,0.10296464,0.041808292,0.030974023],"study_design_scores_gemma":[0.000007688303,0.000057057056,0.011770686,0.0006555885,0.000011682326,0.0010986254,0.47197047,0.00020195666,0.00071229157,0.005817082,0.50766003,0.00003684703],"about_ca_topic_score_codex":0.020696422,"about_ca_topic_score_gemma":0.036734395,"teacher_disagreement_score":0.020696422,"about_ca_system_score_codex":0.0042757657,"about_ca_system_score_gemma":0.0019388683,"threshold_uncertainty_score":0.04115194},"labels":[],"label_agreement":null},{"id":"W3213710705","doi":"10.1016/j.ijresmar.2021.11.001","title":"An empirical investigation of director selection in movie preproduction: A two-sided matching approach","year":2021,"lang":"en","type":"article","venue":"International Journal of Research in Marketing","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Film director; Matching (statistics); Exploit; Affect (linguistics); Box office; Production (economics); Economics; Business; Movie theater; Computer science; Advertising; Microeconomics; Sociology; Art; Visual arts; Mathematics","score_opus":0.12297231676995929,"score_gpt":0.3961720246723705,"score_spread":0.2731997079024112,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3213710705","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9873524,0.00045426557,0.0077713165,0.00065459334,0.000049660488,0.00014679984,0.00042395928,0.00003898852,0.0031080164],"genre_scores_gemma":[0.9918133,0.00012010477,0.00170066,0.00015505344,0.00009598215,0.000050248167,0.0004959113,0.000017511114,0.005551309],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.98560023,0.009170871,0.00087073725,0.0017002436,0.0012938781,0.0013640777],"domain_scores_gemma":[0.84680396,0.121997684,0.016889054,0.006411908,0.0027193327,0.005178099],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.017939754,0.00059319596,0.0023839842,0.002437244,0.0023969042,0.0033381619,0.004841167,0.003737481,0.017507639],"category_scores_gemma":[0.06135821,0.00068693305,0.002071922,0.004517358,0.0016034838,0.0039398805,0.0030425815,0.0033607206,0.0023269108],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0026016904,0.0037354475,0.91482234,0.00025602218,0.000929869,0.0012512576,0.0022525408,0.0058897627,0.0015556894,0.01619189,0.00289613,0.0476174],"study_design_scores_gemma":[0.0008702983,0.0045630084,0.7304105,0.00014316023,0.0020098079,0.0016602895,0.015524448,0.20747921,0.002962178,0.027852902,0.0063123317,0.00021180342],"about_ca_topic_score_codex":0.009251975,"about_ca_topic_score_gemma":0.008586196,"teacher_disagreement_score":0.017939754,"about_ca_system_score_codex":0.0009587941,"about_ca_system_score_gemma":0.0015172333,"threshold_uncertainty_score":0.09487563},"labels":[],"label_agreement":null},{"id":"W3213773504","doi":"","title":"Audience to Allies: : Shared Terror and Cinematic Dread in Peele's Get Out (2017)","year":2021,"lang":"en","type":"article","venue":"Student Research Proceedings","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"MacEwan University","funders":"","keywords":"White (mutation); Sociology; Media studies; Paranoia; Law; Aesthetics; Art; Psychology; Political science","score_opus":0.19678255950795293,"score_gpt":0.39837375570732597,"score_spread":0.20159119619937305,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3213773504","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63061196,0.00238331,0.0051075616,0.05210535,0.0018498361,0.000074355834,0.00013967538,0.00017480999,0.30755323],"genre_scores_gemma":[0.94171375,0.0012329238,0.00086133456,0.0028745169,0.00048725982,0.000046170357,0.00004031992,0.000118327946,0.052625358],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910384,0.00053444644,0.00001179707,0.00008718061,0.00010586829,0.00015683727],"domain_scores_gemma":[0.99825066,0.0009551731,0.00024424403,0.000089896916,0.000103104685,0.00035703953],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014227777,0.00057779485,0.00021045402,0.0007388379,0.0075566727,0.0065715667,0.00062273716,0.0020534114,0.009166915],"category_scores_gemma":[0.0044861417,0.00030956368,0.00025048343,0.00036426418,0.006630718,0.0063900556,0.0059423116,0.0048849466,0.0007881209],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016129666,0.00010471718,0.0031297246,0.00023073477,0.00002241144,0.0033638468,0.84193367,0.00015918506,0.0022121605,0.06029638,0.06194489,0.026441013],"study_design_scores_gemma":[0.000022134604,0.00012524522,0.008321667,0.00050249725,0.000027658942,0.0034701088,0.55265456,0.00041536256,0.0022972096,0.009834783,0.42227137,0.000057312573],"about_ca_topic_score_codex":0.0019209902,"about_ca_topic_score_gemma":0.0049916706,"teacher_disagreement_score":0.009166915,"about_ca_system_score_codex":0.0015677619,"about_ca_system_score_gemma":0.0005317947,"threshold_uncertainty_score":0.03066641},"labels":[],"label_agreement":null},{"id":"W3214049657","doi":"10.1093/oxfordhb/9780190877996.013.16","title":"Invasion of the Child Snatchers: Pedophilic Seduction in New Queer Cinema","year":2021,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Movie theater; Queer; Taboo; Human sexuality; Narrative; Depiction; Aesthetics; Art; Kinship; Literature; History; Psychoanalysis; Gender studies; Sociology; Psychology; Anthropology","score_opus":0.03770971607578306,"score_gpt":0.18482809345482515,"score_spread":0.1471183773790421,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3214049657","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24820912,0.011319085,0.00581046,0.038597755,0.0008680729,0.00009152014,0.00033999118,0.00015615458,0.6946078],"genre_scores_gemma":[0.82904065,0.008315095,0.0009850523,0.0015662296,0.00048303918,0.000033844724,0.00007231157,0.000059218062,0.15944454],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99960226,0.00024797764,0.000005120308,0.00002996179,0.000057429967,0.00005731239],"domain_scores_gemma":[0.9987997,0.0008491706,0.0001167383,0.000051130384,0.00007644759,0.00010686428],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00091230246,0.00025792795,0.00011330404,0.00081222696,0.0023311367,0.004582985,0.0003542301,0.00070058496,0.0096768765],"category_scores_gemma":[0.0017312255,0.000114626906,0.00009863162,0.0006399143,0.0040116534,0.00257067,0.0010713281,0.0014102713,0.0004192289],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007061968,0.00007477315,0.0023482942,0.0001750977,0.000013584565,0.0014763299,0.3318431,0.00040129563,0.001090843,0.5368069,0.069371946,0.056327254],"study_design_scores_gemma":[0.000008316909,0.000028024473,0.00556388,0.00038508142,0.000010384425,0.00056946743,0.09628914,0.00057361805,0.0007772696,0.011317212,0.8844559,0.000021673486],"about_ca_topic_score_codex":0.023121558,"about_ca_topic_score_gemma":0.06506456,"teacher_disagreement_score":0.023121558,"about_ca_system_score_codex":0.00363195,"about_ca_system_score_gemma":0.00093279907,"threshold_uncertainty_score":0.045973957},"labels":[],"label_agreement":null},{"id":"W3214251280","doi":"10.1080/00085006.2021.1992975","title":"ReFocus: the films of Andrei Tarkovsky","year":2021,"lang":"en","type":"article","venue":"Canadian Slavonic Papers","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; History","score_opus":0.019126914805514778,"score_gpt":0.18997393107908012,"score_spread":0.17084701627356533,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3214251280","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0063949,0.025686854,0.005634837,0.18563898,0.12890437,0.00020272851,0.003938779,0.003835793,0.63976276],"genre_scores_gemma":[0.04944557,0.009171514,0.0037283269,0.022338837,0.034946736,0.00010983439,0.0015308942,0.0034360227,0.8752923],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996253,0.00005905944,0.0000075097323,0.000052323812,0.000165036,0.00009073619],"domain_scores_gemma":[0.9982023,0.0003060963,0.000059619357,0.000092774724,0.0005849725,0.0007541493],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00069627346,0.00084419944,0.0003432409,0.001037137,0.002095455,0.003754056,0.00065701746,0.0013006384,0.16752933],"category_scores_gemma":[0.004868725,0.00028727774,0.00027750368,0.0005716771,0.00056549715,0.0021782438,0.0019450864,0.0031196466,0.043240584],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024121911,0.00000571753,0.000039735052,0.000027761133,0.0000017066012,0.00002752553,0.00011631941,0.000018876335,0.00033273795,0.0012871978,0.9883781,0.009740267],"study_design_scores_gemma":[0.0000076230094,0.000007007479,0.00030311916,0.000044237215,0.0000023400682,0.000051750172,0.00020655227,0.000047518755,0.00024745672,0.00045905687,0.998616,0.0000074729937],"about_ca_topic_score_codex":0.009930215,"about_ca_topic_score_gemma":0.02871806,"teacher_disagreement_score":0.16752933,"about_ca_system_score_codex":0.001318111,"about_ca_system_score_gemma":0.0008524842,"threshold_uncertainty_score":0.56044143},"labels":[],"label_agreement":null},{"id":"W3214995020","doi":"10.32920/ryerson.14643975.v1","title":"A cut above: the end (and ends) of film censorship","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University; York University","funders":"York University; Brandeis University","keywords":"Censorship; Government (linguistics); Law; Political science; Sociology; Media studies; Advertising; Law and economics; Business","score_opus":0.04567564829578754,"score_gpt":0.23355683563445448,"score_spread":0.18788118733866693,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3214995020","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18481809,0.040345263,0.015079401,0.2552866,0.0040151444,0.00009560666,0.00035049158,0.00020884424,0.49980053],"genre_scores_gemma":[0.9454978,0.006210031,0.0026098047,0.012777489,0.0022807233,0.000069104055,0.00012803591,0.00025358776,0.030173419],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9852492,0.0077457163,0.0005909234,0.0022751438,0.0027037924,0.0014352094],"domain_scores_gemma":[0.9756597,0.0124286255,0.0019562661,0.00433107,0.0034791795,0.0021451302],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0115184,0.00040103693,0.0006528893,0.0020264024,0.010332506,0.032472912,0.0014620293,0.005345073,0.0065047746],"category_scores_gemma":[0.0276678,0.0005913501,0.0005939399,0.0012429175,0.042622443,0.044847477,0.0091377,0.014698792,0.0013350593],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020609451,0.00005123483,0.0030442474,0.00015294041,0.000022087603,0.0003495145,0.092767574,0.00009571853,0.00084628625,0.8399921,0.016604457,0.045867756],"study_design_scores_gemma":[0.000028613264,0.0001083502,0.00868387,0.0013334136,0.00003786429,0.0006066271,0.09877868,0.00031424852,0.0014898217,0.40550032,0.4830104,0.00010782933],"about_ca_topic_score_codex":0.0045784735,"about_ca_topic_score_gemma":0.0039919275,"teacher_disagreement_score":0.032472912,"about_ca_system_score_codex":0.0055217133,"about_ca_system_score_gemma":0.0030697247,"threshold_uncertainty_score":0.060915887},"labels":[],"label_agreement":null},{"id":"W3215399229","doi":"10.32920/ryerson.14662962.v1","title":"To Archive Ephemera: The Importance of Atom Egoyan’s Collection at the TIFF Archives","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Ephemera; Metadata; Ephemeral key; Digital collections; Identification (biology); World Wide Web; Computer science; Entertainment; Database; Library science; Visual arts; Art; Biology","score_opus":0.029332098682926293,"score_gpt":0.23233109407830738,"score_spread":0.20299899539538108,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3215399229","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06389151,0.015867965,0.056952666,0.07962896,0.011929315,0.0005070814,0.008291791,0.0021031627,0.7608276],"genre_scores_gemma":[0.5081879,0.018097257,0.1460832,0.011820804,0.010249518,0.0006716337,0.011517877,0.0068196123,0.28655216],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99289715,0.002605006,0.00071630045,0.00069386873,0.0026040412,0.00048352222],"domain_scores_gemma":[0.9642499,0.0101824,0.0020866713,0.014903021,0.006654069,0.00192395],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.010070677,0.0003031751,0.0005331295,0.008282413,0.0069940058,0.019024607,0.0015196501,0.0014193199,0.015344247],"category_scores_gemma":[0.0413656,0.0005752978,0.0003317486,0.012954895,0.008056682,0.018967066,0.006533564,0.0035965834,0.004366211],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011036761,0.000045000917,0.008387266,0.0002637018,0.000026813294,0.00039954434,0.028338436,0.00027892453,0.000575931,0.60533136,0.20112935,0.1551133],"study_design_scores_gemma":[0.0000042338406,0.000005860379,0.002415525,0.00019569905,0.000006183487,0.00015862497,0.0029844383,0.00008694352,0.00028336834,0.012951855,0.9808868,0.000020478272],"about_ca_topic_score_codex":0.045690674,"about_ca_topic_score_gemma":0.07246513,"teacher_disagreement_score":0.95430934,"about_ca_system_score_codex":0.007084565,"about_ca_system_score_gemma":0.009581492,"threshold_uncertainty_score":0.09084946},"labels":[],"label_agreement":null},{"id":"W3215416499","doi":"10.32920/ryerson.14647653.v1","title":"“Shall we put the heart in now?” A comparative analysis between creature features and their single reel abridgements","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Liminality; Reel; Studio; Narrative; Representation (politics); Focus (optics); Art; Space (punctuation); Visual arts; Feature (linguistics); History; Aesthetics; Computer science; Literature; Linguistics; Philosophy; Physics; Optics; Political science","score_opus":0.07558663258569769,"score_gpt":0.273855679476721,"score_spread":0.19826904689102332,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3215416499","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8707398,0.0022301024,0.00057390385,0.0010411084,0.00006993661,0.000021777792,0.00007933363,0.000009940608,0.12523413],"genre_scores_gemma":[0.99298084,0.0006558399,0.0002006274,0.000053578326,0.00002792895,0.000007644218,0.00003758893,0.000020826315,0.0060150865],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988732,0.00057234964,0.000026862901,0.00012550055,0.00019317251,0.00020888842],"domain_scores_gemma":[0.99733293,0.0012416849,0.0005101989,0.000234836,0.00038370947,0.00029678183],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012390923,0.0001546837,0.00022648166,0.0017134919,0.0022212067,0.0048397775,0.0004920266,0.0005370176,0.007650177],"category_scores_gemma":[0.007513841,0.00017271412,0.00018003023,0.0020596774,0.0051492094,0.003429024,0.0016028488,0.0010958043,0.00040251613],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00077650545,0.00015259735,0.025464306,0.00039340818,0.00008376187,0.0020032478,0.54904944,0.00031578407,0.004378589,0.28566194,0.009525314,0.122195125],"study_design_scores_gemma":[0.000039824903,0.00049204635,0.27506384,0.00069935253,0.00010240398,0.0014790997,0.44918346,0.00037028096,0.0025762375,0.010830703,0.25909984,0.000062924504],"about_ca_topic_score_codex":0.0075639607,"about_ca_topic_score_gemma":0.013484353,"teacher_disagreement_score":0.007650177,"about_ca_system_score_codex":0.0017594092,"about_ca_system_score_gemma":0.0006026128,"threshold_uncertainty_score":0.025592387},"labels":[],"label_agreement":null},{"id":"W3215464810","doi":"","title":"Witches and Demons: The Occult in Two Hammer Films from the 1960s","year":2018,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Dawson College","funders":"","keywords":"Occult; Hammer; Art; Engineering; Structural engineering; Medicine; Pathology","score_opus":0.2874981493152656,"score_gpt":0.49908611301802897,"score_spread":0.21158796370276334,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3215464810","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47038764,0.021835089,0.00078883534,0.06863685,0.0030905912,0.000043112854,0.00037452512,0.000043508964,0.43479976],"genre_scores_gemma":[0.94975084,0.004783972,0.00024713532,0.0027550948,0.0007980411,0.000014995427,0.000079538215,0.000054235956,0.041516114],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99896884,0.00047561596,0.000025046224,0.00009272642,0.00018296976,0.0002549579],"domain_scores_gemma":[0.9964804,0.002584179,0.00025091245,0.000104535844,0.00015165874,0.00042832483],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018214292,0.00057701994,0.00034747034,0.002280898,0.009759846,0.0070104813,0.0005661074,0.002945398,0.007816599],"category_scores_gemma":[0.0064809574,0.0003270797,0.00019318094,0.0026446432,0.010782792,0.003958179,0.0025538222,0.0060696984,0.00047584318],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020499145,0.000087387394,0.005411785,0.0002302989,0.00002347838,0.0024764722,0.6293247,0.000118618686,0.00031736575,0.27615383,0.05964278,0.026008278],"study_design_scores_gemma":[0.00003375222,0.000069479516,0.03018772,0.000943589,0.00002873965,0.0010228048,0.3373829,0.00013472515,0.0006267868,0.020652173,0.60885966,0.000057584944],"about_ca_topic_score_codex":0.033779107,"about_ca_topic_score_gemma":0.1330035,"teacher_disagreement_score":0.033779107,"about_ca_system_score_codex":0.005432789,"about_ca_system_score_gemma":0.0014152203,"threshold_uncertainty_score":0.06716502},"labels":[],"label_agreement":null},{"id":"W3215691383","doi":"10.32920/ryerson.14668206.v1","title":"Codes of the North: difficulty in the origins of the Canadian avant-garde film","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University","funders":"","keywords":"Vanguard; Movie theater; Poetry; Modernism (music); Art; Avant garde; Aesthetics; Literature; Art history; Painting; Individuation; History; Psychoanalysis; Psychology","score_opus":0.03829335631548024,"score_gpt":0.21893544363358228,"score_spread":0.18064208731810205,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3215691383","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2476323,0.0057447627,0.004140095,0.02424174,0.0007346742,0.00010245152,0.00032017613,0.000116650124,0.7169671],"genre_scores_gemma":[0.965204,0.0013563707,0.0012574533,0.0006457354,0.000053231175,0.000016824022,0.000055401626,0.00010148895,0.031309444],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972319,0.00049481436,0.000044121003,0.0003906059,0.0010816639,0.0007568563],"domain_scores_gemma":[0.9973918,0.0006921464,0.00016796982,0.00013842367,0.0009793025,0.0006303132],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002001497,0.0006733044,0.00042554023,0.0028030535,0.029612914,0.013465476,0.0013870021,0.0017014797,0.0072036367],"category_scores_gemma":[0.006315142,0.00047825102,0.00028807504,0.0025503798,0.023807462,0.0035960963,0.0044737603,0.0042094933,0.00041825112],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006617949,0.000013600592,0.0028443257,0.00011740371,0.000008892825,0.00093083776,0.5519915,0.0001843043,0.0009867343,0.39966688,0.013397756,0.029791588],"study_design_scores_gemma":[0.000008942072,0.000018693609,0.012988534,0.000365271,0.000021490394,0.0006355251,0.21592005,0.00037702773,0.000671702,0.015976781,0.75291663,0.000099199955],"about_ca_topic_score_codex":0.9670844,"about_ca_topic_score_gemma":0.9845115,"teacher_disagreement_score":0.102035664,"about_ca_system_score_codex":0.102035664,"about_ca_system_score_gemma":0.057110976,"threshold_uncertainty_score":0.740324},"labels":[],"label_agreement":null},{"id":"W3215724994","doi":"10.32920/ryerson.14661945.v1","title":"Cinematic Inclusiveness: Horror Cinema’s Portrayal of Mental and Physical Disabilities","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"MacEwan University; March of Dimes Canada","funders":"","keywords":"Movie theater; Hollywood; Compassion; Aesthetics; Psychology; Representation (politics); Sociology; Art; Visual arts; Politics; Political science; Art history; Law","score_opus":0.030529294193563747,"score_gpt":0.25449573680163806,"score_spread":0.2239664426080743,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3215724994","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5720318,0.01258425,0.0060022464,0.023713006,0.0016716061,0.00011457607,0.00021986049,0.00013955779,0.38352314],"genre_scores_gemma":[0.9856383,0.0021476117,0.0008774063,0.0013064054,0.00028655233,0.00003656588,0.00004574032,0.000056311743,0.009605012],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99899226,0.0006280937,0.000027048298,0.00007719126,0.0001304677,0.00014494233],"domain_scores_gemma":[0.9983224,0.0010070205,0.00016863926,0.000086244465,0.00015469751,0.00026094267],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013670849,0.000465617,0.00017705382,0.0013504409,0.0035407972,0.005194558,0.0005155607,0.0011438864,0.0052592554],"category_scores_gemma":[0.0038029028,0.0001666024,0.0002504051,0.00042785818,0.0047550146,0.003825737,0.005238879,0.0019701836,0.00030821285],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012028654,0.00006117273,0.0038551078,0.00046301962,0.000020150244,0.0019202933,0.8826972,0.00011364902,0.0037638706,0.05133234,0.019469734,0.036183167],"study_design_scores_gemma":[0.000026591557,0.0001245969,0.014040029,0.0013546519,0.000053022195,0.007888555,0.49245185,0.00043998676,0.0023442362,0.006822888,0.4744002,0.000053308617],"about_ca_topic_score_codex":0.0030816728,"about_ca_topic_score_gemma":0.005968184,"teacher_disagreement_score":0.0052592554,"about_ca_system_score_codex":0.0015440967,"about_ca_system_score_gemma":0.00056035735,"threshold_uncertainty_score":0.01759392},"labels":[],"label_agreement":null},{"id":"W3215762837","doi":"10.4324/9781315392189-48","title":"From Lerwick to Leicester Square: UK film festivals and why they matter","year":2017,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Boom; Media studies; Perspective (graphical); Square (algebra); Advertising; Art; Art history; Film festival; Visual arts; Sociology; History; Engineering; Business","score_opus":0.04241089476751335,"score_gpt":0.2482382511158124,"score_spread":0.20582735634829907,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3215762837","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.057035033,0.12552708,0.00053946994,0.27195323,0.007696931,0.000064801054,0.0025683767,0.00012020204,0.5344949],"genre_scores_gemma":[0.52142817,0.07480925,0.00041793627,0.026331136,0.002013699,0.000084278916,0.0009715298,0.00038227538,0.3735618],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987405,0.00040595644,0.000061264065,0.00017988008,0.00020971552,0.00040271465],"domain_scores_gemma":[0.9966029,0.0010347706,0.00037688302,0.000114644725,0.0006479043,0.0012228187],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011976737,0.0004261904,0.00030517083,0.0014045588,0.005039572,0.012651636,0.00063635857,0.0017994086,0.10228067],"category_scores_gemma":[0.00615625,0.0004505833,0.00019093529,0.0021447877,0.0034689596,0.009425843,0.0029004067,0.0027261775,0.009530932],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014569327,0.00002952619,0.004057506,0.0009180259,0.000016901671,0.0012379033,0.054858334,0.000046940986,0.00034080917,0.051667508,0.82376003,0.06292083],"study_design_scores_gemma":[0.000009437195,0.000014153093,0.012581968,0.0013085591,0.0000047513513,0.0003190556,0.053857848,0.000010574581,0.00008384819,0.0015667182,0.9302258,0.000017315167],"about_ca_topic_score_codex":0.12904176,"about_ca_topic_score_gemma":0.25996697,"teacher_disagreement_score":0.12904176,"about_ca_system_score_codex":0.009105484,"about_ca_system_score_gemma":0.0028864064,"threshold_uncertainty_score":0.34216297},"labels":[],"label_agreement":null},{"id":"W3215943516","doi":"10.32920/ryerson.14656071.v1","title":"Never Grow Up: The Queerness Of Immaturity In American Film","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University; University of Toronto; Western University","funders":"","keywords":"Temporality; Queer; Subjectivity; Resistance (ecology); Agency (philosophy); Movie theater; Power (physics); Aesthetics; Sociology; Comedy; Gender studies; Psychoanalysis; Psychology; Literature; Art; Epistemology; Social science; Philosophy; Biology","score_opus":0.029115667017291222,"score_gpt":0.2346818004649825,"score_spread":0.20556613344769126,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3215943516","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6855875,0.0077123772,0.0022036585,0.03070346,0.0014360719,0.000034500466,0.00008884403,0.00008027982,0.27215335],"genre_scores_gemma":[0.981571,0.0023876526,0.00027193016,0.001747417,0.00018638349,0.00000908166,0.000022847498,0.000049623904,0.01375413],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987501,0.00075853243,0.000018737699,0.000084904466,0.00020635454,0.00018144365],"domain_scores_gemma":[0.9990446,0.00052764587,0.00010373103,0.000049503375,0.00013890637,0.0001356855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016514166,0.0003447334,0.00024296978,0.0006954896,0.011785282,0.005369822,0.0005788405,0.0011214168,0.0024896886],"category_scores_gemma":[0.002676831,0.00028744296,0.00017088467,0.0007074768,0.010364972,0.0042750896,0.0026808695,0.0047212676,0.0002596675],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040616545,0.000030817184,0.0019539916,0.00007379486,0.000009922425,0.0006536241,0.923258,0.00003960482,0.0011735002,0.052083742,0.009674198,0.011008193],"study_design_scores_gemma":[0.000006335765,0.00004992846,0.006359183,0.0002602757,0.000023405395,0.0007503293,0.6865748,0.00017654998,0.0010538991,0.00468619,0.30002204,0.00003710676],"about_ca_topic_score_codex":0.0174392,"about_ca_topic_score_gemma":0.060557123,"teacher_disagreement_score":0.0174392,"about_ca_system_score_codex":0.0031667736,"about_ca_system_score_gemma":0.0011932219,"threshold_uncertainty_score":0.03467536},"labels":[],"label_agreement":null},{"id":"W3216323112","doi":"","title":"Fairey's Hope: Shepard Fairey's Iconic Obama Poster","year":2011,"lang":"en","type":"article","venue":"Thirdspace","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Art history; History","score_opus":0.05401791564962985,"score_gpt":0.21549133588507866,"score_spread":0.1614734202354488,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W3216323112","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007214175,0.022514766,0.0017086791,0.35129374,0.21727134,0.00013756628,0.00045644343,0.0005225056,0.3988808],"genre_scores_gemma":[0.050893117,0.0035655643,0.0006631851,0.02229119,0.028214667,0.00006856674,0.00009611832,0.0002986481,0.893909],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902093,0.00020556521,0.00001537217,0.000121427795,0.000262945,0.00037370448],"domain_scores_gemma":[0.99793833,0.00047648573,0.00005798145,0.00009377658,0.00031441444,0.0011189906],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021540064,0.0009255427,0.0004020536,0.0009907864,0.008591811,0.010325399,0.00077803415,0.005896748,0.08566428],"category_scores_gemma":[0.004006121,0.00031613538,0.0005600442,0.00045980094,0.0018734194,0.003332501,0.00475601,0.0077971783,0.007998729],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045948367,0.000026762085,0.00007915812,0.000024280977,0.0000031781533,0.00012021027,0.0004918871,0.000030869167,0.00019881039,0.016872851,0.97409636,0.008009709],"study_design_scores_gemma":[0.000009926183,0.000020038844,0.00026048353,0.000085761574,0.000003681276,0.00006495577,0.0010711567,0.00007456291,0.00015944357,0.0023078562,0.99593216,0.000010007414],"about_ca_topic_score_codex":0.012811079,"about_ca_topic_score_gemma":0.03854358,"teacher_disagreement_score":0.08566428,"about_ca_system_score_codex":0.0031799434,"about_ca_system_score_gemma":0.0024572217,"threshold_uncertainty_score":0.28657556},"labels":[],"label_agreement":null},{"id":"W323651656","doi":"","title":"Canadian Social Documentary in the Age of Michael Moore: The Corporation and Fix","year":2005,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Corporation; Liberian dollar; Media studies; Documentary film; History; Sociology; Political science; Law; Art history; Movie theater; Business","score_opus":0.024440654209253267,"score_gpt":0.21813037475194136,"score_spread":0.1936897205426881,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W323651656","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0048485072,0.013896098,0.0006428866,0.3466257,0.009149422,0.000043942375,0.00032220647,0.00024732915,0.6242239],"genre_scores_gemma":[0.10669656,0.01246808,0.0015849299,0.059267364,0.0015803098,0.000051931882,0.00022261585,0.0003439167,0.81778437],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99613094,0.00032126007,0.000066967805,0.00035813614,0.0018408967,0.0012816844],"domain_scores_gemma":[0.9951711,0.0002480648,0.00009870912,0.00020024898,0.0024797763,0.0018020554],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021593086,0.0007815314,0.00039646274,0.001898207,0.05031883,0.018559692,0.002062883,0.0059425086,0.044338014],"category_scores_gemma":[0.0065325033,0.0004382866,0.00038445074,0.0027176966,0.013098605,0.0056572626,0.0044199894,0.007830553,0.0060318355],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000104024275,0.0000069425023,0.00024024563,0.000026607036,0.000002789456,0.0001486245,0.004154946,0.000025446569,0.000074369855,0.110872656,0.8703255,0.014111445],"study_design_scores_gemma":[0.0000013729958,0.0000018232901,0.0002701838,0.000043974833,0.0000023679117,0.00002941836,0.0036338242,0.000011856621,0.000028000288,0.0009688266,0.9949969,0.000011424977],"about_ca_topic_score_codex":0.98295987,"about_ca_topic_score_gemma":0.9934957,"teacher_disagreement_score":0.117458984,"about_ca_system_score_codex":0.117458984,"about_ca_system_score_gemma":0.16186588,"threshold_uncertainty_score":0.8522286},"labels":[],"label_agreement":null},{"id":"W326891330","doi":"10.3138/cjfs.16.2.119","title":"The Cinema of Attractions Reloaded Edited by Wanda Strauven","year":2007,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Movie theater; Art; Aesthetics; Art history; Visual arts","score_opus":0.04573384760839666,"score_gpt":0.2563796423212192,"score_spread":0.21064579471282252,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W326891330","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009508179,0.42060903,0.0011257293,0.08722864,0.0961843,0.000078985955,0.001809133,0.00021285187,0.38324314],"genre_scores_gemma":[0.13178536,0.14406563,0.0016164451,0.006961931,0.028869428,0.000120402874,0.0011591036,0.0005313108,0.6848904],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99952006,0.00017628909,0.000016683689,0.00006682614,0.00015974643,0.000060312082],"domain_scores_gemma":[0.9988299,0.00041270352,0.00006520051,0.000057227484,0.00044674624,0.00018821002],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000729095,0.00075239793,0.00051487563,0.0022970035,0.0034519255,0.0060564512,0.0005911526,0.0014720423,0.027271733],"category_scores_gemma":[0.002789255,0.00044195403,0.00025157936,0.002087383,0.0015519024,0.0029326978,0.0017520615,0.0026864032,0.0033447107],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027413915,0.000009869696,0.00016529695,0.0002083987,0.0000063299804,0.000101788435,0.006857382,0.00007064908,0.0003214646,0.020724414,0.92743105,0.04407592],"study_design_scores_gemma":[0.0000015197123,0.0000041907733,0.0007174596,0.00026896,0.0000023854952,0.00006234627,0.0024399103,0.000021868074,0.00004544621,0.0007393963,0.9956915,0.000004958938],"about_ca_topic_score_codex":0.05054374,"about_ca_topic_score_gemma":0.14306474,"teacher_disagreement_score":0.05054374,"about_ca_system_score_codex":0.003373044,"about_ca_system_score_gemma":0.0025482543,"threshold_uncertainty_score":0.100499034},"labels":[],"label_agreement":null},{"id":"W329626317","doi":"","title":"Art and Censorship in Canada, U.S.A. and Japan","year":2003,"lang":"en","type":"article","venue":"紀要","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Censorship; Political science; History; Law","score_opus":0.022297040613229017,"score_gpt":0.1835266184819215,"score_spread":0.1612295778686925,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W329626317","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9688469,0.004437121,0.000065228916,0.0027226931,0.000040955067,0.000008962909,0.00075779203,0.0000063658454,0.023113854],"genre_scores_gemma":[0.99506676,0.0014429076,0.000027300235,0.000090752306,0.000026506666,0.0000018118751,0.00017610435,0.0000038560074,0.0031639396],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99928766,0.000071191724,0.000026205013,0.000058907095,0.00021324333,0.00034280165],"domain_scores_gemma":[0.9946003,0.0013591234,0.0011782857,0.00012892285,0.0013467164,0.0013867085],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00076714356,0.00013881749,0.00037197294,0.0036390766,0.0048077833,0.0051471014,0.00058213214,0.00062918325,0.0046693427],"category_scores_gemma":[0.004487379,0.00013272896,0.00022254171,0.008000042,0.0032772913,0.0012317079,0.0014488044,0.001522099,0.00013191298],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005030917,0.00020183077,0.693636,0.00039552856,0.0001956252,0.0022642906,0.118966445,0.0015973628,0.00048165256,0.06709241,0.032106888,0.08255891],"study_design_scores_gemma":[0.000010080512,0.000018642135,0.90833616,0.0002515801,0.00005736856,0.00012915033,0.05710168,0.0007552824,0.00013269823,0.0014708394,0.03169468,0.0000418458],"about_ca_topic_score_codex":0.96388483,"about_ca_topic_score_gemma":0.98427874,"teacher_disagreement_score":0.03611517,"about_ca_system_score_codex":0.022655876,"about_ca_system_score_gemma":0.01549051,"threshold_uncertainty_score":0.16438067},"labels":[],"label_agreement":null},{"id":"W330247759","doi":"10.3138/cjfs.12.2.46","title":"“Non-Theatrical with Dreams of Theatrical”: Paradoxes of a Canadian Semi-Documentary <i>Film Noir</i>","year":2003,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities; Art history","score_opus":0.024185729780487063,"score_gpt":0.21841211186201098,"score_spread":0.19422638208152393,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W330247759","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19625862,0.0033924778,0.00338047,0.061693292,0.00022966792,0.00005171475,0.00027552637,0.000050890223,0.73466736],"genre_scores_gemma":[0.98805016,0.0005677767,0.00045528254,0.0008977849,0.000032177937,0.000011816453,0.000032154716,0.000027290938,0.009925606],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9958483,0.0014677726,0.00007245232,0.00048344707,0.0011550558,0.0009729774],"domain_scores_gemma":[0.99489045,0.0016480105,0.00052274385,0.00059162604,0.0014878641,0.00085929467],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004378741,0.00037174358,0.00035863524,0.001978292,0.026936498,0.016947541,0.002378013,0.0032294774,0.0121909855],"category_scores_gemma":[0.0124012865,0.00046205227,0.00031328207,0.0031216312,0.044372655,0.0076398016,0.005807147,0.0044081667,0.00044262252],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026769527,0.000013653304,0.0011153561,0.000049769737,0.0000071705376,0.00017960361,0.1436062,0.00014133395,0.00015085003,0.834881,0.011980035,0.007848315],"study_design_scores_gemma":[0.000038393628,0.000017729217,0.013794059,0.0003766814,0.000031144245,0.00034067346,0.37649712,0.0009120933,0.00037404205,0.18426508,0.42324322,0.00010977725],"about_ca_topic_score_codex":0.90328354,"about_ca_topic_score_gemma":0.90910095,"teacher_disagreement_score":0.09671646,"about_ca_system_score_codex":0.057874225,"about_ca_system_score_gemma":0.032341488,"threshold_uncertainty_score":0.41990888},"labels":[],"label_agreement":null},{"id":"W330857985","doi":"10.5406/jsporthistory.41.2.251","title":"Flying, Flirting, and Flexing: Charmion’s Trapeze Act, Sexuality, and Physical Culture at the Turn of the Twentieth Century","year":2014,"lang":"en","type":"article","venue":"Journal of Sport History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Flirting; Carnivalesque; Human sexuality; Aesthetics; Face (sociological concept); Art; Movie theater; Atmosphere (unit); Sociology; Visual arts; Gender studies; Social science; Communication; Geography","score_opus":0.02478065245137375,"score_gpt":0.2248732439191075,"score_spread":0.20009259146773375,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W330857985","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.673725,0.009475192,0.0005723724,0.023166701,0.00023354994,0.000025058032,0.0001234534,0.00002007472,0.29265854],"genre_scores_gemma":[0.97176254,0.0009966164,0.00010170433,0.0005623429,0.000059276896,0.0000063684674,0.000014632599,0.000014321758,0.026482195],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99918884,0.00034593727,0.000009573771,0.00009656947,0.0001374899,0.00022165643],"domain_scores_gemma":[0.99899036,0.0004075732,0.00016236132,0.000031661468,0.00017587887,0.00023218071],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013106065,0.00020766913,0.00016057277,0.0012659867,0.0076565365,0.004677851,0.000406663,0.0011862607,0.0042505525],"category_scores_gemma":[0.0023163601,0.00020925686,0.000067111185,0.00082697003,0.007989351,0.0013915105,0.0017453175,0.0020626239,0.0002672972],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015848283,0.00007650519,0.010206819,0.00009198291,0.000012677012,0.0010181429,0.66451955,0.00020446866,0.00058163493,0.2454599,0.043987487,0.033682287],"study_design_scores_gemma":[0.0000130719745,0.00007035361,0.03634396,0.00036656854,0.0000070889278,0.00071694265,0.253143,0.00035727967,0.00040763218,0.0092790015,0.6992406,0.000054437274],"about_ca_topic_score_codex":0.1767657,"about_ca_topic_score_gemma":0.34242815,"teacher_disagreement_score":0.1767657,"about_ca_system_score_codex":0.009310452,"about_ca_system_score_gemma":0.002108606,"threshold_uncertainty_score":0.35147357},"labels":[],"label_agreement":null},{"id":"W337630786","doi":"","title":"The Cinema of Canada","year":2007,"lang":"en","type":"article","venue":"British Journal of Canadian Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; History; Art history","score_opus":0.02826331763259111,"score_gpt":0.21203659221369875,"score_spread":0.18377327458110765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W337630786","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.032423865,0.044586677,0.00048579034,0.13698979,0.0063228714,0.000051119954,0.0037945244,0.00012762054,0.7752178],"genre_scores_gemma":[0.5324569,0.03214086,0.00059168914,0.011684802,0.0016625491,0.000036342408,0.0012286858,0.00014901068,0.42004925],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99841523,0.0001708244,0.000029039966,0.00017210278,0.00070261507,0.000510239],"domain_scores_gemma":[0.9955681,0.00039479684,0.00017302496,0.00013141596,0.0024313233,0.0013014064],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00080178404,0.0004875891,0.00036815368,0.002595654,0.012438701,0.011544271,0.0007705854,0.0018358101,0.056582768],"category_scores_gemma":[0.0056874063,0.00028407344,0.00029266856,0.004392224,0.0032131071,0.0021162492,0.0016608846,0.0030065146,0.0025074615],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006806642,0.000035664914,0.0040949755,0.00022730866,0.000026076417,0.0002882724,0.00842206,0.00017648688,0.00029335494,0.15366268,0.76985925,0.06284594],"study_design_scores_gemma":[0.000003176328,0.0000051146594,0.008150268,0.00016206458,0.000010352955,0.000048300903,0.0057569463,0.00007583169,0.00006720532,0.001984249,0.98371613,0.000020417434],"about_ca_topic_score_codex":0.9781049,"about_ca_topic_score_gemma":0.98620063,"teacher_disagreement_score":0.058340315,"about_ca_system_score_codex":0.058340315,"about_ca_system_score_gemma":0.09019503,"threshold_uncertainty_score":0.42329055},"labels":[],"label_agreement":null},{"id":"W337993322","doi":"","title":"Projecting Canada: Government Policy and Documentary Film at the National Film Board/filming Politics: Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-46","year":2008,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Filmmaking; Media studies; Communism; Sociology; Institution; Film studies; Movie theater; Political science; Art history; Law; Social science; History","score_opus":0.03780322888495944,"score_gpt":0.22757726315949295,"score_spread":0.18977403427453352,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W337993322","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.064125344,0.104127035,0.0009187908,0.0933874,0.0026358967,0.00011667771,0.007013637,0.0001659003,0.7275093],"genre_scores_gemma":[0.6268647,0.059591703,0.0015661514,0.004275791,0.00037387037,0.00010409159,0.0017888262,0.00026253838,0.30517244],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9990952,0.00010844194,0.000015442523,0.00007703014,0.00042092963,0.0002829383],"domain_scores_gemma":[0.9990388,0.00013994324,0.000055722296,0.000039579856,0.00043957093,0.00028636298],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057094335,0.00057526596,0.00022298224,0.0018704946,0.017328572,0.008306122,0.0009891753,0.001121223,0.018770592],"category_scores_gemma":[0.0024763318,0.0003442754,0.00017802246,0.006719045,0.0059459596,0.0023346695,0.0017665875,0.0020496743,0.0010568736],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048064318,0.000025229801,0.0038451217,0.0002369733,0.000013129004,0.0003973964,0.089065425,0.00027284306,0.0005052167,0.08240307,0.74939823,0.07378936],"study_design_scores_gemma":[0.0000046977025,0.0000048843485,0.01720821,0.0003201359,0.000009007781,0.0000997951,0.061288383,0.00008191911,0.00021568737,0.00135627,0.91938466,0.000026400889],"about_ca_topic_score_codex":0.99424875,"about_ca_topic_score_gemma":0.99739337,"teacher_disagreement_score":0.08859701,"about_ca_system_score_codex":0.08859701,"about_ca_system_score_gemma":0.08707108,"threshold_uncertainty_score":0.6428193},"labels":[],"label_agreement":null},{"id":"W341671182","doi":"10.3138/cjfs.12.2.22","title":"Nathan L. Nathanson Introduces Canadian Odeon: Producing National Competition in Elim Exhibition","year":2003,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Movie theater; Art history; Art; History","score_opus":0.04388860872135373,"score_gpt":0.24233106034613547,"score_spread":0.19844245162478175,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W341671182","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06622309,0.0111351255,0.003598213,0.0644021,0.0010272638,0.000084389234,0.00053429184,0.000092940136,0.85290253],"genre_scores_gemma":[0.70527333,0.011112834,0.003650356,0.0060686376,0.0003186543,0.000072566094,0.00017730126,0.00010663891,0.27321965],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989116,0.00021013948,0.000018110655,0.00011518779,0.000367479,0.00037745363],"domain_scores_gemma":[0.9988219,0.00035059982,0.00009972103,0.0000497289,0.00037207524,0.00030581845],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010473117,0.0004895362,0.0002330676,0.002665334,0.013530863,0.007968992,0.00092234055,0.0016905593,0.017746361],"category_scores_gemma":[0.0026910922,0.00030301357,0.00025106253,0.002840271,0.0068912013,0.003471865,0.0028162356,0.00166558,0.0009776405],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046185934,0.00003579003,0.009386034,0.00018160483,0.000010837135,0.00056774216,0.06742188,0.0004200868,0.00080679427,0.71641576,0.13917282,0.06553442],"study_design_scores_gemma":[0.0000039364513,0.000011630953,0.010834265,0.00019944154,0.000009524946,0.00013677473,0.028508263,0.00022721224,0.00035362766,0.011593766,0.9480845,0.000037029142],"about_ca_topic_score_codex":0.858043,"about_ca_topic_score_gemma":0.95466554,"teacher_disagreement_score":0.14195698,"about_ca_system_score_codex":0.05120654,"about_ca_system_score_gemma":0.028377749,"threshold_uncertainty_score":0.37153125},"labels":[],"label_agreement":null},{"id":"W341940311","doi":"","title":"The Days of Frozen Dreams: An Interview with Wang Xiaoshuai","year":2006,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Censorship; Government (linguistics); Politics; Studio; State (computer science); Law; The arts; Media studies; Sociology; Political science; Visual arts; Art","score_opus":0.028054299696879736,"score_gpt":0.2145149559660713,"score_spread":0.1864606562691916,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W341940311","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6593156,0.013563341,0.0015219122,0.2750646,0.0026647965,0.00017377309,0.00020840386,0.000108761014,0.04737883],"genre_scores_gemma":[0.8993779,0.009389615,0.0010696955,0.048590213,0.0003959308,0.00022931046,0.00013716672,0.00009116322,0.04071896],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978811,0.00095424044,0.00009444837,0.00020650856,0.00034440076,0.0005192818],"domain_scores_gemma":[0.9966828,0.00081663026,0.00031862044,0.00007227175,0.00028935206,0.0018203066],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00392176,0.00055974856,0.00067366415,0.00089624774,0.020065749,0.0044136113,0.001406067,0.0032555643,0.0032547878],"category_scores_gemma":[0.0045821103,0.00094156666,0.0003744369,0.0021353522,0.006883973,0.0051561147,0.0038707124,0.011494244,0.00051083387],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032884862,0.000084420484,0.0050065755,0.00013154132,0.000016274733,0.0032501202,0.92130667,0.000118259864,0.0013096236,0.00809174,0.05264188,0.008010006],"study_design_scores_gemma":[0.000007823121,0.00009856638,0.004792821,0.00016814374,0.000009609013,0.0010354805,0.8212042,0.000252025,0.00038722056,0.00088240363,0.17107318,0.00008849896],"about_ca_topic_score_codex":0.04195778,"about_ca_topic_score_gemma":0.039822135,"teacher_disagreement_score":0.04195778,"about_ca_system_score_codex":0.005907439,"about_ca_system_score_gemma":0.006133239,"threshold_uncertainty_score":0.08342713},"labels":[],"label_agreement":null},{"id":"W343431316","doi":"10.1353/flm.2000.a400654","title":"Quantum Leap: The Postmodern Challenge of Television as History","year":2000,"lang":"en","type":"article","venue":"Film & history","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Postmodernism; Dream; History; Art history; Paradise; Aesthetics; Sociology; Psychoanalysis; Philosophy; Art; Literature; Psychology","score_opus":0.03923618686519431,"score_gpt":0.20624267980856867,"score_spread":0.16700649294337436,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W343431316","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026709886,0.056406256,0.003186587,0.3908589,0.0064635435,0.000026560932,0.000086416985,0.00008432229,0.5161775],"genre_scores_gemma":[0.75075245,0.022110429,0.0008106726,0.022376547,0.007597642,0.000057826554,0.000042645337,0.00012595813,0.19612584],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982962,0.0009312546,0.000021427782,0.00008960247,0.00036353501,0.00029799977],"domain_scores_gemma":[0.99766266,0.0014086865,0.00012345197,0.00017667848,0.00028400382,0.00034455332],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002025661,0.00021751643,0.00023728119,0.000878283,0.010026739,0.010046828,0.0007696218,0.003456155,0.011669635],"category_scores_gemma":[0.003558371,0.0002469935,0.0001280276,0.0010818564,0.028195838,0.008267594,0.0035612804,0.0044826698,0.00074310496],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000095942505,0.0000069559633,0.00010929838,0.000026008667,7.6489073e-7,0.000055204462,0.016246833,0.00003036302,0.00006584062,0.918744,0.05761483,0.007090206],"study_design_scores_gemma":[0.000006282606,0.000010340975,0.00061369414,0.00015955548,0.0000014377306,0.00009279705,0.020217907,0.00016252548,0.00018864436,0.14078201,0.83775055,0.00001432402],"about_ca_topic_score_codex":0.047807094,"about_ca_topic_score_gemma":0.072510146,"teacher_disagreement_score":0.047807094,"about_ca_system_score_codex":0.016811315,"about_ca_system_score_gemma":0.005512499,"threshold_uncertainty_score":0.12197518},"labels":[],"label_agreement":null},{"id":"W348171274","doi":"10.3138/cjfs.13.2.2c","title":"Teaching in Your Dreams: Screen-play Pedagogy and Margarethe von Trotta’s The Second Awakening of Christa Klages","year":2004,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Sublime; Art history","score_opus":0.04015301060717771,"score_gpt":0.27581419446658356,"score_spread":0.23566118385940585,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W348171274","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2165291,0.016535364,0.017909197,0.19356875,0.003949936,0.0001356542,0.00005655443,0.00020796889,0.5511075],"genre_scores_gemma":[0.888651,0.007091337,0.0030746984,0.006258937,0.00031546253,0.00009152565,0.000018084951,0.00015851752,0.094340354],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9974999,0.001739366,0.000033022538,0.00015832736,0.0003185828,0.0002507771],"domain_scores_gemma":[0.9966743,0.002155723,0.00017527876,0.000120192155,0.00023555699,0.0006388707],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026269385,0.0003151066,0.00023021329,0.000698078,0.005210811,0.0050807144,0.00079402525,0.0017759546,0.008280095],"category_scores_gemma":[0.00779342,0.00029742005,0.00021771519,0.00029687924,0.010979552,0.004397922,0.0042745294,0.0038666425,0.0011666735],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009582281,0.00024733128,0.0018108592,0.0002811713,0.0000109573275,0.0005222095,0.35980675,0.0002647667,0.000960777,0.5079381,0.063324936,0.06473635],"study_design_scores_gemma":[0.00003115841,0.00013350253,0.002359509,0.00063937146,0.000013654981,0.0005984735,0.17774527,0.0006584837,0.0011699742,0.07787767,0.7387322,0.000040763058],"about_ca_topic_score_codex":0.009784777,"about_ca_topic_score_gemma":0.022434715,"teacher_disagreement_score":0.009784777,"about_ca_system_score_codex":0.0030689542,"about_ca_system_score_gemma":0.0029620135,"threshold_uncertainty_score":0.027699709},"labels":[],"label_agreement":null},{"id":"W350138726","doi":"","title":"Screen Traffic: Movies, Multiplexes, and Global Culture","year":2004,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Exhibition; Hollywood; Film industry; Media studies; Sociology; Entertainment; Popular culture; Modernity; Materialism; Argument (complex analysis); Aesthetics; History; Political science; Law; Art; Art history","score_opus":0.03802502476866789,"score_gpt":0.2381162363851181,"score_spread":0.20009121161645022,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W350138726","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11073232,0.503327,0.0009179942,0.12939577,0.0016231401,0.000026245074,0.00032891193,0.00007063965,0.25357804],"genre_scores_gemma":[0.67510915,0.27214926,0.00037394356,0.0053381287,0.002804169,0.000048475104,0.0001647565,0.00005474504,0.04395726],"study_design_codex":"not_applicable","study_design_gemma":"observational","domain_scores_codex":[0.99968314,0.00016172724,0.000010319352,0.000032811757,0.000062358835,0.000049700873],"domain_scores_gemma":[0.99918777,0.00044772323,0.00010872071,0.00002496871,0.00008694439,0.00014380467],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00051616057,0.00050887367,0.000253836,0.0015359933,0.0016269928,0.0071054758,0.00044025655,0.0011424322,0.009131257],"category_scores_gemma":[0.001377831,0.00018504074,0.00013538104,0.0030619346,0.0037335025,0.006713005,0.0016297022,0.0014135736,0.00048497875],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012306213,0.00012511922,0.016683638,0.0010009471,0.00006470734,0.00062327425,0.085448556,0.00032482747,0.000991379,0.29640198,0.35317025,0.2450422],"study_design_scores_gemma":[0.000016767019,0.00008680834,0.05565715,0.0022250947,0.000053121326,0.0006716366,0.1382623,0.00026976492,0.0003668498,0.040018834,0.76232266,0.000049000428],"about_ca_topic_score_codex":0.01576853,"about_ca_topic_score_gemma":0.021829722,"teacher_disagreement_score":0.01576853,"about_ca_system_score_codex":0.0016059475,"about_ca_system_score_gemma":0.0008417976,"threshold_uncertainty_score":0.031353474},"labels":[],"label_agreement":null},{"id":"W361635289","doi":"","title":"Postmodern cinema : the voice of the other in Canadian film, by Mary Alemany-Galway","year":2003,"lang":"en","type":"article","venue":"Deakin Research Online (Deakin University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Postmodernism; Art; Art history; Literature","score_opus":0.050978683173429226,"score_gpt":0.2652113486989757,"score_spread":0.21423266552554648,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W361635289","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0556044,0.08324913,0.0004586102,0.6167034,0.008402451,0.000037527603,0.0004866459,0.00007514621,0.23498267],"genre_scores_gemma":[0.6828638,0.069748625,0.00071151817,0.041616924,0.0043816515,0.00004519444,0.00021052243,0.00037040378,0.20005141],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99803644,0.00042957216,0.00003494594,0.00021595527,0.00071439403,0.0005686018],"domain_scores_gemma":[0.99423414,0.0016470458,0.00027424097,0.000105888554,0.0022566894,0.0014820577],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00258545,0.0008520688,0.0005208056,0.002673413,0.0338125,0.017654946,0.0013786698,0.0049188514,0.01252936],"category_scores_gemma":[0.009498822,0.00045687347,0.000250541,0.003903757,0.010540643,0.006102624,0.0030188677,0.006100296,0.0009529945],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009426763,0.000034311106,0.0023877386,0.00021161445,0.000021767783,0.00050954334,0.23478961,0.00009910132,0.00047578302,0.05274929,0.6694951,0.039131887],"study_design_scores_gemma":[0.0000064905985,0.0000075997145,0.0054710796,0.00047953843,0.000014827022,0.00016460916,0.1794788,0.0000749871,0.000154946,0.0016113371,0.8124869,0.00004884318],"about_ca_topic_score_codex":0.9529504,"about_ca_topic_score_gemma":0.9853336,"teacher_disagreement_score":0.05508314,"about_ca_system_score_codex":0.05508314,"about_ca_system_score_gemma":0.043183602,"threshold_uncertainty_score":0.39965802},"labels":[],"label_agreement":null},{"id":"W38091618","doi":"10.1093/heapro/daad172","title":"The Green Ray (Film)","year":2004,"lang":"en","type":"article","venue":"Sight & sound/Sight and sound","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Art history; Computer graphics (images); Computer science","score_opus":0.02760377145849179,"score_gpt":0.21453383942250104,"score_spread":0.18693006796400924,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W38091618","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018682724,0.0045754304,0.0008260376,0.007674416,0.013461065,0.000098671924,0.0012864944,0.00066649716,0.969543],"genre_scores_gemma":[0.006138003,0.001081607,0.0004031055,0.0017963953,0.00069558254,0.000019941577,0.0003595214,0.00021245064,0.98929334],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997563,0.000041210453,0.000008507633,0.000048237554,0.00009306459,0.000052743166],"domain_scores_gemma":[0.99952567,0.000081268045,0.000020842837,0.000043223623,0.0001997371,0.00012924462],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00031183416,0.0007798954,0.00030860747,0.00088700256,0.0021650377,0.0029221603,0.0007005225,0.0014255518,0.64343816],"category_scores_gemma":[0.0013393755,0.00035306023,0.00048495032,0.0006585606,0.0005677457,0.002129508,0.002190314,0.0024638532,0.21241878],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004568691,0.00001335064,0.0001337111,0.00008049439,0.0000021766155,0.00018819423,0.0002773035,0.00004170776,0.00034968503,0.0026527736,0.9574476,0.038767274],"study_design_scores_gemma":[0.0000034216482,0.0000067020737,0.00023921471,0.000055764212,0.0000012911337,0.00010835152,0.0002966597,0.000026228547,0.00006749181,0.0002502644,0.9989421,0.0000025289105],"about_ca_topic_score_codex":0.010770582,"about_ca_topic_score_gemma":0.02875612,"teacher_disagreement_score":0.64343816,"about_ca_system_score_codex":0.0010548045,"about_ca_system_score_gemma":0.00069531595,"threshold_uncertainty_score":0.5085921},"labels":[],"label_agreement":null},{"id":"W389958484","doi":"","title":"Playing Peter Pan: Conceptualizing \"Bois\" in Contemporary Queer Theory","year":2005,"lang":"en","type":"article","venue":"Canadian women's studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Sociology; Gender studies; Queer theory; Aesthetics; Art","score_opus":0.05765892925198816,"score_gpt":0.2488395808859321,"score_spread":0.19118065163394396,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W389958484","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.057022937,0.008144941,0.008670159,0.04842146,0.00049248897,0.00008943011,0.00018519395,0.000059735772,0.8769136],"genre_scores_gemma":[0.9387275,0.0033284028,0.0017295494,0.0018773294,0.00015098214,0.00007049878,0.00005094717,0.00007287871,0.053991918],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99781215,0.0011195572,0.00002886696,0.00018594069,0.00023225369,0.0006210555],"domain_scores_gemma":[0.9980738,0.0010096382,0.00012994115,0.000109028195,0.00033622177,0.00034132862],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030422877,0.00080718775,0.00042485484,0.003946033,0.01997199,0.011479647,0.0018454407,0.0035549188,0.012891703],"category_scores_gemma":[0.00439596,0.0003368632,0.0002666329,0.005296277,0.050294604,0.008510538,0.0024677236,0.0054008104,0.0005077936],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003922076,0.0000024281017,0.00011002897,0.000010807295,5.8945284e-7,0.000029726089,0.053617373,0.000029549492,0.000018348535,0.94302446,0.0018822213,0.0012705267],"study_design_scores_gemma":[0.000016249325,0.000021520496,0.0024012213,0.00037587632,0.000020498199,0.00017046298,0.24078222,0.0006368136,0.00015900683,0.37480733,0.38056594,0.00004290266],"about_ca_topic_score_codex":0.7573357,"about_ca_topic_score_gemma":0.74060124,"teacher_disagreement_score":0.7573357,"about_ca_system_score_codex":0.037221156,"about_ca_system_score_gemma":0.019410525,"threshold_uncertainty_score":0.48818672},"labels":[],"label_agreement":null},{"id":"W39737467","doi":"","title":"A “cinema of sovereignty”: working in the cultural interface to create a model for fourth world film pre-production and aesthetics","year":2010,"lang":"en","type":"dissertation","venue":"Summit (Simon Fraser University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Sovereignty; Aesthetics; Production (economics); Art; Interface (matter); Visual arts; Engineering; Political science; Law; Economics; Chemical engineering; Politics","score_opus":0.030588483862759062,"score_gpt":0.23587097419828476,"score_spread":0.2052824903355257,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W39737467","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1280725,0.0030641663,0.13327517,0.04779038,0.00061133713,0.00016970279,0.0000950601,0.00017852757,0.68674314],"genre_scores_gemma":[0.95739216,0.0011223418,0.02060633,0.0010418227,0.00010705606,0.0001230667,0.000038488946,0.00007941374,0.019489313],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9983285,0.0012308771,0.000024852914,0.00013918008,0.0001458898,0.00013060427],"domain_scores_gemma":[0.9978763,0.001280296,0.00013933665,0.00019855624,0.00026272688,0.00024278968],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031205378,0.0005291848,0.00025249686,0.0014302179,0.004235139,0.009586562,0.0012475384,0.0016959785,0.0055578337],"category_scores_gemma":[0.003648742,0.0003007981,0.0003557466,0.0008285579,0.024217604,0.009874413,0.0033305539,0.0032252455,0.00036431628],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004438601,0.000013531219,0.00036744558,0.000021825173,0.0000017247434,0.00005612526,0.0238216,0.00029732197,0.00009806574,0.9716833,0.0011809099,0.0024536762],"study_design_scores_gemma":[0.000026369153,0.00007013564,0.0012950427,0.0004197699,0.000023010005,0.00031942557,0.08164846,0.010959578,0.00083723385,0.641679,0.2626854,0.00003652649],"about_ca_topic_score_codex":0.014580248,"about_ca_topic_score_gemma":0.009811554,"teacher_disagreement_score":0.014580248,"about_ca_system_score_codex":0.0061560343,"about_ca_system_score_gemma":0.0037753235,"threshold_uncertainty_score":0.044665337},"labels":[],"label_agreement":null},{"id":"W399433911","doi":"10.71781/14295","title":"Étude du développement d'un cinéma léger et synchrone à l'Office national du film du Canada, à Montréal","year":2006,"lang":"fr","type":"dissertation","venue":"Papyrus : Institutional Repository (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.005550514271990766,"score_gpt":0.15689666516806017,"score_spread":0.1513461508960694,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W399433911","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.71133876,0.004651559,0.003816896,0.0070735957,0.00025131536,0.00025151172,0.0032427618,0.00018458304,0.26918903],"genre_scores_gemma":[0.90019846,0.0023777636,0.0020373617,0.00021610991,0.000036145775,0.00004973207,0.0005676968,0.00006205272,0.09445467],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905616,0.00014996533,0.000019561468,0.0001904777,0.0003459288,0.00023787562],"domain_scores_gemma":[0.99740136,0.00053439836,0.00027767406,0.00012342104,0.0010008786,0.0006622789],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00092104607,0.0003174979,0.00015053898,0.0017656401,0.0059744227,0.006198718,0.0010766658,0.00048051978,0.017126832],"category_scores_gemma":[0.0051938407,0.0003069045,0.00019765034,0.0027216543,0.0020919451,0.0017633355,0.0015923087,0.0007006754,0.0005716946],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002485556,0.00017987029,0.12784758,0.00059699523,0.00007977689,0.0019132927,0.38688046,0.00101975,0.006698769,0.09998741,0.06717813,0.3073694],"study_design_scores_gemma":[0.000015383843,0.00008067141,0.30485046,0.00029840297,0.00006954436,0.00037740235,0.10173474,0.0010389285,0.0017501859,0.0010821229,0.5886252,0.00007692927],"about_ca_topic_score_codex":0.9511038,"about_ca_topic_score_gemma":0.97694266,"teacher_disagreement_score":0.048896194,"about_ca_system_score_codex":0.037276193,"about_ca_system_score_gemma":0.03189501,"threshold_uncertainty_score":0.270459},"labels":[],"label_agreement":null},{"id":"W410232684","doi":"","title":"American Cinema of the 1950s","year":2005,"lang":"en","type":"book","venue":"Medical Entomology and Zoology","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Knight; Movie theater; Art history; State (computer science); Ambivalence; Art; Timeline; Performance art; Media studies; History; Sociology; Psychology; Archaeology; Computer science","score_opus":0.013869249032089179,"score_gpt":0.2240285333354233,"score_spread":0.21015928430333414,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W410232684","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022603383,0.060982883,0.0003178357,0.0058704303,0.005120942,0.00003165961,0.0012868736,0.000097402655,0.9240317],"genre_scores_gemma":[0.054067954,0.06885326,0.0006225856,0.0024933554,0.0042977645,0.00008601752,0.0016157837,0.00012577118,0.86783755],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998398,0.000026462607,0.000006140029,0.000024533501,0.00006767576,0.00003524129],"domain_scores_gemma":[0.99965954,0.00005860363,0.000023227076,0.000019873842,0.00016207591,0.00007662907],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00027672324,0.0005152232,0.00019408875,0.0024751013,0.0020544338,0.0031504103,0.00032188153,0.0005113044,0.08936709],"category_scores_gemma":[0.0011642849,0.00017951429,0.00014410094,0.0027306383,0.0006252576,0.0022527045,0.0007849086,0.0012539255,0.011954845],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020241669,0.000015905907,0.00030555803,0.00013930595,0.0000022083555,0.000034505018,0.0013045606,0.000040353843,0.00013867488,0.056213968,0.8702967,0.07148812],"study_design_scores_gemma":[5.012941e-7,0.0000014866274,0.0009311545,0.000113223025,8.769956e-7,0.000013940203,0.0001746351,0.000008426978,0.00001749876,0.0003434284,0.9983936,0.0000011095401],"about_ca_topic_score_codex":0.028455174,"about_ca_topic_score_gemma":0.04593637,"teacher_disagreement_score":0.08936709,"about_ca_system_score_codex":0.0027485553,"about_ca_system_score_gemma":0.0012754439,"threshold_uncertainty_score":0.2989627},"labels":[],"label_agreement":null},{"id":"W413974622","doi":"","title":"Festival international du film de Toronto : Cartes postales de Toronto","year":2002,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography; Humanities; Media studies; Art; Sociology","score_opus":0.008494888053783458,"score_gpt":0.1561745161123888,"score_spread":0.14767962805860535,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W413974622","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10410884,0.03438354,0.00070573384,0.045792308,0.0048875455,0.00014256671,0.011870344,0.00029048361,0.7978187],"genre_scores_gemma":[0.2848141,0.010840153,0.0004984892,0.0010160818,0.0004011058,0.00005733973,0.0018469297,0.00018480512,0.70034105],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993957,0.00005813167,0.000016132271,0.00006906402,0.00020135545,0.00025967997],"domain_scores_gemma":[0.99900824,0.00007232778,0.000093345225,0.000045813176,0.0002514099,0.00052891107],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039204964,0.00064290053,0.00019135613,0.0013543764,0.013156105,0.006299479,0.0005729994,0.0009093756,0.08326506],"category_scores_gemma":[0.0010525003,0.00037333264,0.0002012621,0.0038658213,0.0032733867,0.0014123505,0.002590357,0.0015423401,0.0052626966],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017562328,0.000027123291,0.0076511,0.0005565924,0.000020615093,0.0012152083,0.094139576,0.00021667356,0.0017722446,0.06087007,0.7813748,0.051980264],"study_design_scores_gemma":[0.000002743171,0.000006763982,0.019273808,0.00008287464,0.0000047837093,0.000065541106,0.019237608,0.000021220327,0.00018354255,0.00017870271,0.960932,0.000010279639],"about_ca_topic_score_codex":0.938764,"about_ca_topic_score_gemma":0.985408,"teacher_disagreement_score":0.08326506,"about_ca_system_score_codex":0.043098144,"about_ca_system_score_gemma":0.03138234,"threshold_uncertainty_score":0.3127004},"labels":[],"label_agreement":null},{"id":"W4187013","doi":"","title":"Christian Marclay's the Clock: The Cinema and Real-Time","year":2012,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; The Imaginary; Art history; Power (physics); Visual arts; Psychology","score_opus":0.023376984589310645,"score_gpt":0.21713367639426065,"score_spread":0.19375669180495,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4187013","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017236397,0.08514013,0.006226276,0.11943235,0.02232228,0.00005704832,0.00030344416,0.00063775945,0.7486443],"genre_scores_gemma":[0.43142033,0.041910224,0.0056244754,0.012437301,0.009804027,0.000058555437,0.0001981042,0.0006484121,0.49789864],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942976,0.00015592872,0.0000135540095,0.0001060779,0.00019622897,0.00009843712],"domain_scores_gemma":[0.99917763,0.00021675797,0.00006812875,0.00004063981,0.0001827457,0.00031405108],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007432101,0.00050320773,0.00013140216,0.00073736144,0.0029896449,0.00633043,0.00046441975,0.001109929,0.016476016],"category_scores_gemma":[0.0024717858,0.00020414278,0.000106338084,0.00041444646,0.0025938053,0.0039165346,0.0018274722,0.0022834984,0.0020502526],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006708605,0.00001316401,0.00041775918,0.0001622765,0.0000044708313,0.0002705954,0.010070497,0.00014641068,0.0012861666,0.2107152,0.71329975,0.06354657],"study_design_scores_gemma":[0.0000027095239,0.0000054895836,0.00030227355,0.00012117637,0.0000016681275,0.00017348678,0.0014672672,0.000086013904,0.00027754062,0.0014939131,0.99605906,0.0000093735],"about_ca_topic_score_codex":0.026832152,"about_ca_topic_score_gemma":0.04529776,"teacher_disagreement_score":0.026832152,"about_ca_system_score_codex":0.0037874738,"about_ca_system_score_gemma":0.0016694703,"threshold_uncertainty_score":0.055117726},"labels":[],"label_agreement":null},{"id":"W4200038732","doi":"10.1093/oxfordhb/9780190877996.013.3","title":"Queer Pedagogy","year":2021,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Shadow (psychology); Gender studies; Human sexuality; Lesbian; Sociology; Queer theory; Politics; Psychoanalysis; Political science; Psychology; Law","score_opus":0.04442136264031353,"score_gpt":0.21192210661386662,"score_spread":0.16750074397355308,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200038732","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011826966,0.011333743,0.00075055484,0.02400807,0.00069266395,0.000031598665,0.00014457978,0.00007184011,0.95114005],"genre_scores_gemma":[0.34443274,0.010163218,0.00043010793,0.0050250054,0.00039029616,0.000033707955,0.000120977435,0.00007102367,0.63933295],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918276,0.00027244442,0.000011869824,0.00010274981,0.00019419061,0.00023599785],"domain_scores_gemma":[0.99923813,0.00027384903,0.0000592596,0.000044306165,0.00021043542,0.00017405492],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00065176655,0.00041696944,0.00020007775,0.0011832645,0.011341802,0.004640196,0.0006146055,0.0014512443,0.042802732],"category_scores_gemma":[0.0015341552,0.00010714666,0.00015618282,0.001235905,0.0077206558,0.002284561,0.0016182599,0.0024619189,0.0022945856],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000146437105,0.000032794866,0.0010721163,0.000104346786,0.000004019343,0.00054485875,0.05835731,0.00018029887,0.00028100272,0.7526334,0.13915195,0.047623165],"study_design_scores_gemma":[0.0000015442201,0.0000055675628,0.00067877205,0.00016510599,0.0000016736698,0.0000857856,0.008461678,0.000048188453,0.00009552951,0.0036847736,0.986767,0.0000043780055],"about_ca_topic_score_codex":0.59048826,"about_ca_topic_score_gemma":0.7297724,"teacher_disagreement_score":0.59048826,"about_ca_system_score_codex":0.025681134,"about_ca_system_score_gemma":0.011762336,"threshold_uncertainty_score":0.8238469},"labels":[],"label_agreement":null},{"id":"W4200066383","doi":"10.15353/cjds.v10i3.816","title":"Disability on Film: An Exploration of Film Codes’ Obstructiveness in City Lights and Children of a Lesser God","year":2021,"lang":"en","type":"article","venue":"Canadian Journal of Disability Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Irony; Gesture; Aesthetics; Normative; Normality; Subject (documents); Subject matter; Sociology; Art; Psychology; Visual arts; Literature; Computer science; Philosophy; Social psychology; Epistemology; Linguistics","score_opus":0.08704591615309919,"score_gpt":0.28067756787823184,"score_spread":0.19363165172513264,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200066383","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8067711,0.0032933834,0.0013434057,0.022649363,0.00032703404,0.000083115025,0.00022325852,0.000026366344,0.16528304],"genre_scores_gemma":[0.990431,0.0017041216,0.00036826948,0.0007873258,0.00010379725,0.00003666125,0.00004177454,0.00003822561,0.006488854],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99743986,0.0015967673,0.000051312563,0.0001790735,0.00030558906,0.00042736763],"domain_scores_gemma":[0.99552923,0.0032248006,0.00042918784,0.00012933082,0.00024607618,0.0004414256],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00232112,0.00047355695,0.00039956375,0.002595076,0.010421593,0.009529229,0.0010778876,0.0019759028,0.0049001784],"category_scores_gemma":[0.0063944072,0.00035713488,0.00027671666,0.0020576671,0.018174319,0.006152266,0.00614693,0.003832693,0.00022971336],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016300311,0.000022094806,0.0014791216,0.00007257283,0.0000051631905,0.0009012407,0.962825,0.000021157715,0.00020814,0.028719952,0.002937416,0.002791924],"study_design_scores_gemma":[0.0000062672198,0.00001441328,0.0053329775,0.0002041411,0.0000070924725,0.00051247975,0.93371576,0.000050015286,0.00012067203,0.0026415465,0.05738453,0.00001014871],"about_ca_topic_score_codex":0.037080057,"about_ca_topic_score_gemma":0.0842344,"teacher_disagreement_score":0.037080057,"about_ca_system_score_codex":0.008525906,"about_ca_system_score_gemma":0.0023146668,"threshold_uncertainty_score":0.07372844},"labels":[],"label_agreement":null},{"id":"W4200342412","doi":"10.1515/opphil-2020-0156","title":"<i>Fleabag’s</i> Pedagogy of the Gimmick","year":2021,"lang":"en","type":"article","venue":"Open Philosophy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Mount Royal University","funders":"","keywords":"Existentialism; Criticism; Object (grammar); Relation (database); Politics; Epistemology; Psychology; Aesthetics; Sociology; Psychoanalysis; Literature; Philosophy; Computer science; Law; Art; Political science; Linguistics","score_opus":0.06607518857053618,"score_gpt":0.275974420264799,"score_spread":0.20989923169426283,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200342412","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.043473132,0.005747655,0.027673446,0.09929518,0.0016322125,0.00005898398,0.00006430806,0.0003710731,0.82168406],"genre_scores_gemma":[0.8921062,0.0016862755,0.004282115,0.00500221,0.00033945803,0.000065671455,0.000019075249,0.00023993503,0.0962591],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987159,0.0008604264,0.000014774136,0.00012871879,0.00013463253,0.00014556748],"domain_scores_gemma":[0.99846125,0.0010396114,0.000088160785,0.00013796841,0.00010211568,0.00017082052],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002296312,0.0004208315,0.00016856528,0.0007992488,0.0044801827,0.0063819946,0.00071896514,0.0022707745,0.012887541],"category_scores_gemma":[0.0042978656,0.00021233049,0.00025325705,0.00043936982,0.01766834,0.0061284425,0.0032657944,0.0043432503,0.0016203715],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030130568,0.000016835646,0.00032784074,0.000069138216,0.0000029232763,0.0001365867,0.04172694,0.00014322643,0.0004708481,0.9131348,0.032224763,0.011715844],"study_design_scores_gemma":[0.000012498408,0.000035488003,0.00083308824,0.00032512078,0.0000073877727,0.00031644249,0.020976787,0.0008525398,0.00091288355,0.1500996,0.82560426,0.000023964662],"about_ca_topic_score_codex":0.0055395784,"about_ca_topic_score_gemma":0.007979501,"teacher_disagreement_score":0.012887541,"about_ca_system_score_codex":0.004075083,"about_ca_system_score_gemma":0.0013287144,"threshold_uncertainty_score":0.043113112},"labels":[],"label_agreement":null},{"id":"W4200374681","doi":"10.1525/luminos.118","title":"Cinematic Independence: Constructing the Big Screen in Nigeria","year":2021,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Lagos; University of Cambridge; York University; City University of New York; Andrew W. Mellon Foundation","keywords":"Exhibition; Independence (probability theory); Movie theater; Hollywood; Art; Shadow (psychology); Media studies; Visual arts; History; Art history; Sociology","score_opus":0.03853335551135315,"score_gpt":0.22619270501816327,"score_spread":0.18765934950681012,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200374681","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13934907,0.016324682,0.0022779435,0.0045378334,0.0007760927,0.00006309646,0.00007627467,0.00003265662,0.8365623],"genre_scores_gemma":[0.78423494,0.023614826,0.0021890982,0.0005912039,0.0001964526,0.000053259777,0.00011241767,0.00007093422,0.18893702],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99984944,0.000059438815,0.000006110612,0.000017885428,0.000027925467,0.000039252613],"domain_scores_gemma":[0.99952304,0.0002501455,0.000044543714,0.00003089805,0.0000617576,0.000089633395],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005593744,0.000304178,0.00011856323,0.0010164459,0.0029915771,0.0047740648,0.00023138532,0.00037400023,0.00711572],"category_scores_gemma":[0.0008851417,0.00023990819,0.00007330173,0.0009127198,0.0029981595,0.0033624473,0.002092264,0.0011171929,0.00060865463],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012285399,0.000106697,0.005949012,0.00047297607,0.0000043480854,0.0011592209,0.12874544,0.00021829401,0.0022513785,0.6551608,0.025393091,0.18041584],"study_design_scores_gemma":[0.000008390748,0.000040830444,0.017215334,0.0014675604,0.000013311659,0.0006349781,0.10686931,0.0004335935,0.001255881,0.02541996,0.8466231,0.000017614142],"about_ca_topic_score_codex":0.0081745535,"about_ca_topic_score_gemma":0.02675564,"teacher_disagreement_score":0.0081745535,"about_ca_system_score_codex":0.0017413062,"about_ca_system_score_gemma":0.0015571646,"threshold_uncertainty_score":0.023804486},"labels":[],"label_agreement":null},{"id":"W4200615437","doi":"10.3138/md.64-4-1175","title":"Listening to Los Angeles in the Theatre of Anna Deavere Smith and Gabriel Kahane","year":2021,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Active listening; Dramaturgy; Postmodernism; Reading (process); Performance art; Visual arts; Twilight; Art; Art history; Sound (geography); Musical; History; Sociology; Literature; Philosophy; Acoustics; Linguistics","score_opus":0.025716967922966474,"score_gpt":0.22525064792210506,"score_spread":0.19953367999913857,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4200615437","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2768382,0.010981218,0.0032321583,0.1553369,0.0038141306,0.00007453809,0.00033301688,0.00032361958,0.54906625],"genre_scores_gemma":[0.90575486,0.00421942,0.0007089779,0.003604744,0.0006567118,0.00005643079,0.00005213573,0.00012713516,0.08481966],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990577,0.00060366193,0.000012316898,0.000084522,0.000102098165,0.00013980834],"domain_scores_gemma":[0.9986265,0.0007189574,0.00013253717,0.00006909555,0.00015250064,0.00030044437],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010411117,0.00042624993,0.00018554568,0.0005953795,0.0066247717,0.0056816735,0.0005625506,0.00092421693,0.0076273973],"category_scores_gemma":[0.0042857737,0.00018979594,0.0001403133,0.00050456554,0.008315342,0.0026195904,0.0024602965,0.0030079186,0.0008645115],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013749061,0.00008056629,0.0016426113,0.00017962333,0.000017122482,0.001082534,0.44374502,0.00039835024,0.0015798269,0.19957544,0.32387567,0.027685827],"study_design_scores_gemma":[0.0000062642407,0.000026991349,0.0017786858,0.00019113877,0.0000048462653,0.0002678854,0.15210672,0.00015249335,0.0003753553,0.0046352693,0.84042907,0.000025343503],"about_ca_topic_score_codex":0.025013534,"about_ca_topic_score_gemma":0.049313307,"teacher_disagreement_score":0.025013534,"about_ca_system_score_codex":0.004802999,"about_ca_system_score_gemma":0.0014646043,"threshold_uncertainty_score":0.049735904},"labels":[],"label_agreement":null},{"id":"W4205392198","doi":"10.1109/msn.2013.119","title":"Cover Art","year":2013,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Computer science; Cover (algebra); Engineering","score_opus":0.024401882260804798,"score_gpt":0.19263081636669746,"score_spread":0.16822893410589265,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205392198","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00024325615,0.00057917996,0.0004172982,0.0004856021,0.0014847836,0.000101824524,0.0010178774,0.00045261238,0.9952177],"genre_scores_gemma":[0.00048816024,0.00026182542,0.00010619267,0.00020491732,0.00031809122,0.000022914212,0.00036535776,0.00012977995,0.99810284],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996797,0.000028848704,0.000009941353,0.000061258965,0.0001678037,0.000052497955],"domain_scores_gemma":[0.9993673,0.00010795476,0.000029356803,0.00011414327,0.00018305339,0.00019818555],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00029269728,0.0011783291,0.0009824823,0.0025567233,0.0022080315,0.0049660774,0.0012944457,0.001980152,0.9179715],"category_scores_gemma":[0.0015956342,0.00043690126,0.0007841565,0.0018158668,0.0005982464,0.0025699367,0.0025725523,0.001501923,0.8766823],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025284173,0.000038046273,0.000075951284,0.00010722039,0.0000022933443,0.000041627198,0.000024111947,0.000062057356,0.00039882082,0.0032208187,0.90497774,0.091026016],"study_design_scores_gemma":[0.0000058905166,0.000011711016,0.00027341378,0.000067707064,0.0000015195841,0.000025811123,0.000040240862,0.00005399252,0.00009811977,0.0011895098,0.9982286,0.0000034452787],"about_ca_topic_score_codex":0.002360175,"about_ca_topic_score_gemma":0.007692083,"teacher_disagreement_score":0.08202851,"about_ca_system_score_codex":0.0008204475,"about_ca_system_score_gemma":0.0009206148,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4205936768","doi":"10.1177/17483727211062086","title":"Book Review: <i>The Origins of the Star System: Persona, Publicity, and Economics in Early Cinema</i> by Andrew Shail","year":2021,"lang":"en","type":"article","venue":"Nineteenth Century Theatre and Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Movie theater; Publicity; Persona; Star (game theory); Art; Art history; Media studies; Sociology; Political science; Humanities; Law; Physics; Astrophysics","score_opus":0.008435531874221922,"score_gpt":0.18426708486562177,"score_spread":0.17583155299139985,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4205936768","genre_codex":"review","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0001959847,0.76449007,0.00029321952,0.10776467,0.050491333,0.000028312224,0.0005940644,0.0000598052,0.076082535],"genre_scores_gemma":[0.0044752923,0.6485267,0.00029343428,0.033834204,0.05528199,0.000083165,0.0006141623,0.00013370684,0.25675735],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993369,0.000113125694,0.000035266523,0.00008708517,0.00036758019,0.000059956852],"domain_scores_gemma":[0.99564385,0.0020105478,0.00026356467,0.00009695153,0.0016699347,0.00031503887],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00080269144,0.000881211,0.0013068906,0.0031521344,0.0011899519,0.0050335,0.0012651067,0.0030576102,0.056098025],"category_scores_gemma":[0.004779525,0.000453667,0.00038522374,0.0071026604,0.0017988415,0.0035897084,0.0011573711,0.003790413,0.023455076],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000027332494,0.0000025630654,0.000015797523,0.000137935,0.0000016085039,0.0000033055921,0.000016098935,0.000017802946,0.000008475029,0.0017794272,0.98597646,0.012037791],"study_design_scores_gemma":[0.0000040105483,0.0000041928142,0.00019466013,0.0005955274,0.0000036215083,0.00002230433,0.00004364207,0.000015133329,0.000013666595,0.0009967925,0.998102,0.000004389462],"about_ca_topic_score_codex":0.019864896,"about_ca_topic_score_gemma":0.048714057,"teacher_disagreement_score":0.056098025,"about_ca_system_score_codex":0.004110261,"about_ca_system_score_gemma":0.004635406,"threshold_uncertainty_score":0.1876666},"labels":[],"label_agreement":null},{"id":"W4206134672","doi":"10.1093/obo/9780199791286-0344","title":"Film Guilds and Unions","year":2021,"lang":"en","type":"reference-entry","venue":"Cinema and Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Craft; Guild; Film industry; Hollywood; Scholarship; Collective bargaining; Political science; Negotiation; Studio; Alliance; Public relations; Law; Movie theater; History; Visual arts; Art","score_opus":0.07410198022933875,"score_gpt":0.2699470081058239,"score_spread":0.19584502787648514,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206134672","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.053640738,0.01796984,0.0009324331,0.09667495,0.0041939416,0.000044832424,0.00014378317,0.000041443687,0.8263581],"genre_scores_gemma":[0.75219095,0.012908662,0.0004539117,0.037109446,0.0044833687,0.00011329744,0.00024196527,0.00013473742,0.19236353],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9906483,0.0036503442,0.00031773563,0.0009626217,0.0020513546,0.002369599],"domain_scores_gemma":[0.9858576,0.0053318767,0.002494726,0.0006859437,0.0014684079,0.004161477],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00428439,0.00044874786,0.00044130464,0.0021054817,0.023672355,0.015034796,0.0014685014,0.0061604464,0.054730147],"category_scores_gemma":[0.019879827,0.00041440103,0.00035102188,0.0019093553,0.017167069,0.010024922,0.010840178,0.0072734095,0.0049437685],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000084284635,0.00016054454,0.01392291,0.00023410478,0.000021186315,0.0011172754,0.0861559,0.00006668086,0.00011837712,0.4848533,0.32403675,0.08922871],"study_design_scores_gemma":[0.000015922174,0.000038783786,0.0068352944,0.0007652064,0.000010334065,0.000541066,0.07913466,0.000049343733,0.00008576605,0.0203681,0.89213055,0.000024929608],"about_ca_topic_score_codex":0.011399177,"about_ca_topic_score_gemma":0.016241087,"teacher_disagreement_score":0.054730147,"about_ca_system_score_codex":0.006018274,"about_ca_system_score_gemma":0.0038768307,"threshold_uncertainty_score":0.18309057},"labels":[],"label_agreement":null},{"id":"W4206202496","doi":"10.5325/jmodeperistud.12.2.0267","title":"Mapping Movie Magazines: Digitization, Periodicals and Cinema History and Circulating American Magazines","year":2021,"lang":"en","type":"article","venue":"The Journal of Modern Periodical Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Digitization; Newspaper; Subject (documents); Movie theater; Government (linguistics); Journalism; Media studies; Point (geometry); Sociology; History; Visual arts; Art; Engineering; Computer science; Library science","score_opus":0.05603007114854786,"score_gpt":0.2489724538831682,"score_spread":0.19294238273462033,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206202496","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19386573,0.488752,0.0036159712,0.017688867,0.003634435,0.00018585053,0.0074970806,0.00027952815,0.28448057],"genre_scores_gemma":[0.43000072,0.51115525,0.008101464,0.0033119537,0.003840688,0.00020349826,0.006196553,0.00028901454,0.036900762],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.99873537,0.00033057784,0.000110363035,0.00021798452,0.00048973394,0.000116071176],"domain_scores_gemma":[0.9928785,0.0027084774,0.001480313,0.0004126059,0.0021315245,0.00038859135],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020837132,0.0003815866,0.00023824461,0.016529998,0.0012147097,0.0062524304,0.0004902369,0.0004687392,0.0071389247],"category_scores_gemma":[0.008841327,0.00024538257,0.00022490347,0.035551738,0.0015598676,0.006686112,0.001148588,0.00095544604,0.0013809135],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006208357,0.000049226328,0.032762755,0.005135302,0.00008315579,0.00028037952,0.05131388,0.0001163115,0.0016667948,0.025416085,0.08799045,0.7951236],"study_design_scores_gemma":[0.000004762929,0.000017818036,0.09647774,0.0025422685,0.00006353328,0.00029549035,0.031102205,0.00009689148,0.00057884556,0.0016971279,0.86710465,0.000018630184],"about_ca_topic_score_codex":0.017385827,"about_ca_topic_score_gemma":0.03718798,"teacher_disagreement_score":0.017385827,"about_ca_system_score_codex":0.0015769723,"about_ca_system_score_gemma":0.0026747508,"threshold_uncertainty_score":0.034569263},"labels":[],"label_agreement":null},{"id":"W4206480594","doi":"10.2174/157016461901220119162248","title":"Preface","year":2022,"lang":"en","type":"article","venue":"Current Proteomics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Computer science","score_opus":0.05848837695871685,"score_gpt":0.24679440301990657,"score_spread":0.18830602606118974,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206480594","genre_codex":"other","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001274949,0.009559132,0.006137233,0.03402122,0.21500075,0.00052958104,0.014122581,0.0014370676,0.7179175],"genre_scores_gemma":[0.004608885,0.003729171,0.0021340982,0.0061422945,0.024014859,0.0002437289,0.007590141,0.0007274083,0.9508095],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930835,0.000112816815,0.000040933686,0.000114925475,0.0003568516,0.00006606019],"domain_scores_gemma":[0.99455255,0.00088382314,0.00017971358,0.00050413643,0.0030489804,0.0008307146],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014597921,0.0007902567,0.0005428241,0.0031555942,0.0024773863,0.0033655616,0.0011391812,0.0009774338,0.44756946],"category_scores_gemma":[0.011680529,0.00024326834,0.000471739,0.0021108817,0.00055958953,0.0021053196,0.0019576363,0.0026319318,0.29633617],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017452037,0.0000126615505,0.000070742186,0.00005448052,0.0000011501321,0.000024694265,0.000048272315,0.00003387431,0.00006682399,0.00437809,0.9662437,0.029048078],"study_design_scores_gemma":[0.0000027656065,0.0000064576734,0.00020280865,0.000078888595,0.0000010842941,0.00002241553,0.000062176645,0.000017393384,0.000051080922,0.0024721199,0.99708,0.000002847386],"about_ca_topic_score_codex":0.0057921545,"about_ca_topic_score_gemma":0.0073377886,"teacher_disagreement_score":0.44756946,"about_ca_system_score_codex":0.0019161088,"about_ca_system_score_gemma":0.0023673614,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4206727433","doi":"10.26881/pan.2021.26.01","title":"Tachyons, tactility, drawing and withdrawing: cinema at the speed of darkness","year":2021,"lang":"en","type":"article","venue":"Panoptikum","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Movie theater; Hollywood; Narrative; Meaning (existential); Mainstream; Aesthetics; Phenomenon; Darkness; Literature; Art; History; Visual arts; Art history; Epistemology; Philosophy; Physics; Astronomy","score_opus":0.029358556234682705,"score_gpt":0.2306778458910559,"score_spread":0.2013192896563732,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206727433","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41816062,0.0095285205,0.04070076,0.020078275,0.0011565483,0.00007850967,0.00021488493,0.0003128648,0.509769],"genre_scores_gemma":[0.9839712,0.000920672,0.0023849872,0.0005940548,0.00016100236,0.00002221484,0.000030736603,0.00012424037,0.011790863],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99813616,0.0011572976,0.000042384985,0.00022527087,0.0003065335,0.00013236047],"domain_scores_gemma":[0.9961111,0.0024379771,0.00042834535,0.0004273119,0.00036164897,0.00023363299],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026297134,0.00034716673,0.00017494691,0.0010470719,0.0031248338,0.009332584,0.0008348707,0.0011585184,0.005128632],"category_scores_gemma":[0.008365357,0.00028752847,0.00018935975,0.0008255049,0.017876837,0.009532494,0.0034295307,0.0029579434,0.0004623946],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012449258,0.000026077152,0.0035940323,0.00024189785,0.00001761773,0.0003931251,0.39832255,0.00029731254,0.0034454518,0.5495609,0.008960539,0.03501593],"study_design_scores_gemma":[0.00003789095,0.00020523602,0.024286453,0.0008787213,0.000057992424,0.0014117771,0.23455234,0.0022962145,0.0062603424,0.22024536,0.5096122,0.00015550216],"about_ca_topic_score_codex":0.0039581773,"about_ca_topic_score_gemma":0.005570717,"teacher_disagreement_score":0.009332584,"about_ca_system_score_codex":0.002440225,"about_ca_system_score_gemma":0.0007074175,"threshold_uncertainty_score":0.017705202},"labels":[],"label_agreement":null},{"id":"W4206896768","doi":"","title":"Notices consacrées aux collaborateurs de création du cinéma anglo-saxon (États-Unis, Grande-Bretagne, Australie, Canada…","year":2011,"lang":"fr","type":"preprint","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.024639739609098307,"score_gpt":0.21334033373935743,"score_spread":0.18870059413025914,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206896768","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20045353,0.1389977,0.008252225,0.062162228,0.026417244,0.00090154895,0.06040958,0.0013233643,0.50108254],"genre_scores_gemma":[0.42621866,0.040720887,0.0072655994,0.001757168,0.007407756,0.0006173018,0.015669767,0.00060197443,0.49974093],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9960653,0.0011322377,0.00021463158,0.00056742824,0.0013476086,0.0006728221],"domain_scores_gemma":[0.9788265,0.007883233,0.0022308938,0.0011136119,0.0055188253,0.0044269036],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004733111,0.00066406274,0.00034409048,0.005621561,0.0047327694,0.0034141545,0.0005611005,0.0008754143,0.03946084],"category_scores_gemma":[0.014617017,0.0003302903,0.00029963348,0.009914493,0.0013864572,0.0018012432,0.0028817551,0.0012613666,0.0038003742],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00059130194,0.000055894783,0.023369506,0.0013402657,0.00003322,0.0005458637,0.05182057,0.000275323,0.003494249,0.026365008,0.7063534,0.18575534],"study_design_scores_gemma":[0.000009734066,0.000026138201,0.060405176,0.00021751996,0.0000064703995,0.00012915979,0.007121541,0.00006357896,0.00040799176,0.00027170917,0.9313224,0.000018559012],"about_ca_topic_score_codex":0.23932709,"about_ca_topic_score_gemma":0.3532805,"teacher_disagreement_score":0.7606729,"about_ca_system_score_codex":0.0055220774,"about_ca_system_score_gemma":0.00775433,"threshold_uncertainty_score":0.47586805},"labels":[],"label_agreement":null},{"id":"W4206925103","doi":"10.1353/jmm.2021.0006","title":"How Film Magazines Shape Movie Industries the World Over","year":2021,"lang":"en","type":"article","venue":"The journal of magazine media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Digitization; Film studies; Media studies; Art; Sociology; Art history; Visual arts; Engineering","score_opus":0.0348564850697336,"score_gpt":0.22511160118558218,"score_spread":0.19025511611584858,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4206925103","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0390037,0.018910361,0.0008275976,0.05268461,0.0016497363,0.000032811568,0.00015975343,0.000088720844,0.88664275],"genre_scores_gemma":[0.74760604,0.023936786,0.0010861333,0.016311148,0.001685332,0.00007980796,0.00022208047,0.0005724148,0.20850036],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99739635,0.0012348182,0.000059951588,0.00030162072,0.0006045912,0.0004026927],"domain_scores_gemma":[0.99757105,0.0008002981,0.000216124,0.00012998721,0.000500236,0.00078224065],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019258345,0.00038383313,0.0002441539,0.00245053,0.009167036,0.022960912,0.0005932183,0.0016643583,0.023771213],"category_scores_gemma":[0.0053838403,0.00046742515,0.00024648278,0.0026273548,0.009210027,0.009494906,0.0043417285,0.0028763672,0.0047282297],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010139015,0.000106125204,0.0038377624,0.00031218657,0.000024578569,0.0005126375,0.2452589,0.00010153674,0.0010083092,0.4024669,0.23160529,0.11466433],"study_design_scores_gemma":[0.0000077360055,0.000012766834,0.0027430162,0.00025019198,0.0000066139537,0.000121783014,0.047304824,0.000028918139,0.00014161716,0.009666979,0.93970317,0.000012411055],"about_ca_topic_score_codex":0.02536838,"about_ca_topic_score_gemma":0.042378034,"teacher_disagreement_score":0.02536838,"about_ca_system_score_codex":0.0051527377,"about_ca_system_score_gemma":0.0029316633,"threshold_uncertainty_score":0.07952267},"labels":[],"label_agreement":null},{"id":"W4210299709","doi":"10.3138/ctr.189.006","title":"“Working On and Against” Classic Burlesque Conventions in Zyra Lee Vanity’s <i>Irie Love</i>","year":2022,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Burlesque; Repertoire; Style (visual arts); Aesthetics; Sociology; Art; Literature","score_opus":0.03931195621255458,"score_gpt":0.22384729166293144,"score_spread":0.18453533545037687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210299709","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27594525,0.0383049,0.00673198,0.039675932,0.0011656415,0.000080382866,0.00007437214,0.00008696328,0.63793457],"genre_scores_gemma":[0.9418433,0.00823838,0.001352612,0.0019411237,0.00019147016,0.000031963078,0.000028915001,0.00008209466,0.046290204],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9964148,0.0021799726,0.00007124926,0.00029955606,0.00060954783,0.00042484645],"domain_scores_gemma":[0.99697506,0.0017725467,0.00034381662,0.00022539176,0.0004701108,0.0002129983],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0047453777,0.0003307242,0.00025023066,0.0012574681,0.0062865647,0.008230519,0.0008918713,0.0016187823,0.003974491],"category_scores_gemma":[0.007954203,0.0001993946,0.00014007882,0.0016628735,0.014211104,0.0039115595,0.002988805,0.0023137608,0.00040587646],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004470684,0.000027380027,0.0017254903,0.00035768826,0.000011333796,0.00053885585,0.282629,0.00024819066,0.00050043483,0.6115995,0.03394844,0.068368874],"study_design_scores_gemma":[0.000010872265,0.000047821275,0.0044915043,0.00077569013,0.000010009239,0.0004807868,0.1646071,0.0002388452,0.0007305259,0.01737305,0.81119835,0.000035460194],"about_ca_topic_score_codex":0.04549985,"about_ca_topic_score_gemma":0.09468639,"teacher_disagreement_score":0.04549985,"about_ca_system_score_codex":0.0057105403,"about_ca_system_score_gemma":0.0039467528,"threshold_uncertainty_score":0.090470016},"labels":[],"label_agreement":null},{"id":"W4210346714","doi":"10.5325/critphilrace.3.2.180","title":"The Force of Black and White","year":2015,"lang":"en","type":"article","venue":"Critical Philosophy of Race","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"White (mutation); Memoir; Race (biology); Subject (documents); Set (abstract data type); Art; Art history; Aesthetics; Philosophy; Sociology; Gender studies; Chemistry; Computer science","score_opus":0.06037910278342208,"score_gpt":0.2665447332976365,"score_spread":0.20616563051421444,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210346714","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.339672,0.0063973307,0.0036254185,0.14503117,0.0013397327,0.000020007526,0.000057842484,0.00002127129,0.5038352],"genre_scores_gemma":[0.9878094,0.00040938752,0.00021165326,0.0029129288,0.00014141714,0.0000062601675,0.0000036141137,0.000013723367,0.008491683],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99530655,0.002808084,0.000064213906,0.00060894305,0.0007334035,0.000478892],"domain_scores_gemma":[0.99640584,0.0020778277,0.0003321989,0.00019808108,0.00044508415,0.00054092356],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0051770476,0.00024564055,0.0003824596,0.00094857335,0.0055383025,0.0067510144,0.0006697209,0.0018171836,0.0058080833],"category_scores_gemma":[0.010294372,0.00014571648,0.00013463617,0.0004670132,0.026996227,0.0037285627,0.003550083,0.0032921832,0.00028358446],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042136497,0.000015040131,0.0013172523,0.00002843842,0.0000064931733,0.00011983737,0.050389323,0.000029299432,0.00029791603,0.93299204,0.0054185665,0.009343672],"study_design_scores_gemma":[0.000034900262,0.00006769154,0.009948455,0.0008119515,0.0000369835,0.00035855194,0.12899064,0.0003930314,0.0013348324,0.40072587,0.45724145,0.000055631703],"about_ca_topic_score_codex":0.013230104,"about_ca_topic_score_gemma":0.011371901,"teacher_disagreement_score":0.013230104,"about_ca_system_score_codex":0.0034766078,"about_ca_system_score_gemma":0.001583755,"threshold_uncertainty_score":0.027379215},"labels":[],"label_agreement":null},{"id":"W4210371362","doi":"10.1386/fm.3.2.74_7","title":"Reviews Films","year":2012,"lang":"en","type":"article","venue":"Film Matters","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Waltz; Representation (politics); Art history; Art; Law; Political science","score_opus":0.050108306873336034,"score_gpt":0.23710506536502124,"score_spread":0.1869967584916852,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4210371362","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005340439,0.008561808,0.0003061626,0.010291085,0.029673409,0.00009504422,0.0031449392,0.0007603991,0.9466332],"genre_scores_gemma":[0.002198571,0.0034002406,0.00019893552,0.0016862327,0.0060548936,0.000041840845,0.0015521214,0.00042909017,0.9844381],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917054,0.00009255544,0.000032254826,0.00009424368,0.0004966736,0.00011374237],"domain_scores_gemma":[0.99810314,0.0002230911,0.000120696655,0.00017951963,0.00088834646,0.00048528277],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00046291147,0.0010210284,0.0005386699,0.0021947967,0.0020516727,0.007010352,0.00095707865,0.0016603305,0.7075323],"category_scores_gemma":[0.003833341,0.0004533633,0.00048225062,0.0020081173,0.00041252768,0.003096585,0.0022113316,0.0021799505,0.43142244],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000619899,0.000004264544,0.000017917197,0.000044074935,8.5881237e-7,0.000018134417,0.00003141434,0.0000059572762,0.00005098443,0.00059603225,0.98376346,0.015460689],"study_design_scores_gemma":[0.0000017440435,0.0000027509209,0.00013164103,0.000054779157,8.775776e-7,0.000018189652,0.00007263159,0.0000040845744,0.000017140623,0.000114168695,0.9995803,0.0000016191862],"about_ca_topic_score_codex":0.007791993,"about_ca_topic_score_gemma":0.023134544,"teacher_disagreement_score":0.7075323,"about_ca_system_score_codex":0.0015812042,"about_ca_system_score_gemma":0.0013728138,"threshold_uncertainty_score":0.4171697},"labels":[],"label_agreement":null},{"id":"W4211096775","doi":"10.5117/9789053569450","title":"The Cinema of Attractions Reloaded","year":2006,"lang":"en","type":"book","venue":"Amsterdam University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":16,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Université de Paris; Universiteit van Amsterdam; Université de Montréal; University of Notre Dame; Academy of Motion Picture Arts and Sciences; National Endowment for the Humanities","keywords":"Movie theater; Art; Visual arts","score_opus":0.03275237983299199,"score_gpt":0.19290719416616472,"score_spread":0.16015481433317275,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4211096775","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026008721,0.0113058835,0.0012722526,0.01843594,0.009257429,0.00006289068,0.00033790505,0.00025882543,0.9330602],"genre_scores_gemma":[0.2891751,0.0054549575,0.0008908404,0.0034492668,0.0032436363,0.000057691785,0.00029862262,0.00042876537,0.6970011],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993649,0.00024613756,0.00001131588,0.000108594286,0.0001433878,0.00012561635],"domain_scores_gemma":[0.9992692,0.00013259161,0.000054086027,0.00006642266,0.00017737408,0.00030039498],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00056921464,0.00048700333,0.00033132473,0.0010995818,0.006400039,0.008397141,0.0005928523,0.00096538465,0.042205885],"category_scores_gemma":[0.0018939431,0.00023542743,0.00024591424,0.0011874196,0.0024861747,0.0043842513,0.0040845983,0.0032325857,0.0058128843],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011878573,0.00004512615,0.0012346102,0.00029317616,0.000011993558,0.0010806536,0.09637495,0.00010932654,0.0015972367,0.23088048,0.58843374,0.07981997],"study_design_scores_gemma":[0.0000021087917,0.000007697333,0.00053278374,0.00011560394,0.0000031654356,0.00017752676,0.010396441,0.000035252102,0.000098838966,0.001190737,0.98743546,0.000004527148],"about_ca_topic_score_codex":0.0077210725,"about_ca_topic_score_gemma":0.015412282,"teacher_disagreement_score":0.042205885,"about_ca_system_score_codex":0.0027236445,"about_ca_system_score_gemma":0.0009821544,"threshold_uncertainty_score":0.1411928},"labels":[],"label_agreement":null},{"id":"W4212843936","doi":"10.32920/ryerson.14640252","title":"John Walker’s Passage.","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Movie theater; Art history; Documentary film; Performance art; Art; Media studies; History; Sociology","score_opus":0.04728568430118227,"score_gpt":0.23615413047482883,"score_spread":0.18886844617364656,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4212843936","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0026069793,0.057687588,0.00085857423,0.1066317,0.016822815,0.000042646683,0.00073756004,0.00011084792,0.81450135],"genre_scores_gemma":[0.035198797,0.01490585,0.0005483608,0.020179672,0.002470851,0.000032240914,0.00028929286,0.00014897258,0.9262261],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994062,0.000106505286,0.000013220289,0.000120448414,0.00026593395,0.000087639535],"domain_scores_gemma":[0.9995049,0.00010666473,0.000022178248,0.000028807264,0.00022728379,0.00011004958],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00033790836,0.0004550022,0.00019360708,0.00079772325,0.005034991,0.0038063903,0.0005858721,0.0019784886,0.03183457],"category_scores_gemma":[0.002598181,0.00015710096,0.00016691312,0.0009630705,0.0020726495,0.001840051,0.0011977627,0.0025508106,0.010834034],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000071841355,0.0000063845614,0.00011558693,0.000025483576,0.0000014806028,0.00008500968,0.001240033,0.000015433285,0.00007501685,0.057325367,0.92992914,0.011173823],"study_design_scores_gemma":[7.4770895e-7,0.0000010319347,0.0002863289,0.000046451994,5.181021e-7,0.000038889346,0.0005056754,0.000010076421,0.000043233817,0.0018513442,0.9972132,0.0000025339455],"about_ca_topic_score_codex":0.25859877,"about_ca_topic_score_gemma":0.45576915,"teacher_disagreement_score":0.25859877,"about_ca_system_score_codex":0.0051195137,"about_ca_system_score_gemma":0.0036294162,"threshold_uncertainty_score":0.5141871},"labels":[],"label_agreement":null},{"id":"W4213235267","doi":"10.5539/ells.v12n2p14","title":"“Go Out” and “Come Back”: Illusion of Return in A Streetcar Named Desire","year":2022,"lang":"en","type":"article","venue":"English Language and Literature Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Illusion; STELLA (programming language); Intrusion; Sociology; Art; Art history; Psychology; Cognitive psychology","score_opus":0.016280873667257174,"score_gpt":0.22981603831107478,"score_spread":0.2135351646438176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4213235267","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20076545,0.0041024485,0.006208328,0.048963763,0.00079159276,0.000029388582,0.00013460213,0.00010922057,0.73889524],"genre_scores_gemma":[0.9799233,0.00065476407,0.00048604573,0.0024164952,0.00017499564,0.000015458098,0.000027225758,0.000059726943,0.016241964],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99756646,0.0017742318,0.000038636947,0.00018705937,0.00023959349,0.0001940378],"domain_scores_gemma":[0.9979722,0.0010347654,0.0003060199,0.00026880667,0.0001799901,0.00023819882],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018525012,0.00026372616,0.0002139161,0.0011909486,0.0065014693,0.010236136,0.00058636983,0.0022984815,0.004931104],"category_scores_gemma":[0.0062718103,0.00025429964,0.0002780771,0.0008950372,0.026246136,0.008292175,0.004036007,0.0034310191,0.00057359313],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049439244,0.000015293012,0.000823424,0.000037776026,0.000007025128,0.00059924234,0.17913659,0.00006955428,0.00028655728,0.80505913,0.00954574,0.004370248],"study_design_scores_gemma":[0.000037442653,0.000049569215,0.003263129,0.00030290984,0.000022867856,0.0014135764,0.2319798,0.0007149832,0.0005530666,0.2085547,0.55303955,0.00006834025],"about_ca_topic_score_codex":0.0037562454,"about_ca_topic_score_gemma":0.004904761,"teacher_disagreement_score":0.010236136,"about_ca_system_score_codex":0.0027615172,"about_ca_system_score_gemma":0.00077976467,"threshold_uncertainty_score":0.02003628},"labels":[],"label_agreement":null},{"id":"W4213362431","doi":"10.32920/ryerson.14640252.v2","title":"John Walker’s Passage.","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Movie theater; Art history; Documentary film; Performance art; Art; History; Media studies; Sociology","score_opus":0.04728568430118227,"score_gpt":0.23615413047482883,"score_spread":0.18886844617364656,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4213362431","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0026069793,0.057687588,0.00085857423,0.1066317,0.016822815,0.000042646683,0.00073756004,0.00011084792,0.81450135],"genre_scores_gemma":[0.035198797,0.01490585,0.0005483608,0.020179672,0.002470851,0.000032240914,0.00028929286,0.00014897258,0.9262261],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994062,0.000106505286,0.000013220289,0.000120448414,0.00026593395,0.000087639535],"domain_scores_gemma":[0.9995049,0.00010666473,0.000022178248,0.000028807264,0.00022728379,0.00011004958],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00033790836,0.0004550022,0.00019360708,0.00079772325,0.005034991,0.0038063903,0.0005858721,0.0019784886,0.03183457],"category_scores_gemma":[0.002598181,0.00015710096,0.00016691312,0.0009630705,0.0020726495,0.001840051,0.0011977627,0.0025508106,0.010834034],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000071841355,0.0000063845614,0.00011558693,0.000025483576,0.0000014806028,0.00008500968,0.001240033,0.000015433285,0.00007501685,0.057325367,0.92992914,0.011173823],"study_design_scores_gemma":[7.4770895e-7,0.0000010319347,0.0002863289,0.000046451994,5.181021e-7,0.000038889346,0.0005056754,0.000010076421,0.000043233817,0.0018513442,0.9972132,0.0000025339455],"about_ca_topic_score_codex":0.25859877,"about_ca_topic_score_gemma":0.45576915,"teacher_disagreement_score":0.25859877,"about_ca_system_score_codex":0.0051195137,"about_ca_system_score_gemma":0.0036294162,"threshold_uncertainty_score":0.5141871},"labels":[],"label_agreement":null},{"id":"W4214508995","doi":"10.1515/9781474402224","title":"The Major Realist Film Theorists","year":2016,"lang":"en","type":"book","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Epistemology; Sociology; Philosophy","score_opus":0.02394489313787851,"score_gpt":0.1915024660046449,"score_spread":0.1675575728667664,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4214508995","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.044068433,0.08635732,0.011260555,0.2684339,0.008147218,0.00017450671,0.0002934126,0.00013426729,0.5811305],"genre_scores_gemma":[0.7351325,0.051989097,0.007874366,0.02017531,0.005126162,0.0005739181,0.00027256622,0.0003322521,0.17852385],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99674463,0.0018367884,0.00010170686,0.0005457642,0.00048304306,0.0002880885],"domain_scores_gemma":[0.9951658,0.0031557018,0.0002844368,0.00036853572,0.0005984539,0.00042693102],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004851228,0.00076462637,0.00039850338,0.004006651,0.00632623,0.011169069,0.0015745626,0.0026292107,0.008035024],"category_scores_gemma":[0.0076088714,0.00039187833,0.0003984016,0.0024442016,0.02232741,0.011231632,0.0032659494,0.007156518,0.0009198626],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034816883,0.00002402309,0.0002900994,0.0002004273,0.000006510413,0.000077722434,0.049692526,0.00007156461,0.00015982887,0.88932645,0.039672103,0.020444004],"study_design_scores_gemma":[0.000016497486,0.000025445783,0.00073989865,0.0007618277,0.000009061057,0.00012350257,0.055944894,0.00037601104,0.0004909752,0.11672229,0.8247707,0.000018979184],"about_ca_topic_score_codex":0.003923528,"about_ca_topic_score_gemma":0.005638258,"teacher_disagreement_score":0.011169069,"about_ca_system_score_codex":0.011000724,"about_ca_system_score_gemma":0.003101019,"threshold_uncertainty_score":0.07981622},"labels":[],"label_agreement":null},{"id":"W4214531204","doi":"10.1080/1472586042000204889a","title":"<b><i>Avatara</i></b>by Donato Mancini, Flick Harrison and Jeremy Turner Vancouver: 536, 2003, DVD. 72 minutes Produced and distributed by 536, 536 east 20th Avenue, Vancouver, BC, Canada, V5V 1M8 Can$20","year":2004,"lang":"en","type":"article","venue":"Visual Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art history","score_opus":0.01724182175770334,"score_gpt":0.22344634728764798,"score_spread":0.20620452552994464,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4214531204","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00077446765,0.013723422,0.00089214754,0.0067801597,0.0051017203,0.00010532232,0.0026347311,0.0011196613,0.9688685],"genre_scores_gemma":[0.0020872564,0.0033158134,0.00037329557,0.0005499529,0.000404424,0.000026203401,0.00064611516,0.00027161548,0.9923252],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99981934,0.000025382153,0.0000056677004,0.000033662687,0.000078582445,0.00003733444],"domain_scores_gemma":[0.99932146,0.000092225666,0.000032124244,0.000028493012,0.00026594588,0.00025974365],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00032748436,0.0008696495,0.00046910616,0.00088721426,0.0013370846,0.0038872822,0.00066688214,0.0010850648,0.71693873],"category_scores_gemma":[0.0010484483,0.00039406458,0.00038014917,0.0012064127,0.00035154432,0.0017510152,0.001020598,0.0016360445,0.49847272],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016025177,0.0000051275065,0.000026122725,0.000042015505,9.569156e-7,0.000010457289,0.00003220937,0.000008939315,0.00014532397,0.00031887638,0.98629135,0.013102685],"study_design_scores_gemma":[0.0000054197026,0.0000075525495,0.00036978535,0.00005525577,0.0000020626817,0.00003283163,0.00007511703,0.000023551185,0.000049141185,0.00017230917,0.9992046,0.0000024603114],"about_ca_topic_score_codex":0.017732412,"about_ca_topic_score_gemma":0.061622117,"teacher_disagreement_score":0.71693873,"about_ca_system_score_codex":0.0013399178,"about_ca_system_score_gemma":0.00080485287,"threshold_uncertainty_score":0.4037525},"labels":[],"label_agreement":null},{"id":"W4214547508","doi":"10.33178/alpha.22.02","title":"Capturing European crime","year":2022,"lang":"en","type":"article","venue":"Alphaville Journal of Film and Screen Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Exhibition; Prestige; Film festival; Film studies; Order (exchange); Visibility; Art; Art history; Political science; Media studies; Economy; Humanities; Geography; Sociology; Business; Economics","score_opus":0.032502803033856185,"score_gpt":0.21028018256675082,"score_spread":0.17777737953289463,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4214547508","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.79446733,0.004063492,0.005611278,0.00079948845,0.00026621993,0.00041801546,0.01265176,0.000055795917,0.18166666],"genre_scores_gemma":[0.94607836,0.0032470475,0.0067998106,0.00039894407,0.00013966297,0.0004814989,0.008439596,0.00008442791,0.0343306],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990332,0.0003536722,0.000101012316,0.00018265692,0.00019545926,0.00013410115],"domain_scores_gemma":[0.9976672,0.00045855364,0.00091058965,0.0002498051,0.0005270576,0.00018683773],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010710148,0.0003817964,0.0002186232,0.0044148015,0.0006959971,0.0023275975,0.00041408357,0.00036432725,0.009142728],"category_scores_gemma":[0.0048486805,0.00014672815,0.00022409564,0.0045917514,0.00051954377,0.0017254706,0.0018037597,0.0004805681,0.0009870346],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004596222,0.00032336952,0.4245656,0.0023276634,0.00025985876,0.001961905,0.055922825,0.001185296,0.0027214335,0.059665397,0.08237583,0.36823124],"study_design_scores_gemma":[0.000013464545,0.000120008524,0.6768241,0.0008326574,0.000067891466,0.0013431124,0.047768477,0.0006320059,0.0014560297,0.002029931,0.2688753,0.00003708576],"about_ca_topic_score_codex":0.011172909,"about_ca_topic_score_gemma":0.022312898,"teacher_disagreement_score":0.011172909,"about_ca_system_score_codex":0.0008409354,"about_ca_system_score_gemma":0.0005526032,"threshold_uncertainty_score":0.030585468},"labels":[],"label_agreement":null},{"id":"W4214860200","doi":"10.1386/fm_00195_4","title":"1917 (2019)","year":2021,"lang":"en","type":"article","venue":"Film Matters","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.022845054422756403,"score_gpt":0.20748278732318376,"score_spread":0.18463773290042734,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4214860200","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00085940503,0.002871679,0.00035542823,0.00631968,0.02513979,0.0003400942,0.016688203,0.0005949091,0.94683087],"genre_scores_gemma":[0.0018829255,0.0005507393,0.00016556658,0.0012891233,0.0011992208,0.000119354176,0.0038944697,0.00016637825,0.99073213],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990846,0.00006339106,0.00002848194,0.00009778682,0.0004190423,0.00030675717],"domain_scores_gemma":[0.99852437,0.00007160495,0.00006287693,0.00007735684,0.00068065285,0.00058325246],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008805273,0.001051977,0.0004942069,0.0014004875,0.0036625077,0.0054410733,0.0011974524,0.0033373877,0.6095532],"category_scores_gemma":[0.0036748024,0.00050910626,0.0005987954,0.0011004348,0.00041307032,0.0022745556,0.003244959,0.0033288288,0.47112957],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017800812,0.000006296331,0.00006803624,0.000031406238,8.974089e-7,0.00002316866,0.000013903829,0.000013021961,0.000044019638,0.0012005483,0.9898453,0.008735569],"study_design_scores_gemma":[0.000005049583,0.0000068087993,0.0007646967,0.000043474512,8.44655e-7,0.000011755063,0.00003876521,0.000007801392,0.000034330318,0.00025309908,0.9988299,0.0000034297054],"about_ca_topic_score_codex":0.03882763,"about_ca_topic_score_gemma":0.13849968,"teacher_disagreement_score":0.6095532,"about_ca_system_score_codex":0.002856795,"about_ca_system_score_gemma":0.0033426036,"threshold_uncertainty_score":0.55692494},"labels":[],"label_agreement":null},{"id":"W4221078462","doi":"10.1177/00905917221076085","title":"Book Review: <i>Cinema Pessimism: A Political Theory of Representation and Reciprocity</i> , by Joshua Foa Dienstag","year":2022,"lang":"en","type":"article","venue":"Political Theory","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Pessimism; Reciprocity (cultural anthropology); Politics; Movie theater; Representation (politics); Sociology; Psychoanalysis; Epistemology; Social psychology; Aesthetics; Psychology; Philosophy; Social science; Art history; Political science; Art; Law","score_opus":0.026065499502657744,"score_gpt":0.2627089754513029,"score_spread":0.23664347594864515,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4221078462","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002126063,0.6711068,0.00062809006,0.16750954,0.0878656,0.000037810463,0.00066374714,0.00008774034,0.07188809],"genre_scores_gemma":[0.0057776985,0.55672646,0.00066902576,0.06619407,0.11079572,0.00012710251,0.00083767984,0.00027312548,0.2585991],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992446,0.0001461315,0.000033414744,0.00013220578,0.0003890906,0.00005465677],"domain_scores_gemma":[0.99550664,0.0023690609,0.00026511974,0.00012443676,0.0014269134,0.00030782478],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00090750644,0.0009827516,0.0012724184,0.0026923453,0.0011467859,0.00460971,0.0013592183,0.003367406,0.03772605],"category_scores_gemma":[0.00685517,0.0004804083,0.00045553318,0.004925957,0.0014906063,0.0031110176,0.0011100317,0.0042709955,0.018596433],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000025328038,0.0000023332502,0.000015993955,0.00011173597,0.0000018654328,0.000002261964,0.0000082154465,0.000022322105,0.000009655286,0.0015667534,0.986204,0.012052206],"study_design_scores_gemma":[0.0000053964623,0.000006180234,0.0002209512,0.0005234016,0.000006629253,0.000029888468,0.0000329661,0.000050895796,0.000026202531,0.0021294383,0.996962,0.0000060439475],"about_ca_topic_score_codex":0.014515805,"about_ca_topic_score_gemma":0.033365585,"teacher_disagreement_score":0.03772605,"about_ca_system_score_codex":0.0037284188,"about_ca_system_score_gemma":0.0039997003,"threshold_uncertainty_score":0.12620622},"labels":[],"label_agreement":null},{"id":"W4223496980","doi":"10.1016/j.ijresmar.2022.04.002","title":"Administrative trade barrier: An empirical analysis of exporting Hollywood movies to China","year":2022,"lang":"en","type":"article","venue":"International Journal of Research in Marketing","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":10,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University; University of British Columbia","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"China; Cannibalization; Box office; Hollywood; Advertising; Order (exchange); Chinese market; Government (linguistics); Business; Market share; Mail order; Schedule; Marketing; Economics; Political science; Law; Finance","score_opus":0.16209280306181448,"score_gpt":0.44056470026318284,"score_spread":0.27847189720136833,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4223496980","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9991824,0.000037477585,0.000026810525,0.000033675464,9.532053e-7,0.0000045865563,0.000090897825,0.0000020432183,0.0006211683],"genre_scores_gemma":[0.9990146,0.0000246319,0.000018557295,0.000013473299,0.00000281902,0.0000026690632,0.00030852557,0.000001959618,0.00061268266],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99956936,0.00005441632,0.000026090467,0.00007054538,0.00006673759,0.00021280159],"domain_scores_gemma":[0.9958645,0.0011395704,0.0014968611,0.00025175515,0.0004998805,0.0007474028],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006632876,0.0002737752,0.00035708176,0.001576137,0.00095134386,0.0016019989,0.0007136705,0.00061858306,0.0055895327],"category_scores_gemma":[0.0025998373,0.00015767754,0.00053133845,0.0017425283,0.00064035604,0.001068458,0.00089191674,0.0008809986,0.00046285984],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015275973,0.00023269985,0.9917447,0.000024647892,0.000059428137,0.0006821905,0.0014878608,0.0005273913,0.00060121116,0.00085142994,0.000590349,0.0030453769],"study_design_scores_gemma":[0.000006596877,0.00004699562,0.9925719,0.0000129641,0.000043910095,0.000080345344,0.0038596361,0.0026121705,0.00016380167,0.00008770347,0.00050475326,0.000009328594],"about_ca_topic_score_codex":0.099448174,"about_ca_topic_score_gemma":0.0851868,"teacher_disagreement_score":0.099448174,"about_ca_system_score_codex":0.0014214524,"about_ca_system_score_gemma":0.0015657315,"threshold_uncertainty_score":0.19773865},"labels":[],"label_agreement":null},{"id":"W4223900680","doi":"10.3138/cjfs-2021-0065","title":"Soft-Core Sovereignty: Absorbing Canada’s Doukhobors in <i>The Naked Flame</i> (1964)","year":2022,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Political science; Sovereignty; Law; Politics","score_opus":0.05318477027176298,"score_gpt":0.2302180706723236,"score_spread":0.17703330040056064,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4223900680","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5694731,0.0050383466,0.001239796,0.025256408,0.0006549224,0.000058582893,0.00021491962,0.000052338426,0.3980116],"genre_scores_gemma":[0.9440901,0.0014119786,0.00033430126,0.000989186,0.000030866297,0.000011192324,0.000033470238,0.00003516936,0.053063728],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999166,0.00015448604,0.000010890239,0.0000783399,0.00017091747,0.0004193879],"domain_scores_gemma":[0.9993284,0.00017719725,0.000052368814,0.0000367956,0.0001667474,0.0002385175],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007584553,0.00034606666,0.00022934067,0.00087488355,0.022968568,0.00800691,0.00084186543,0.0012469087,0.0060974695],"category_scores_gemma":[0.0017119185,0.00027912177,0.00014496311,0.0013906977,0.013009165,0.0023856924,0.004067724,0.00291284,0.0002671986],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006504205,0.000025154022,0.0051308824,0.00012292217,0.000007991855,0.0008607484,0.73570704,0.00019952867,0.0013788712,0.2064409,0.025551412,0.0245095],"study_design_scores_gemma":[0.000008724559,0.000019283394,0.0093685,0.0002420357,0.000015648564,0.00019910141,0.44650397,0.00020543783,0.00086347293,0.004297903,0.53823745,0.00003858086],"about_ca_topic_score_codex":0.9449082,"about_ca_topic_score_gemma":0.9841651,"teacher_disagreement_score":0.0550918,"about_ca_system_score_codex":0.05108914,"about_ca_system_score_gemma":0.04574294,"threshold_uncertainty_score":0.37067938},"labels":[],"label_agreement":null},{"id":"W4223983778","doi":"10.3138/cjfs-2020-0011","title":"Korean Financial Thrillers: Neo-liberal Governmentality in <i>Default</i> and <i>Black Money</i>","year":2022,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Post colonialism; Art; Colonialism","score_opus":0.029677922386717497,"score_gpt":0.22414381393263913,"score_spread":0.19446589154592164,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4223983778","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7427903,0.0040240134,0.0014843716,0.02841486,0.00030426233,0.0000363156,0.000170248,0.0000369906,0.2227387],"genre_scores_gemma":[0.9819719,0.0010435171,0.00022513082,0.0011380045,0.00004203838,0.000010244477,0.00004793394,0.000015908106,0.015505381],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99962234,0.00012476333,0.000015607386,0.00005759045,0.000044422057,0.000135208],"domain_scores_gemma":[0.9994741,0.000099099634,0.00016857254,0.00005568398,0.000060044804,0.00014244471],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009133697,0.00020074197,0.00013170986,0.0005895281,0.0028220061,0.004913156,0.00034028056,0.0008037102,0.004988576],"category_scores_gemma":[0.0008434231,0.00017756931,0.00020882016,0.00080636435,0.0068102824,0.005192212,0.0023622732,0.0020540915,0.00041751194],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015294745,0.00010197119,0.04655208,0.000372887,0.000034140503,0.0018677755,0.23388846,0.00028688862,0.002048031,0.63481694,0.036625303,0.04325266],"study_design_scores_gemma":[0.000029481334,0.000088124536,0.10227051,0.00061599194,0.00004434938,0.00075880345,0.3794983,0.00062512903,0.0009433807,0.051723376,0.46333757,0.00006510376],"about_ca_topic_score_codex":0.005327698,"about_ca_topic_score_gemma":0.018168878,"teacher_disagreement_score":0.005327698,"about_ca_system_score_codex":0.003304922,"about_ca_system_score_gemma":0.0017079617,"threshold_uncertainty_score":0.023979068},"labels":[],"label_agreement":null},{"id":"W4224221373","doi":"10.32370/ia_2022_03_6","title":"The Eternal City and Eternal Love in the Rose \"Roman Holiday\"","year":2022,"lang":"en","type":"article","venue":"Intellectual Archive","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Friendship; Wishful thinking; Relation (database); True love; Falling in love; Romance; Art; Symbol (formal); Space (punctuation); Aesthetics; Literature; Sociology; Psychology; Philosophy; Social psychology","score_opus":0.03580241952228456,"score_gpt":0.2250012106963829,"score_spread":0.18919879117409835,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4224221373","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15867163,0.02036968,0.0029102727,0.0844215,0.00668367,0.00004992252,0.000336278,0.000107429354,0.7264496],"genre_scores_gemma":[0.893583,0.008396272,0.0009371542,0.004125079,0.00287474,0.000044951237,0.00014100474,0.0001370106,0.08976079],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916327,0.000537123,0.000013922984,0.00006448461,0.00010599391,0.00011519132],"domain_scores_gemma":[0.99881303,0.0005153905,0.00018080266,0.00007742068,0.00009483672,0.00031860304],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006391238,0.00026826892,0.00021022897,0.00073072687,0.0034941996,0.0045025307,0.0004284716,0.00077461294,0.007754319],"category_scores_gemma":[0.0018685901,0.00016268226,0.00017505519,0.0008026666,0.0040133167,0.0021870576,0.0019420802,0.0018172364,0.0006722695],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019403198,0.000080054226,0.0061588427,0.0002544569,0.000021277903,0.0009915531,0.11741993,0.00013953079,0.00039492137,0.5725853,0.25496167,0.0467985],"study_design_scores_gemma":[0.000009474142,0.000035327834,0.01421417,0.00020479289,0.000014946624,0.00059926556,0.04340687,0.00017010682,0.00030329244,0.008986473,0.93203485,0.00002038312],"about_ca_topic_score_codex":0.008606405,"about_ca_topic_score_gemma":0.019627701,"teacher_disagreement_score":0.008606405,"about_ca_system_score_codex":0.0017288456,"about_ca_system_score_gemma":0.0005770799,"threshold_uncertainty_score":0.025940776},"labels":[],"label_agreement":null},{"id":"W4224233881","doi":"10.32920/ifmj.v2i1.1512","title":"Escaping Confinement","year":2022,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Phone; SAFER; Coronavirus disease 2019 (COVID-19); Pandemic; Movie theater; Order (exchange); Key (lock); Drone; Computer science; Internet privacy; Visual arts; Art; Computer security; Linguistics; Business; Medicine","score_opus":0.028397260261972732,"score_gpt":0.23036638939150256,"score_spread":0.20196912912952983,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4224233881","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36713362,0.0021586318,0.00846018,0.033257477,0.00040457366,0.000045246434,0.00015604074,0.00007655945,0.5883076],"genre_scores_gemma":[0.98334724,0.000497622,0.00044117108,0.0007887807,0.000066153036,0.000012467422,0.000023390196,0.000023927485,0.01479936],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99884605,0.000581428,0.000021117825,0.00010953355,0.00011964337,0.00032218796],"domain_scores_gemma":[0.99908686,0.0003214614,0.00017151344,0.00010204643,0.00011425934,0.00020390133],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001048233,0.00025783083,0.0002129919,0.00034684432,0.0047445423,0.004178639,0.0006402203,0.0016153291,0.01071161],"category_scores_gemma":[0.0047571594,0.00010982482,0.00017770565,0.0003719823,0.0092691295,0.0037894067,0.0052945493,0.0017866971,0.00075658533],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007485004,0.000035646437,0.0031203672,0.00009801971,0.00001526525,0.002676118,0.07611747,0.00058933016,0.00065382227,0.8724917,0.022193352,0.021934006],"study_design_scores_gemma":[0.000016442667,0.0001157242,0.008467339,0.0004502482,0.000017954859,0.0014917076,0.16710187,0.0014964782,0.0007111722,0.22400063,0.59608597,0.00004452465],"about_ca_topic_score_codex":0.0066185617,"about_ca_topic_score_gemma":0.0070256437,"teacher_disagreement_score":0.01071161,"about_ca_system_score_codex":0.0024026334,"about_ca_system_score_gemma":0.001200615,"threshold_uncertainty_score":0.035833895},"labels":[],"label_agreement":null},{"id":"W4224254430","doi":"10.1016/j.endeavour.2022.100811","title":"A film review of Black Holes: The Edge of All We Know, directed by Peter Galison. Collapsar, Sandbox Films, 2020.","year":2022,"lang":"en","type":"review","venue":"Endeavour","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; Nederlandse Organisatie voor Wetenschappelijk Onderzoek; University of Cambridge","keywords":"Sandbox (software development); Enhanced Data Rates for GSM Evolution; Art; Computer science; Artificial intelligence; Library science","score_opus":0.060990614519277474,"score_gpt":0.28335881319317036,"score_spread":0.22236819867389288,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4224254430","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00006906825,0.9557371,0.000082842074,0.02081504,0.013696033,0.000015326317,0.0002949554,0.00003858868,0.009250939],"genre_scores_gemma":[0.0012592892,0.92805713,0.00026235566,0.017858706,0.011606988,0.000037720947,0.00048456187,0.00006416567,0.040369034],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994918,0.00012823926,0.00004303395,0.00006246027,0.00021254939,0.000061879065],"domain_scores_gemma":[0.99698156,0.0009884282,0.0002749655,0.000063328844,0.0013078748,0.0003838729],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013136688,0.0009790172,0.0009383883,0.0032349743,0.0007644431,0.003204597,0.0007918771,0.0018751981,0.032709185],"category_scores_gemma":[0.005494538,0.00046010627,0.0004760224,0.0029827764,0.0005456229,0.0029665611,0.0015124773,0.0031692043,0.017945962],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015622265,0.0000043027694,0.000029180026,0.0011854569,0.000009737586,0.000020865104,0.000030720304,0.000009490612,0.000045307108,0.0009534566,0.95403844,0.043657444],"study_design_scores_gemma":[0.0000044288736,0.0000067698556,0.00020314663,0.0021313343,0.000012028013,0.00006734301,0.000052737294,0.0000069539674,0.000029252484,0.0003757086,0.9971066,0.0000035521455],"about_ca_topic_score_codex":0.0062419185,"about_ca_topic_score_gemma":0.015102183,"teacher_disagreement_score":0.032709185,"about_ca_system_score_codex":0.0014724958,"about_ca_system_score_gemma":0.0028867153,"threshold_uncertainty_score":0.1094231},"labels":[],"label_agreement":null},{"id":"W4224284995","doi":"10.32920/ifmj.v2i1.1533","title":"Video-Island","year":2022,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Embodied cognition; Computer science; Context (archaeology); Action (physics); Movie theater; Variety (cybernetics); Historicity (philosophy); Human–computer interaction; Multimedia; Art; Visual arts; Artificial intelligence; History","score_opus":0.021598470892792498,"score_gpt":0.22741826917603228,"score_spread":0.2058197982832398,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4224284995","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004770139,0.00076668855,0.0054578027,0.001247825,0.0017520144,0.00019618403,0.0054006847,0.0019535294,0.9784551],"genre_scores_gemma":[0.046392106,0.0012563709,0.009533682,0.0011509481,0.0005121373,0.0002083903,0.013730008,0.001408831,0.92580754],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997843,0.0000308666,0.0000102994245,0.00005738239,0.00007868438,0.000038568352],"domain_scores_gemma":[0.9996345,0.000060213002,0.000013072368,0.00008055362,0.000110754576,0.000100922756],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00032951753,0.00045527576,0.00025787312,0.0010378961,0.001331715,0.0026475277,0.0008925875,0.00083665736,0.3713336],"category_scores_gemma":[0.0010526999,0.0001642968,0.00029765524,0.0011395437,0.00037079517,0.0023351149,0.0019453687,0.001234261,0.11127638],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002528826,0.00010942953,0.0008509236,0.00037380043,0.000017018025,0.0003830033,0.001300705,0.00034322502,0.0028328912,0.047024935,0.6527399,0.2937713],"study_design_scores_gemma":[0.00000896462,0.000020961814,0.00078369223,0.000057298952,0.000003765098,0.00009860287,0.00033034806,0.0002665428,0.00036729203,0.0012502746,0.9968046,0.000007680603],"about_ca_topic_score_codex":0.0070360736,"about_ca_topic_score_gemma":0.015099007,"teacher_disagreement_score":0.3713336,"about_ca_system_score_codex":0.0006341524,"about_ca_system_score_gemma":0.000692188,"threshold_uncertainty_score":0.8967163},"labels":[],"label_agreement":null},{"id":"W4225300588","doi":"10.24908/iqurcp15509","title":"Examining the Imagery of Kajillionaire","year":2022,"lang":"en","type":"article","venue":"Inquiry Queen s Undergraduate Research Conference Proceedings","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Dismissal; Neglect; Character (mathematics); Psychology; Visual arts; Evening; Art; Law; Political science","score_opus":0.20101204639744916,"score_gpt":0.3323785522516357,"score_spread":0.13136650585418655,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4225300588","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33494303,0.0050837127,0.0013239405,0.024587287,0.0008457359,0.000045759105,0.00025780243,0.000060015194,0.6328528],"genre_scores_gemma":[0.9402882,0.0022096622,0.0005590936,0.0009955369,0.00014669655,0.000017694972,0.00009014239,0.00007127151,0.055621702],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993754,0.00026558692,0.000013435775,0.00008396359,0.00012144285,0.00014026955],"domain_scores_gemma":[0.9986327,0.0005713892,0.00020656007,0.00006005396,0.0003128601,0.00021644152],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008673903,0.0002829115,0.0001408866,0.00072012946,0.0043625413,0.0050541684,0.0004603537,0.0007861797,0.0047864867],"category_scores_gemma":[0.0033451412,0.00018744428,0.00011129911,0.0007059237,0.003569305,0.0025031609,0.00180729,0.0021250886,0.00066072325],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001964368,0.0000502388,0.0059121535,0.0003748506,0.000017459848,0.0034018054,0.6764867,0.00027870643,0.0025968018,0.1488767,0.13079526,0.031012917],"study_design_scores_gemma":[0.0000045604424,0.000031331223,0.011899531,0.00031861517,0.000008115397,0.00061413366,0.22526471,0.00011524239,0.00068921206,0.0016902993,0.75934434,0.000019990483],"about_ca_topic_score_codex":0.02002959,"about_ca_topic_score_gemma":0.046255462,"teacher_disagreement_score":0.02002959,"about_ca_system_score_codex":0.004478835,"about_ca_system_score_gemma":0.0014305722,"threshold_uncertainty_score":0.039826035},"labels":[],"label_agreement":null},{"id":"W4226063159","doi":"10.5040/9781501346491","title":"The Classical Animated Documentary and Its Contemporary Evolution","year":2022,"lang":"en","type":"book","venue":"Bloomsbury Publishing Plc eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Studio; Visual arts; Order (exchange); Art; History; Art history","score_opus":0.03877314751167789,"score_gpt":0.2165728438848509,"score_spread":0.177799696373173,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4226063159","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0076411217,0.027403392,0.00435169,0.014877643,0.0027204356,0.000029423014,0.00020085536,0.000119194694,0.9426561],"genre_scores_gemma":[0.24710305,0.029390313,0.00791647,0.0038463129,0.0047109695,0.000112563575,0.00050859357,0.0004794212,0.70593226],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99872535,0.00045426263,0.000045417968,0.00022343657,0.0004496062,0.000101956604],"domain_scores_gemma":[0.99819094,0.00087507046,0.00013621288,0.00026080877,0.00035845072,0.00017857949],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011888727,0.00034046033,0.00022588386,0.0021551584,0.0028090123,0.010278682,0.0008808753,0.0014454273,0.013704868],"category_scores_gemma":[0.0040392573,0.0002643986,0.00019763451,0.0029492446,0.011540028,0.0050542788,0.0017777745,0.0028820154,0.0024867707],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017964845,0.000009443499,0.00012601638,0.00006912257,0.0000027093956,0.00006930356,0.0045949784,0.00009331721,0.0001543199,0.89221585,0.06511753,0.03752934],"study_design_scores_gemma":[0.000004064131,0.000011190114,0.0005122148,0.00016007596,0.0000025325899,0.00016405768,0.0008856843,0.00013636069,0.000152081,0.027913919,0.9700493,0.000008598671],"about_ca_topic_score_codex":0.011117284,"about_ca_topic_score_gemma":0.009512884,"teacher_disagreement_score":0.013704868,"about_ca_system_score_codex":0.007325389,"about_ca_system_score_gemma":0.0020135276,"threshold_uncertainty_score":0.0531497},"labels":[],"label_agreement":null},{"id":"W4229622003","doi":"10.1126/science.310.5745.27b","title":"EDUCATION: Frog Film Fest","year":2005,"lang":"en","type":"article","venue":"Science","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.026588744843889112,"score_gpt":0.24812435087444734,"score_spread":0.22153560603055822,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4229622003","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03427504,0.005398756,0.00061530754,0.019484492,0.0097233,0.0004083946,0.012206973,0.001433017,0.91645473],"genre_scores_gemma":[0.13124838,0.0034651225,0.0013970791,0.004287674,0.003614468,0.00028419975,0.00595729,0.00053356535,0.8492123],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99975723,0.00006271283,0.000008403745,0.00003500005,0.00004374543,0.00009288362],"domain_scores_gemma":[0.99925894,0.00008054816,0.0000363654,0.000054418775,0.000059757644,0.0005099552],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00067082886,0.00066708017,0.00026955365,0.0013239894,0.003430957,0.002330396,0.0004401319,0.0011117322,0.2880866],"category_scores_gemma":[0.0013057162,0.00025711305,0.00029274644,0.00090943155,0.00043107924,0.0012671925,0.0016705651,0.0015310511,0.043966852],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012489408,0.0001731481,0.0030125682,0.00012486575,0.000008712392,0.0005863209,0.0019959724,0.000035620284,0.0008603847,0.0037551832,0.94816744,0.041154817],"study_design_scores_gemma":[0.000013881635,0.00004113836,0.008063877,0.000066258486,0.0000028321867,0.00023171853,0.0012410241,0.000027442658,0.00011451498,0.00016502585,0.99002737,0.0000049076666],"about_ca_topic_score_codex":0.006062643,"about_ca_topic_score_gemma":0.031584103,"teacher_disagreement_score":0.2880866,"about_ca_system_score_codex":0.0010858455,"about_ca_system_score_gemma":0.00046538454,"threshold_uncertainty_score":0.96374565},"labels":[],"label_agreement":null},{"id":"W4229858130","doi":"10.4324/9781135000356-rem1224-1","title":"The 400 Blows (1959)","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Art; Movie theater; French New Wave; White (mutation); Drama; Character (mathematics); Realism; Art history; Literature","score_opus":0.04214892591709641,"score_gpt":0.20790369373050754,"score_spread":0.16575476781341114,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4229858130","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.065856986,0.014092694,0.0007247381,0.019535491,0.0039573796,0.000054805605,0.0007659996,0.00017555061,0.8948363],"genre_scores_gemma":[0.50125337,0.0030403882,0.00064566516,0.0059458804,0.0009158497,0.000044408956,0.00026925805,0.00014086286,0.48774442],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99945897,0.00015786424,0.000009578187,0.000068131754,0.00013509013,0.00017045232],"domain_scores_gemma":[0.999759,0.000060781444,0.00002307996,0.000014711719,0.00006974577,0.00007265933],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00042577373,0.00052360597,0.00012986503,0.00093470333,0.0065856497,0.0039701047,0.0002728886,0.0018263453,0.021650415],"category_scores_gemma":[0.0014746309,0.000179329,0.00024923705,0.00056013704,0.002983365,0.0013388405,0.0012027136,0.0019510653,0.002238068],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013787256,0.000026342716,0.0023479017,0.00016312192,0.000015627054,0.0021732752,0.07738463,0.00017509308,0.0010980493,0.21933942,0.6255194,0.07161928],"study_design_scores_gemma":[0.000004332648,0.000014101058,0.002453921,0.000091959744,0.0000029443088,0.00025048008,0.006612819,0.000019661878,0.0001647959,0.0010278011,0.98934865,0.000008439823],"about_ca_topic_score_codex":0.17277065,"about_ca_topic_score_gemma":0.258117,"teacher_disagreement_score":0.17277065,"about_ca_system_score_codex":0.007734316,"about_ca_system_score_gemma":0.0018206033,"threshold_uncertainty_score":0.34353},"labels":[],"label_agreement":null},{"id":"W4230056435","doi":"10.2307/j.ctvqsf379","title":"Inventing Cinema","year":2019,"lang":"en","type":"book","venue":"Amsterdam University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; Université de Lausanne; Université de Montréal; University of Massachusetts Boston","keywords":"Movie theater; Art; Art history","score_opus":0.04102150321775202,"score_gpt":0.18939695083757924,"score_spread":0.1483754476198272,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230056435","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0024493732,0.031421736,0.0017601396,0.002821324,0.0014688148,0.00002343481,0.00008538889,0.000057420246,0.95991236],"genre_scores_gemma":[0.04384663,0.023375776,0.0016152232,0.00084313797,0.0009945884,0.000034500314,0.00013120449,0.00012727598,0.92903167],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99956876,0.00012887025,0.000015452953,0.000086669694,0.00013769415,0.0000624278],"domain_scores_gemma":[0.99950624,0.00020770296,0.000033426968,0.00008037417,0.00009245189,0.000079752186],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006004603,0.00062666525,0.00034012683,0.0020575721,0.001446872,0.008622527,0.00051090814,0.0014546105,0.08079385],"category_scores_gemma":[0.0022388785,0.00038407766,0.00021938368,0.0012921109,0.0021665567,0.0059752865,0.0018743156,0.00173472,0.011790703],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037258495,0.00005948011,0.0003204248,0.00033581737,0.000007699408,0.00009543079,0.0032761518,0.00017788804,0.0009674737,0.5469813,0.1804248,0.26731628],"study_design_scores_gemma":[0.0000031868758,0.0000078550665,0.0003544059,0.00025461352,0.0000040352634,0.000086721295,0.00049590255,0.000096119424,0.00021288104,0.015792392,0.9826878,0.000004167829],"about_ca_topic_score_codex":0.0024466328,"about_ca_topic_score_gemma":0.0056323214,"teacher_disagreement_score":0.08079385,"about_ca_system_score_codex":0.0019071228,"about_ca_system_score_gemma":0.0009425836,"threshold_uncertainty_score":0.2702824},"labels":[],"label_agreement":null},{"id":"W4230156182","doi":"10.32920/ryerson.14638743.v1","title":"Home improvement television: Holmes on Homes Makes It Right","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Reality tv; Reality television; Economic Justice; Art; Sociology; Media studies; Advertising; Art history; Political science; Law; Business","score_opus":0.030666495332024,"score_gpt":0.2375028450842239,"score_spread":0.2068363497521999,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230156182","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05493869,0.0060566906,0.0037575117,0.28523687,0.002640127,0.000026257241,0.00065118907,0.00028475,0.6464079],"genre_scores_gemma":[0.62247443,0.0059528225,0.0032102915,0.01758337,0.0009116686,0.000017797844,0.00034033606,0.00030761113,0.34920165],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991277,0.00022531474,0.000011597152,0.000082300416,0.00035884956,0.00019434479],"domain_scores_gemma":[0.99824995,0.00064780883,0.00010807538,0.00014917488,0.0005150351,0.0003299017],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00088116864,0.00013232962,0.00012613289,0.00046258772,0.0027045594,0.005288054,0.00030590894,0.0015413206,0.016067436],"category_scores_gemma":[0.00537797,0.00012910692,0.000084739746,0.0008808546,0.0034796607,0.0029292223,0.0010266433,0.0017852596,0.0016979753],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000080490914,0.000031212436,0.003065409,0.00007952813,0.000010074608,0.00022523613,0.00809735,0.00019629415,0.0005394453,0.46750715,0.44802123,0.07214656],"study_design_scores_gemma":[0.000010059327,0.00001198795,0.0044217207,0.00013859429,0.0000073708275,0.000089562694,0.006438188,0.00022424983,0.0005442563,0.022219747,0.9658757,0.000018517047],"about_ca_topic_score_codex":0.32312968,"about_ca_topic_score_gemma":0.40975457,"teacher_disagreement_score":0.32312968,"about_ca_system_score_codex":0.0061632907,"about_ca_system_score_gemma":0.0050890874,"threshold_uncertainty_score":0.6424977},"labels":[],"label_agreement":null},{"id":"W4230219921","doi":"10.32920/ryerson.14647653","title":"“Shall we put the heart in now?” A comparative analysis between creature features and their single reel abridgements","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Liminality; Reel; Studio; Narrative; Representation (politics); Focus (optics); Space (punctuation); Art; Visual arts; Feature (linguistics); History; Aesthetics; Computer science; Literature; Linguistics; Philosophy; Optics; Physics; Political science","score_opus":0.07558663258569769,"score_gpt":0.273855679476721,"score_spread":0.19826904689102332,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230219921","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8707398,0.0022301024,0.00057390385,0.0010411084,0.00006993661,0.000021777792,0.00007933363,0.000009940608,0.12523413],"genre_scores_gemma":[0.99298084,0.0006558399,0.0002006274,0.000053578326,0.00002792895,0.000007644218,0.00003758893,0.000020826315,0.0060150865],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988732,0.00057234964,0.000026862901,0.00012550055,0.00019317251,0.00020888842],"domain_scores_gemma":[0.99733293,0.0012416849,0.0005101989,0.000234836,0.00038370947,0.00029678183],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012390923,0.0001546837,0.00022648166,0.0017134919,0.0022212067,0.0048397775,0.0004920266,0.0005370176,0.007650177],"category_scores_gemma":[0.007513841,0.00017271412,0.00018003023,0.0020596774,0.0051492094,0.003429024,0.0016028488,0.0010958043,0.00040251613],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00077650545,0.00015259735,0.025464306,0.00039340818,0.00008376187,0.0020032478,0.54904944,0.00031578407,0.004378589,0.28566194,0.009525314,0.122195125],"study_design_scores_gemma":[0.000039824903,0.00049204635,0.27506384,0.00069935253,0.00010240398,0.0014790997,0.44918346,0.00037028096,0.0025762375,0.010830703,0.25909984,0.000062924504],"about_ca_topic_score_codex":0.0075639607,"about_ca_topic_score_gemma":0.013484353,"teacher_disagreement_score":0.007650177,"about_ca_system_score_codex":0.0017594092,"about_ca_system_score_gemma":0.0006026128,"threshold_uncertainty_score":0.025592387},"labels":[],"label_agreement":null},{"id":"W4230371030","doi":"10.5406/illinois/9780252039669.003.0004","title":"Camille","year":2017,"lang":"en","type":"book","venue":"University of Illinois Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; PICASSO; Art history; Humanities; History; Painting","score_opus":0.04353789768868849,"score_gpt":0.19183313887445438,"score_spread":0.1482952411857659,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230371030","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00055219076,0.004334498,0.00054911734,0.0012100979,0.00095915335,0.000016029542,0.00037036324,0.00022059116,0.99178797],"genre_scores_gemma":[0.004716262,0.0019814034,0.00033236228,0.0005022935,0.00014324814,0.000028040487,0.00029272548,0.00018486896,0.9918188],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995086,0.000050024893,0.000017380153,0.00017566394,0.00018101813,0.000067274384],"domain_scores_gemma":[0.99973863,0.00006684293,0.000019750027,0.000052487834,0.000074588155,0.00004762665],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00024178774,0.0010421274,0.00053628813,0.0018433207,0.002119851,0.005538972,0.0010044972,0.0018007512,0.48758516],"category_scores_gemma":[0.000972183,0.00037470218,0.00042269015,0.0017057484,0.0010990278,0.0045714094,0.0029035183,0.0026049193,0.21948059],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006408219,0.000042907526,0.00030758334,0.00035263295,0.000007071054,0.0003485336,0.0018218782,0.00016422725,0.0010118897,0.23654826,0.5684498,0.19088121],"study_design_scores_gemma":[0.0000018340645,0.0000040046016,0.00013221905,0.000070111804,8.343333e-7,0.000087423716,0.00009196899,0.000026807777,0.00007578319,0.0013007654,0.99820566,0.0000026211346],"about_ca_topic_score_codex":0.007285249,"about_ca_topic_score_gemma":0.02167758,"teacher_disagreement_score":0.48758516,"about_ca_system_score_codex":0.0020693897,"about_ca_system_score_gemma":0.001075987,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4230518616","doi":"10.1163/9789401200141_020","title":"Canadian film","year":2002,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Materials science","score_opus":0.038453446647688946,"score_gpt":0.18020790222885688,"score_spread":0.14175445558116795,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230518616","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00095921435,0.0023360536,0.00013481839,0.0018575244,0.0008923381,0.00003156495,0.0022584724,0.00011306786,0.991417],"genre_scores_gemma":[0.0073109744,0.0017424392,0.00021571571,0.0002335775,0.000073172865,0.000009465674,0.0009140313,0.000053100233,0.9894476],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995915,0.000020175927,0.000007924566,0.00007111659,0.00021498917,0.0000941821],"domain_scores_gemma":[0.99947566,0.000025211168,0.000009379605,0.000030434843,0.00034802646,0.00011128145],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00024436627,0.00092262006,0.00035509723,0.0031895875,0.0073732487,0.006227761,0.00087688817,0.0010562596,0.36610222],"category_scores_gemma":[0.0011608375,0.00035935105,0.00033000388,0.0038457264,0.0007476574,0.0014294764,0.0008739954,0.0012808125,0.05587943],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001739396,0.000011034438,0.00018641066,0.0000634006,0.0000026369244,0.000051985313,0.0002636625,0.00006873281,0.0001303459,0.026197528,0.92726815,0.045738876],"study_design_scores_gemma":[0.0000013954885,0.0000017157977,0.00052144635,0.00003038457,0.0000018435369,0.000017973083,0.0002134266,0.000025760824,0.000064148626,0.00042375378,0.99869484,0.0000033301123],"about_ca_topic_score_codex":0.876272,"about_ca_topic_score_gemma":0.9609216,"teacher_disagreement_score":0.36610222,"about_ca_system_score_codex":0.020726465,"about_ca_system_score_gemma":0.017796036,"threshold_uncertainty_score":0.90417826},"labels":[],"label_agreement":null},{"id":"W4230764367","doi":"10.4000/communication.6491","title":"Ramon PELINSKI (dir.) (1995), Tango Nomade","year":2000,"lang":"en","type":"article","venue":"Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Art; Geography; Cartography","score_opus":0.033138616834409065,"score_gpt":0.23297816242892266,"score_spread":0.1998395455945136,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230764367","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00071836,0.8528111,0.0006999838,0.08121949,0.0325414,0.000018721375,0.00061691226,0.00009036301,0.031283733],"genre_scores_gemma":[0.028516743,0.65869087,0.0011056946,0.018263655,0.025835933,0.00013157963,0.0007849178,0.00022412417,0.26644644],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995291,0.00012750563,0.00004296756,0.00014403652,0.00010265925,0.000053643365],"domain_scores_gemma":[0.9993543,0.00026918462,0.00013232612,0.000017042254,0.0001293998,0.000097754746],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008079989,0.0018922737,0.0008259117,0.0023235006,0.0022204204,0.0032747628,0.00062838144,0.0033670287,0.039501294],"category_scores_gemma":[0.0017376844,0.00060501264,0.0002885195,0.0026597374,0.0008863144,0.004380866,0.0013528959,0.0032714256,0.030159563],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000621606,0.000016910537,0.0006556855,0.00042171488,0.00001352011,0.00015057414,0.0007680643,0.00007066825,0.00011334941,0.01163771,0.89197695,0.09411277],"study_design_scores_gemma":[0.00000931921,0.000010386033,0.00259701,0.0005092238,0.00001079781,0.00021353063,0.0005174713,0.00006561828,0.00011120067,0.0031878673,0.99274945,0.000018036666],"about_ca_topic_score_codex":0.018157104,"about_ca_topic_score_gemma":0.03750799,"teacher_disagreement_score":0.039501294,"about_ca_system_score_codex":0.0024958716,"about_ca_system_score_gemma":0.0010553051,"threshold_uncertainty_score":0.13214493},"labels":[],"label_agreement":null},{"id":"W4230769422","doi":"10.1007/978-3-030-17324-1","title":"Documentary Film Festivals Vol. 2","year":2020,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Lakehead University","funders":"","keywords":"Politics; Documentary film; Political science; History; Sociology; Media studies; Law","score_opus":0.03188832008584135,"score_gpt":0.21406542502328932,"score_spread":0.18217710493744796,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230769422","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009610152,0.013202115,0.0003295812,0.0019102284,0.0087256525,0.00011669611,0.002639325,0.00037430468,0.971741],"genre_scores_gemma":[0.0031653296,0.004479519,0.0001948348,0.00024860646,0.0012346982,0.000028334227,0.0011747902,0.00016301537,0.989311],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999635,0.00004065857,0.000015937985,0.000052811705,0.00019524584,0.000060357455],"domain_scores_gemma":[0.99930596,0.00011002033,0.000039666098,0.00006958935,0.0003007139,0.00017408666],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005629213,0.00096168823,0.00048431303,0.0025565457,0.0017410467,0.007143813,0.000691818,0.0009797902,0.3334866],"category_scores_gemma":[0.0014348987,0.0003612889,0.00039057725,0.0017434765,0.00050398585,0.0020299542,0.0015500218,0.0013901892,0.13405016],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026322397,0.000021920545,0.000079340214,0.00013090424,0.0000029696153,0.00003345179,0.00007514682,0.000048718553,0.00018557858,0.005002064,0.95450467,0.039889015],"study_design_scores_gemma":[0.0000025774843,0.000008828528,0.00044630878,0.00011035277,0.0000014076654,0.000037908772,0.00005741637,0.000022939941,0.00006277364,0.00039668693,0.9988501,0.0000027028218],"about_ca_topic_score_codex":0.009354613,"about_ca_topic_score_gemma":0.026001489,"teacher_disagreement_score":0.3334866,"about_ca_system_score_codex":0.0013879654,"about_ca_system_score_gemma":0.0011077024,"threshold_uncertainty_score":0.9507005},"labels":[],"label_agreement":null},{"id":"W4230873869","doi":"10.1386/fm.3.3.40_5","title":"Reviews Books","year":2012,"lang":"en","type":"article","venue":"Film Matters","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Queer; Media studies; Art history; Art; Sociology; Humanities; Gender studies","score_opus":0.05392647544638881,"score_gpt":0.23600626480555467,"score_spread":0.18207978935916586,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230873869","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003520066,0.022420468,0.0012272712,0.0068396907,0.008476218,0.00012703733,0.0037893066,0.0011654729,0.9556026],"genre_scores_gemma":[0.0014187222,0.012584776,0.0010913006,0.0028309168,0.002303001,0.0000716962,0.0031627316,0.0006022684,0.9759346],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99876946,0.00013651844,0.000091783244,0.0002970328,0.0006000141,0.000105210944],"domain_scores_gemma":[0.997827,0.00038366896,0.00010888518,0.00034343585,0.0008705728,0.00046638437],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00063853076,0.0011256867,0.0013337274,0.003963853,0.001681342,0.010112195,0.0026975935,0.00298972,0.7470653],"category_scores_gemma":[0.0042533185,0.0005641311,0.0008558632,0.0044100634,0.0009568886,0.0063338177,0.0033057355,0.0027023144,0.6887866],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015052422,0.000023796332,0.0000737182,0.00045002069,0.0000047007925,0.00006912561,0.0000877003,0.00004187865,0.0001778749,0.0074810223,0.86043084,0.13114423],"study_design_scores_gemma":[0.0000019317692,0.0000027490926,0.000067250796,0.00014929735,0.0000012929729,0.000047946425,0.000038457536,0.00000857464,0.000019942778,0.000771782,0.99888843,0.0000022834226],"about_ca_topic_score_codex":0.0035608048,"about_ca_topic_score_gemma":0.006552391,"teacher_disagreement_score":0.2529347,"about_ca_system_score_codex":0.0019899511,"about_ca_system_score_gemma":0.0039017086,"threshold_uncertainty_score":0.3607806},"labels":[],"label_agreement":null},{"id":"W4230979559","doi":"10.4324/9781135000356-rem1691-1","title":"Anemic Cinema (1926)","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Movie theater; Pseudonym; Art; Art history; Philosophy; Theology","score_opus":0.04461069993769887,"score_gpt":0.21233134508717724,"score_spread":0.16772064514947838,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4230979559","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005159563,0.011281555,0.0009144532,0.0028292274,0.0019231142,0.000033886678,0.00030266793,0.000060184124,0.9774954],"genre_scores_gemma":[0.19694084,0.01425172,0.0018022798,0.0018846048,0.0026366943,0.00009180902,0.0004475693,0.00014455782,0.7818],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997261,0.00010439874,0.000008420492,0.000050792085,0.00007252713,0.000037607173],"domain_scores_gemma":[0.99966395,0.00014786531,0.00002385886,0.00002757028,0.00008193233,0.000054773293],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004928831,0.0005550896,0.0001218243,0.0010522477,0.0019872012,0.0033979672,0.00030095963,0.00089149404,0.030740011],"category_scores_gemma":[0.0016174382,0.00015055377,0.00012908033,0.00073354697,0.0017627237,0.002990785,0.0009890693,0.0016147069,0.0047510243],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000071698836,0.000037886006,0.0002260667,0.00019956347,0.0000032157316,0.0001337495,0.009862114,0.000083209954,0.00072856556,0.62841517,0.2742622,0.08597659],"study_design_scores_gemma":[0.0000022745392,0.000009852532,0.00050941895,0.0001169876,0.0000010783334,0.00009491108,0.00043092592,0.00003154955,0.0001414399,0.005690898,0.9929671,0.0000035626276],"about_ca_topic_score_codex":0.0045793164,"about_ca_topic_score_gemma":0.00577242,"teacher_disagreement_score":0.030740011,"about_ca_system_score_codex":0.0013362971,"about_ca_system_score_gemma":0.000579359,"threshold_uncertainty_score":0.102835596},"labels":[],"label_agreement":null},{"id":"W4231002671","doi":"10.1525/9780520957411-033","title":"OPEN LETTER TO THE EXPERIMENTAL FILM CONGRESS: LET’S SET THE RECORD STRAIGHT (Canada, 1989)","year":2019,"lang":"en","type":"letter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Set (abstract data type); Genealogy; History; Computer science; Programming language","score_opus":0.054184591481815134,"score_gpt":0.24629147778948104,"score_spread":0.19210688630766592,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231002671","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005243114,0.0049458025,0.00033197156,0.75305974,0.03480031,0.00053088483,0.0031605582,0.00023405369,0.19769359],"genre_scores_gemma":[0.009008607,0.00074410543,0.0002276881,0.30445772,0.0024488936,0.00023609775,0.00025171586,0.000098626704,0.6825266],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99667823,0.00019449928,0.00014058578,0.00046888163,0.0011838741,0.0013340188],"domain_scores_gemma":[0.9958074,0.0011803042,0.00013201099,0.0001307165,0.001799018,0.0009504928],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023044618,0.0009142586,0.0013252893,0.0011214792,0.02662281,0.010796687,0.002583429,0.049824223,0.06539584],"category_scores_gemma":[0.010566086,0.001200177,0.0010172907,0.0012873851,0.0024602145,0.0030332461,0.0023009507,0.026524281,0.016824529],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033543954,0.000022405993,0.0002038295,0.000016002827,0.000003414605,0.00015168615,0.00014682616,0.000019745123,0.000098945995,0.004208061,0.99348056,0.001614904],"study_design_scores_gemma":[0.00004562793,0.000020274885,0.0023932192,0.000087953,0.0000124292865,0.000043091648,0.0010160513,0.00014502546,0.00029261605,0.0012419684,0.99464804,0.000053760232],"about_ca_topic_score_codex":0.7481087,"about_ca_topic_score_gemma":0.8777546,"teacher_disagreement_score":0.25189131,"about_ca_system_score_codex":0.023054421,"about_ca_system_score_gemma":0.04340111,"threshold_uncertainty_score":0.5067495},"labels":[],"label_agreement":null},{"id":"W4231125777","doi":"10.22215/etd/2007-07778","title":"Sam Peckinpah killed Randolph Scott (but somehow the Duke survived) regeneration and genre tradition in the final Westerns of John Wayne","year":2007,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University; Canadian Heritage","funders":"","keywords":"Art; Performance art; Humanities; Art history; History; Literature","score_opus":0.053609580864285786,"score_gpt":0.26019588787468734,"score_spread":0.20658630701040154,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231125777","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.053751603,0.038488273,0.0032783744,0.46611995,0.016104897,0.000057059784,0.00027990673,0.0001359691,0.4217839],"genre_scores_gemma":[0.15608379,0.006803602,0.000831783,0.014533077,0.001495052,0.000028815131,0.00004808762,0.000218865,0.81995696],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987942,0.0005185454,0.000032262116,0.00023422077,0.00027608086,0.00014464381],"domain_scores_gemma":[0.9966529,0.0014952621,0.00017165032,0.0002097411,0.0007233353,0.0007470983],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002714411,0.0003206475,0.00029683113,0.0010710531,0.008152512,0.0069142943,0.00037686448,0.0013948194,0.017096205],"category_scores_gemma":[0.0074345097,0.00033888558,0.00013682053,0.0007821837,0.0065236115,0.005115442,0.001958214,0.0049635777,0.002948713],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008778492,0.000029131123,0.0019926694,0.00007533769,0.0000063537714,0.0002904061,0.06280699,0.0000326943,0.00040767857,0.25887161,0.6357086,0.039690718],"study_design_scores_gemma":[0.0000023291425,0.0000079382335,0.0012783272,0.00012393008,0.00000168891,0.000080118436,0.013863789,0.000022590082,0.00014283786,0.005340745,0.97912794,0.00000785839],"about_ca_topic_score_codex":0.029202498,"about_ca_topic_score_gemma":0.11926888,"teacher_disagreement_score":0.029202498,"about_ca_system_score_codex":0.0033020081,"about_ca_system_score_gemma":0.0018711514,"threshold_uncertainty_score":0.058065057},"labels":[],"label_agreement":null},{"id":"W4231950009","doi":"10.15353/kinema.vi.1130","title":"Toronto 2006","year":2006,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Movie theater; Mainstream; Obligation; Media studies; History; Currency; Advertising; Art history; Art; Sociology; Political science; Law; Business","score_opus":0.02334676294889195,"score_gpt":0.25114997082885354,"score_spread":0.22780320787996158,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4231950009","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007961164,0.015046118,0.0003301591,0.017979722,0.011068229,0.00005334644,0.0092654945,0.00033429373,0.9451265],"genre_scores_gemma":[0.002720509,0.004965829,0.00016112863,0.0009357357,0.0008669133,0.000013785421,0.0021381008,0.000116467956,0.98808146],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994898,0.000029534769,0.000023618692,0.00010428561,0.00026014465,0.00009273471],"domain_scores_gemma":[0.999032,0.00004374147,0.000046306286,0.00006961555,0.00042062314,0.00038766864],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003684098,0.0008782466,0.0004169438,0.0011896674,0.0028052854,0.0056651384,0.00069858145,0.0015067827,0.594385],"category_scores_gemma":[0.0010305326,0.00042013623,0.00031215686,0.0022511606,0.0005978659,0.0014722933,0.0016140668,0.0014321083,0.27599472],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013163965,0.0000048312936,0.00009612102,0.000049247108,0.0000013149366,0.00005036211,0.00006349886,0.00002539452,0.00008340188,0.0024291545,0.9816757,0.0155079095],"study_design_scores_gemma":[0.0000010790917,0.0000016880598,0.00031634074,0.000027844955,5.474498e-7,0.000015553842,0.00004727971,0.0000065669205,0.000017548802,0.000089852474,0.9994742,0.000001462133],"about_ca_topic_score_codex":0.17034069,"about_ca_topic_score_gemma":0.45599848,"teacher_disagreement_score":0.82965934,"about_ca_system_score_codex":0.0077383937,"about_ca_system_score_gemma":0.0067619993,"threshold_uncertainty_score":0.5785605},"labels":[],"label_agreement":null},{"id":"W4232048679","doi":"10.32920/ryerson.14664276","title":"Documenting the world at home and abroad : The Jacques Madvo collection","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"Durham University","keywords":"Amateur; Lift (data mining); Value (mathematics); Perspective (graphical); Data collection; Visual arts; Media studies; History; Computer science; Art; Sociology; Advertising; Archaeology; Business; Social science","score_opus":0.024120756447305273,"score_gpt":0.2438987449130214,"score_spread":0.21977798846571614,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232048679","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19905862,0.028597457,0.0023491867,0.018365312,0.0033138765,0.0003235547,0.016675768,0.00033444204,0.73098177],"genre_scores_gemma":[0.6648291,0.018258896,0.0050155357,0.001200506,0.0019389732,0.00013202387,0.011565932,0.0007081783,0.2963509],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998901,0.0002138835,0.00004016396,0.0001304451,0.0005496109,0.00016480261],"domain_scores_gemma":[0.9978155,0.0005333069,0.00027278895,0.00044736383,0.00056100707,0.00037007878],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013679952,0.00028810912,0.0002494636,0.004779258,0.00607819,0.0068702362,0.00062913704,0.00058191223,0.015108108],"category_scores_gemma":[0.0056421123,0.000269267,0.00017050415,0.007131297,0.002427212,0.0016921117,0.0026943022,0.0010509513,0.0014185449],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018655839,0.00004908516,0.014409693,0.00080503116,0.000042441967,0.0018837138,0.10954694,0.0003001515,0.0024881698,0.13995251,0.542997,0.18733875],"study_design_scores_gemma":[0.000003477393,0.000011294618,0.0205143,0.0002502254,0.0000066095645,0.00024654437,0.008991489,0.000031822237,0.00035793055,0.0007693965,0.9688023,0.000014627226],"about_ca_topic_score_codex":0.2297574,"about_ca_topic_score_gemma":0.5089328,"teacher_disagreement_score":0.2297574,"about_ca_system_score_codex":0.007936582,"about_ca_system_score_gemma":0.0046999534,"threshold_uncertainty_score":0.4568401},"labels":[],"label_agreement":null},{"id":"W4232065494","doi":"10.47749/t/unicamp.2015.958738","title":"O som no documentário","year":2015,"lang":"pt","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Documentary film; Perspective (graphical); Visual arts; Film studies; Art; Field (mathematics); Art history; Key (lock); Media studies; Sociology; Computer science","score_opus":0.0335548238755879,"score_gpt":0.26611067649135695,"score_spread":0.23255585261576905,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232065494","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005379829,0.012920064,0.0013139623,0.02189563,0.0142233865,0.0001768498,0.007091406,0.0005693631,0.93642956],"genre_scores_gemma":[0.07167159,0.03432871,0.0030216794,0.008618642,0.01412449,0.00032479962,0.011503217,0.0010450355,0.85536194],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9974566,0.0006818179,0.00014135013,0.00059189246,0.0008696672,0.00025862677],"domain_scores_gemma":[0.9936283,0.001437645,0.0009051726,0.0009927459,0.0019601958,0.0010758287],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019796726,0.00064899115,0.0010114368,0.0026328405,0.0026085118,0.012900547,0.0013812747,0.0021281687,0.2974925],"category_scores_gemma":[0.013009293,0.00028523253,0.00048541417,0.0036683711,0.0014033454,0.0049249358,0.0028829842,0.003236649,0.16347083],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018226003,0.000108689506,0.001632774,0.00069332955,0.000024018356,0.0004057296,0.0017939013,0.000119924916,0.0006471519,0.083666,0.75972015,0.15100601],"study_design_scores_gemma":[0.0000061369033,0.0000086664295,0.00037877838,0.00021204,0.000002908804,0.00009062099,0.0004277503,0.000026548501,0.00007407918,0.0010803742,0.9976871,0.0000048717106],"about_ca_topic_score_codex":0.0063958648,"about_ca_topic_score_gemma":0.006726652,"teacher_disagreement_score":0.2974925,"about_ca_system_score_codex":0.0030660245,"about_ca_system_score_gemma":0.003510644,"threshold_uncertainty_score":0.99521154},"labels":[],"label_agreement":null},{"id":"W4232105222","doi":"10.1093/oxfordhb/9780190229108.013.16","title":"Stand Tall","year":2019,"lang":"en","type":"reference-entry","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Theme (computing); Indigenous; The Imaginary; History; Order (exchange); Sociology; Media studies; Art history; Psychology","score_opus":0.05083557943160806,"score_gpt":0.23220234086989713,"score_spread":0.18136676143828906,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232105222","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0021413611,0.0015640615,0.0006505637,0.0026929819,0.0022862481,0.00008767196,0.002375457,0.00050118094,0.98770046],"genre_scores_gemma":[0.005340091,0.00059536216,0.00032759397,0.00041959606,0.00011894224,0.0000150455835,0.0009449307,0.00023003788,0.9920083],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999577,0.000031032017,0.000015368996,0.000110188164,0.00015219314,0.00011426853],"domain_scores_gemma":[0.9995851,0.00002572857,0.00001719803,0.00003629338,0.00016692311,0.00016884887],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00025859723,0.0009123372,0.00049906387,0.0011473771,0.0038561602,0.005328054,0.0009156818,0.0013722361,0.72157717],"category_scores_gemma":[0.001162479,0.00029528295,0.00035523568,0.0008945262,0.0005151827,0.0028253186,0.0035413678,0.0013428497,0.43255457],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007296269,0.000027648759,0.0006793439,0.00016472876,0.0000072693792,0.00029753224,0.0011175835,0.00005339755,0.0008431632,0.017386017,0.8344579,0.14489253],"study_design_scores_gemma":[0.0000013760567,0.000003758991,0.00034986413,0.000024683271,0.0000011103675,0.000039606704,0.0002763748,0.0000107764445,0.00004342158,0.0002461828,0.99900085,0.0000020058392],"about_ca_topic_score_codex":0.039048284,"about_ca_topic_score_gemma":0.12840083,"teacher_disagreement_score":0.27842283,"about_ca_system_score_codex":0.001722604,"about_ca_system_score_gemma":0.001609152,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4232223510","doi":"10.4000/books.septentrion.9487","title":"Introduction","year":2012,"lang":"fr","type":"book-chapter","venue":"Presses universitaires du Septentrion eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.019172510712894546,"score_gpt":0.17905182115364235,"score_spread":0.1598793104407478,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232223510","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022559857,0.014193387,0.004573784,0.009685166,0.0043770475,0.00012453742,0.00313368,0.00045315473,0.96120334],"genre_scores_gemma":[0.027594944,0.015092563,0.004289946,0.0041106255,0.002635087,0.00016843378,0.0034248063,0.00037884535,0.94230485],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99908316,0.0001521297,0.000041264007,0.0002713842,0.00032543347,0.00012671722],"domain_scores_gemma":[0.9988312,0.00030420022,0.00007716005,0.00015595011,0.0004590405,0.000172469],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000967173,0.00066173146,0.0004388081,0.001710466,0.001909228,0.005641446,0.0012955421,0.0023018257,0.26820165],"category_scores_gemma":[0.0031571304,0.0002757375,0.00043795374,0.0018037373,0.0013157437,0.0039032656,0.0021145963,0.0020450028,0.09495169],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007097456,0.000035380683,0.0006452666,0.00042963494,0.000007463127,0.00019456517,0.0019165701,0.00019727089,0.00048187323,0.25369388,0.5512944,0.19103266],"study_design_scores_gemma":[0.0000016265218,0.0000053098247,0.00036986207,0.00014532864,0.0000011465902,0.00010555846,0.00019940958,0.000021132299,0.00005027402,0.0046085003,0.99448836,0.000003513297],"about_ca_topic_score_codex":0.007274056,"about_ca_topic_score_gemma":0.0059167235,"teacher_disagreement_score":0.26820165,"about_ca_system_score_codex":0.0027304217,"about_ca_system_score_gemma":0.002218544,"threshold_uncertainty_score":0.8972239},"labels":[],"label_agreement":null},{"id":"W4232327342","doi":"10.7202/012333ar","title":"Index des auteurs","year":2005,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université de Montréal; Université Laval; Université du Québec à Montréal","funders":"","keywords":"Index (typography); Mathematics; Computer science; World Wide Web","score_opus":0.03921278445008876,"score_gpt":0.24355533138566485,"score_spread":0.20434254693557607,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232327342","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012143096,0.015048403,0.0012801593,0.015680293,0.033199377,0.00024595755,0.013471579,0.0014153541,0.9184446],"genre_scores_gemma":[0.005920425,0.006628987,0.0006105972,0.0022314691,0.005063631,0.00017934856,0.005085089,0.0003955809,0.9738849],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978434,0.00023705047,0.00018303572,0.00050454383,0.00097218214,0.00025979962],"domain_scores_gemma":[0.9935953,0.00063521677,0.00045959366,0.0006678814,0.003626033,0.0010160267],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0013931202,0.0016340619,0.0010834566,0.005707623,0.002363876,0.0062929546,0.0016320973,0.003007351,0.66504997],"category_scores_gemma":[0.008529439,0.00052468013,0.0006423524,0.0038093098,0.00074332417,0.0030950338,0.0032700996,0.0021981492,0.59332734],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052087453,0.00002435216,0.0004194965,0.00036002728,0.000007723665,0.00010050418,0.00009029548,0.0000740747,0.00029974376,0.004667313,0.89709944,0.09680503],"study_design_scores_gemma":[0.0000045106603,0.000008163568,0.00054596126,0.00013611386,0.0000025908298,0.00008514336,0.000054456574,0.00003487362,0.00008133941,0.00057395146,0.99846846,0.0000043960345],"about_ca_topic_score_codex":0.006411499,"about_ca_topic_score_gemma":0.0054677236,"teacher_disagreement_score":0.33495003,"about_ca_system_score_codex":0.002815091,"about_ca_system_score_gemma":0.0033197352,"threshold_uncertainty_score":0.47776556},"labels":[],"label_agreement":null},{"id":"W4232527163","doi":"10.1386/qsmpc.1.3.361_5","title":"Tv Review","year":2016,"lang":"en","type":"article","venue":"Queer Studies in Media & Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Orange (colour); Media studies; Geography; Sociology; Optics; Physics","score_opus":0.07148944332275577,"score_gpt":0.29749626721117106,"score_spread":0.2260068238884153,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232527163","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002679756,0.82013255,0.00032869304,0.03716403,0.0403217,0.00010213362,0.0035632523,0.0001485439,0.09797108],"genre_scores_gemma":[0.004659289,0.77912456,0.00043711983,0.04005907,0.028610853,0.00014933097,0.0037970152,0.00015261747,0.14301012],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993542,0.00011932287,0.000056973735,0.0000989527,0.00027008637,0.000100573685],"domain_scores_gemma":[0.99612075,0.0008001684,0.00025943175,0.00015869547,0.0021730866,0.0004878641],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009087987,0.00046021046,0.0008920808,0.0033208004,0.00066353416,0.0027939556,0.0010770971,0.0016033539,0.14881589],"category_scores_gemma":[0.0071069994,0.00027002234,0.00056683464,0.0037297918,0.00062685757,0.0016231246,0.001056002,0.002161427,0.051905133],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002209742,0.0000071358936,0.000043076172,0.0017785096,0.000018937695,0.000018890618,0.000017183824,0.000016998225,0.000051600633,0.0006962762,0.91931,0.07801929],"study_design_scores_gemma":[0.0000065804643,0.0000042649176,0.00020196638,0.0028468168,0.000023405964,0.00002886513,0.000022213027,0.0000035853566,0.000015201515,0.00018803142,0.9966562,0.0000028439779],"about_ca_topic_score_codex":0.02464864,"about_ca_topic_score_gemma":0.040096063,"teacher_disagreement_score":0.14881589,"about_ca_system_score_codex":0.0026885848,"about_ca_system_score_gemma":0.006499095,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4232563578","doi":"10.1353/mdr.2004.0042","title":"\"Before\" and \"After\" in Stoppard's Arcadia","year":2004,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.01671921330652451,"score_gpt":0.20763842850013112,"score_spread":0.1909192151936066,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232563578","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14616112,0.003004646,0.0020656772,0.026663225,0.0019117624,0.00004279881,0.00036170866,0.00010445032,0.8196846],"genre_scores_gemma":[0.9019513,0.00074540667,0.00059121597,0.0024119562,0.0005791072,0.00003153628,0.00015970846,0.00013043021,0.09339939],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99884987,0.0005612138,0.000020634732,0.0001494091,0.00018150055,0.00023738101],"domain_scores_gemma":[0.9989133,0.00049589644,0.00012884961,0.00012348677,0.00013084964,0.00020767955],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010586098,0.0003962381,0.00022852149,0.00093996676,0.0068109143,0.0073050046,0.0006035656,0.0016658866,0.019395445],"category_scores_gemma":[0.004165987,0.00023035446,0.00018169456,0.001084992,0.005716885,0.0037146327,0.0030063647,0.0049879937,0.0015834242],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025677457,0.00008645402,0.003245299,0.00017218344,0.000019183251,0.00049043994,0.18990748,0.00010579141,0.00061475893,0.6867364,0.08672794,0.031637277],"study_design_scores_gemma":[0.000019809104,0.000053882068,0.011059221,0.00023193216,0.000025802627,0.0004410602,0.11064391,0.00018619324,0.0005665005,0.025550134,0.8511877,0.0000338641],"about_ca_topic_score_codex":0.00739991,"about_ca_topic_score_gemma":0.016952086,"teacher_disagreement_score":0.019395445,"about_ca_system_score_codex":0.0030188132,"about_ca_system_score_gemma":0.0009621213,"threshold_uncertainty_score":0.064884186},"labels":[],"label_agreement":null},{"id":"W4232576322","doi":"10.4324/9781135000356-rem1021-1","title":"Akerman, Chantal (1950–2015)","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Film director; Alienation; Style (visual arts); Art; Dislocation; Art history; Psychoanalysis; Visual arts; Psychology; Political science; Movie theater; Materials science; Law","score_opus":0.045699212912769016,"score_gpt":0.2233392532014536,"score_spread":0.17764004028868458,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232576322","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005843534,0.1615875,0.0007020551,0.018567577,0.013833234,0.0000544931,0.0010444581,0.00019241245,0.79817474],"genre_scores_gemma":[0.037995566,0.022171453,0.0003708185,0.0017285695,0.00078395446,0.000028928329,0.0002580888,0.00018343556,0.93647933],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99963224,0.00005126645,0.000011173242,0.00010168411,0.00013151373,0.00007198198],"domain_scores_gemma":[0.999736,0.00003735191,0.000023412533,0.000011596756,0.000116916075,0.000074720316],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045275758,0.00052792556,0.00025897298,0.0015436434,0.003011115,0.0038059256,0.0006317556,0.0010054604,0.055922043],"category_scores_gemma":[0.0014572429,0.0002893087,0.00012321468,0.0013778375,0.0010332473,0.0026280857,0.0012654996,0.0015853446,0.014669774],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050015427,0.000018081077,0.000335172,0.00018981099,0.0000051464126,0.00024958135,0.0042246706,0.00006618237,0.0003421156,0.07272578,0.82658195,0.095211536],"study_design_scores_gemma":[9.384118e-7,0.0000023190062,0.0002681626,0.0000761392,9.730526e-7,0.00006340179,0.00029441513,0.0000068806007,0.00005351266,0.0005281422,0.998703,0.0000020579885],"about_ca_topic_score_codex":0.055296652,"about_ca_topic_score_gemma":0.100679986,"teacher_disagreement_score":0.055922043,"about_ca_system_score_codex":0.004342681,"about_ca_system_score_gemma":0.002465342,"threshold_uncertainty_score":0.18707788},"labels":[],"label_agreement":null},{"id":"W4232616750","doi":"10.5117/9789463728409_ch04","title":"Festivals as Archives: Collective Memory and LGBTQ Festivals' Temporality","year":2021,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Temporality; Lesbian; Queer; Aesthetics; Space (punctuation); Sociology; Gender studies; Visual arts; Art; Epistemology; Computer science; Philosophy","score_opus":0.04936222092595589,"score_gpt":0.23384360750724317,"score_spread":0.1844813865812873,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232616750","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1490104,0.031064663,0.0038085578,0.01944517,0.00080840784,0.00010464013,0.00030910026,0.00009512259,0.7953539],"genre_scores_gemma":[0.87504065,0.012707357,0.0013268611,0.00088641414,0.00060134055,0.000118724805,0.00012462193,0.0001008036,0.109093115],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99902964,0.00057534437,0.000028603352,0.00007269674,0.0001255953,0.00016805065],"domain_scores_gemma":[0.99830234,0.00096308166,0.00023813585,0.00014274594,0.00012704465,0.00022663134],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001501993,0.00029731402,0.00021040405,0.001771861,0.0051259417,0.011064879,0.0009726717,0.001210186,0.012426587],"category_scores_gemma":[0.0028200385,0.00022352205,0.00023628917,0.0029079986,0.007520059,0.0055076024,0.0038032276,0.0016501812,0.00065917533],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042290412,0.0000555302,0.0032170857,0.00024625272,0.000009870449,0.0004030516,0.23354568,0.00018822098,0.00021262247,0.69980794,0.023322752,0.038948733],"study_design_scores_gemma":[0.000011992524,0.000044858305,0.008895946,0.0009314415,0.00001145147,0.00044824032,0.22502539,0.00021767421,0.00022015041,0.042145398,0.72202766,0.000019872145],"about_ca_topic_score_codex":0.016813552,"about_ca_topic_score_gemma":0.03596995,"teacher_disagreement_score":0.016813552,"about_ca_system_score_codex":0.0047750953,"about_ca_system_score_gemma":0.0022587907,"threshold_uncertainty_score":0.04157108},"labels":[],"label_agreement":null},{"id":"W4232621240","doi":"10.15353/kinema.vi.1158","title":"Istanbul 2007","year":2007,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"German; Film festival; George (robot); Turkish; Competition (biology); Art history; Art; Visual arts; Closing (real estate); History; Media studies; Political science; Sociology; Law; Archaeology","score_opus":0.03696009288544266,"score_gpt":0.2797319902490991,"score_spread":0.24277189736365645,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232621240","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0063128388,0.02461149,0.00069923984,0.009908633,0.012722852,0.00009420815,0.0054057683,0.0006108279,0.939634],"genre_scores_gemma":[0.023003155,0.010710824,0.00083475304,0.0011568792,0.0007904222,0.000068667956,0.0049277237,0.00026249167,0.9582452],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99954754,0.000050729865,0.000025183326,0.00009654373,0.00016186283,0.00011816484],"domain_scores_gemma":[0.9996288,0.000019367893,0.000024111596,0.000035459398,0.0001846268,0.00010772422],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00062635867,0.0011747467,0.00052712834,0.0011737881,0.0020628525,0.0061329333,0.000926162,0.0016511055,0.3308064],"category_scores_gemma":[0.0006858965,0.0003190527,0.00034438667,0.0011161184,0.0005816097,0.0018290022,0.0020239777,0.0013276151,0.18422258],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020145632,0.000072778974,0.00071224466,0.00036033033,0.000013166867,0.00039969213,0.00024260237,0.00019946981,0.0007569039,0.015168368,0.8717069,0.110166095],"study_design_scores_gemma":[0.0000070527876,0.0000121500925,0.0012672737,0.00010512617,0.000002774192,0.00013195879,0.00018820487,0.000048773654,0.00027862264,0.00056993664,0.99738246,0.000005628574],"about_ca_topic_score_codex":0.007501757,"about_ca_topic_score_gemma":0.012042172,"teacher_disagreement_score":0.3308064,"about_ca_system_score_codex":0.0027648308,"about_ca_system_score_gemma":0.002636932,"threshold_uncertainty_score":0.95452344},"labels":[],"label_agreement":null},{"id":"W4232776348","doi":"10.32920/ryerson.14653743","title":"Know Your Neighbour: Reality Television and Performances of the Self","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Apartment; Order (exchange); Test (biology); Advertising; Computer science; Sociology; Media studies; Internet privacy; Business; Political science; Law","score_opus":0.04329327479285514,"score_gpt":0.24934858646542,"score_spread":0.20605531167256486,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232776348","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22099097,0.008403466,0.0029998862,0.022534499,0.0011483213,0.00002072505,0.00022438967,0.000075207514,0.74360263],"genre_scores_gemma":[0.9431782,0.0028569119,0.0004975257,0.0006855065,0.0004808774,0.000013322517,0.000082229126,0.000053448508,0.05215198],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9984794,0.0011070766,0.00001785336,0.000095391835,0.00014791451,0.00015229215],"domain_scores_gemma":[0.9984627,0.0008734542,0.00017337783,0.00017246358,0.00008809031,0.00022988554],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010863711,0.0002693556,0.00014569133,0.00062451075,0.0026970468,0.0069017564,0.00048199785,0.0011476388,0.0125018265],"category_scores_gemma":[0.0039705704,0.00016017242,0.00017039721,0.0008463089,0.005842267,0.004280425,0.002734469,0.0014577438,0.0010928556],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018534236,0.00007352539,0.0050459844,0.00020741943,0.000027825345,0.0006660182,0.20084094,0.0002890922,0.0005408319,0.6828921,0.059797134,0.049433842],"study_design_scores_gemma":[0.000027581573,0.0001386769,0.018368797,0.00050297444,0.000029095825,0.0011437752,0.21370189,0.000436702,0.00071070855,0.06672669,0.6981578,0.000055421817],"about_ca_topic_score_codex":0.0035188391,"about_ca_topic_score_gemma":0.005790795,"teacher_disagreement_score":0.0125018265,"about_ca_system_score_codex":0.0013660508,"about_ca_system_score_gemma":0.00042259408,"threshold_uncertainty_score":0.04182279},"labels":[],"label_agreement":null},{"id":"W4232898547","doi":"10.3138/jcs.39.1.49","title":"Holiday at the Banff School of Fine Arts: The Cinematic Production of Culture, Nature, and Nation in the Canadian Rockies, 1945-1952","year":2004,"lang":"en","type":"article","venue":"Journal of Canadian Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Tourism; National park; Citizenship; The arts; National identity; Sociology; Aotearoa; Wilderness; Nationalism; Recreation; Media studies; Political science; Gender studies; Politics; Geography; Law; Archaeology","score_opus":0.03856575724250647,"score_gpt":0.24399656207088502,"score_spread":0.20543080482837855,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232898547","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47096425,0.024571786,0.001201493,0.026834296,0.0013339748,0.00015298581,0.004483738,0.0001421024,0.47031543],"genre_scores_gemma":[0.9248179,0.006377011,0.0006353098,0.0006289186,0.00017766027,0.000021930093,0.00058671774,0.000059417776,0.066695176],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994967,0.00007506264,0.000006006216,0.000050310686,0.00019258799,0.00017939041],"domain_scores_gemma":[0.9990243,0.00015608799,0.00005951069,0.000038336682,0.00037545382,0.0003462663],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00073538715,0.00038141513,0.00015966267,0.002464376,0.011415782,0.005680663,0.00069718115,0.00057830167,0.0099366205],"category_scores_gemma":[0.0023053796,0.0002494027,0.00015941364,0.0022984913,0.0045082066,0.0013411095,0.0013423854,0.0013397065,0.0005077919],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028964787,0.00008753643,0.03587375,0.00039079017,0.000052819905,0.0011956388,0.38174868,0.00041354366,0.0024781618,0.06418243,0.36233795,0.15094914],"study_design_scores_gemma":[0.000008506541,0.000016085442,0.11632763,0.00027312816,0.000024197732,0.00020134906,0.110131495,0.00013109182,0.00056602753,0.00094238424,0.77133816,0.00003993513],"about_ca_topic_score_codex":0.9803987,"about_ca_topic_score_gemma":0.9956896,"teacher_disagreement_score":0.048050385,"about_ca_system_score_codex":0.048050385,"about_ca_system_score_gemma":0.027408894,"threshold_uncertainty_score":0.34863162},"labels":[],"label_agreement":null},{"id":"W4232909574","doi":"10.4324/9781135000356-rem1032-1","title":"Apocalypse Now (1979)","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Art; Novella; Art history; Style (visual arts); Modernism (music); Poetry; Literature; Performance art; Colonialism; History","score_opus":0.047880506069546615,"score_gpt":0.21488496798222168,"score_spread":0.16700446191267507,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4232909574","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009843688,0.0047151237,0.00021625281,0.0072977464,0.008311091,0.00004089768,0.0003221205,0.00008069349,0.9780317],"genre_scores_gemma":[0.017063007,0.0033016407,0.00028363685,0.004229352,0.0020939414,0.000073459414,0.00027538126,0.00018416074,0.9724955],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910516,0.00007989913,0.000028819535,0.00015375219,0.00041575613,0.00021653337],"domain_scores_gemma":[0.9993081,0.00007760546,0.00005196687,0.00008811194,0.00028495636,0.00018925626],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00050804805,0.00064644136,0.00026322075,0.0013145537,0.004916017,0.0055275243,0.0007929527,0.0024095373,0.1738101],"category_scores_gemma":[0.0022206814,0.00026638058,0.00022700871,0.0010826426,0.0019111881,0.0033456297,0.0024476151,0.0039327857,0.040380917],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030348152,0.000028260056,0.000116058,0.000094152776,0.0000018346018,0.0001668076,0.000785451,0.00001750914,0.00027425733,0.06688599,0.88970685,0.041892536],"study_design_scores_gemma":[0.0000015570498,0.0000024468889,0.00014824355,0.000032444044,3.0954754e-7,0.000030084579,0.00008603785,0.0000033669696,0.00005157933,0.00041702608,0.99922526,0.000001542892],"about_ca_topic_score_codex":0.043508023,"about_ca_topic_score_gemma":0.064817876,"teacher_disagreement_score":0.1738101,"about_ca_system_score_codex":0.005556213,"about_ca_system_score_gemma":0.0035522946,"threshold_uncertainty_score":0.5814527},"labels":[],"label_agreement":null},{"id":"W4233716754","doi":"10.22215/etd/2014-10384","title":"Screen, Simulation, Situation: An Archaeology of Early Film Animation, 1908-1921.","year":2014,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Animation; Movie theater; Scholarship; Art; Visual arts; Negotiation; Bridging (networking); Construct (python library); Computer animation; Sociocultural evolution; Computer science; Multimedia; Computer graphics (images); Sociology; Anthropology; Social science","score_opus":0.032512219561050965,"score_gpt":0.2680043197567779,"score_spread":0.23549210019572694,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4233716754","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.594814,0.018727975,0.0047356174,0.00822266,0.00052411907,0.00009386874,0.0012852348,0.00012660991,0.3714698],"genre_scores_gemma":[0.9731338,0.0048548616,0.0009654055,0.00017664363,0.00009964825,0.00003808208,0.0002267894,0.0000531207,0.020451633],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99953234,0.0002671007,0.000017461442,0.0000632366,0.00006814267,0.00005168698],"domain_scores_gemma":[0.9992999,0.0004860623,0.00006267033,0.000046540405,0.0000496957,0.00005511157],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057323155,0.0003005957,0.00020632488,0.0028822867,0.0038554734,0.0030998664,0.00043269602,0.0007301254,0.0054068947],"category_scores_gemma":[0.0033313674,0.0002963462,0.00010990884,0.0022293134,0.0055263024,0.0022208358,0.0014144166,0.0010791749,0.00041054023],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015498133,0.000041841344,0.0065692225,0.00033975113,0.000022222936,0.0017847813,0.7293136,0.0003993742,0.0010791488,0.15878649,0.024426933,0.077081606],"study_design_scores_gemma":[0.000014583545,0.000043618464,0.035876952,0.0011321076,0.00003121799,0.0016758285,0.17308886,0.00046522098,0.00084963394,0.0077169756,0.77907085,0.000034152712],"about_ca_topic_score_codex":0.015896453,"about_ca_topic_score_gemma":0.03934336,"teacher_disagreement_score":0.015896453,"about_ca_system_score_codex":0.0031023487,"about_ca_system_score_gemma":0.000702787,"threshold_uncertainty_score":0.031607807},"labels":[],"label_agreement":null},{"id":"W4233972682","doi":"10.1386/fm.7.3.79_5","title":"Reviews DVD/Blu-ray","year":2016,"lang":"en","type":"article","venue":"Film Matters","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Internet privacy; Computer science","score_opus":0.038439585896604796,"score_gpt":0.22203123232270577,"score_spread":0.18359164642610099,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4233972682","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00078981766,0.005014116,0.0005357497,0.0022478192,0.006612876,0.00010066372,0.0058184676,0.0018304074,0.97705007],"genre_scores_gemma":[0.0027134179,0.0016555508,0.00026430344,0.00033189292,0.0014132964,0.000022568265,0.0028973722,0.00047334266,0.9902283],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999506,0.00003344743,0.0000134408765,0.00006420464,0.0003268408,0.000056066016],"domain_scores_gemma":[0.9987596,0.00011011234,0.00004186139,0.00011070493,0.0007275758,0.00025003788],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002641192,0.001009659,0.0005607174,0.0023887,0.0009781147,0.0034937365,0.0008386109,0.00071725185,0.76935107],"category_scores_gemma":[0.0016451018,0.00038387795,0.0003975819,0.0024840154,0.00024615164,0.0012197839,0.0010973864,0.0011256043,0.56100243],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016955273,0.000006914684,0.000058827583,0.00003959283,0.0000013966186,0.00002278648,0.0000059882077,0.000036645575,0.000101623235,0.00041336354,0.97154903,0.027746847],"study_design_scores_gemma":[0.0000043025793,0.0000063771276,0.0005853746,0.000029933513,0.0000012406989,0.00002495473,0.000019029747,0.000027343474,0.00007361217,0.0001115061,0.9991142,0.000002061978],"about_ca_topic_score_codex":0.014083635,"about_ca_topic_score_gemma":0.030536486,"teacher_disagreement_score":0.76935107,"about_ca_system_score_codex":0.0017543146,"about_ca_system_score_gemma":0.0011429051,"threshold_uncertainty_score":0.32899266},"labels":[],"label_agreement":null},{"id":"W4234705959","doi":"10.15353/kinema.vi.1211","title":"Leipzig 2008","year":2009,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"AKA; German; Animation; Visual arts; Art; Art history; Harpsichord; Humanities; History; Computer science; Library science; Archaeology; Piano","score_opus":0.03876377983298756,"score_gpt":0.2693928319016615,"score_spread":0.23062905206867396,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234705959","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023556303,0.013691306,0.001900247,0.006725373,0.0058295187,0.00010519044,0.017146815,0.0012021326,0.9510437],"genre_scores_gemma":[0.004740298,0.004508899,0.0006303759,0.0004264578,0.00024758728,0.00006835813,0.004625894,0.00040225647,0.9843498],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996258,0.000029283437,0.000022515773,0.0001056629,0.00015505437,0.00006164208],"domain_scores_gemma":[0.9996712,0.00003115825,0.00002871906,0.000053298656,0.00011782621,0.000097767006],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00034737395,0.00096806453,0.00053503265,0.0012676626,0.0006165269,0.0033793368,0.0007820443,0.0010998652,0.65115476],"category_scores_gemma":[0.0010633711,0.00040129622,0.00029988555,0.001325372,0.00042565507,0.0020193849,0.0018448427,0.0011926498,0.51505107],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006666101,0.00001939193,0.00018481961,0.00016203529,0.0000046884315,0.00010521237,0.00005032364,0.00014374753,0.0005826401,0.007987977,0.89532465,0.09536796],"study_design_scores_gemma":[0.0000048425936,0.000008373071,0.00074584293,0.000090116744,0.0000012030614,0.00008641765,0.000034656397,0.00004545937,0.00013077716,0.00054554857,0.99830294,0.0000038638286],"about_ca_topic_score_codex":0.004234542,"about_ca_topic_score_gemma":0.008469308,"teacher_disagreement_score":0.65115476,"about_ca_system_score_codex":0.0013635865,"about_ca_system_score_gemma":0.0010514165,"threshold_uncertainty_score":0.49758536},"labels":[],"label_agreement":null},{"id":"W4234891373","doi":"10.3138/cras.41.1.97","title":"He “coulda been a contender” for Miss America: Feminizing Brando in <i>On the Waterfront</i>","year":2011,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Character (mathematics); Narrative; Masculinity; Context (archaeology); Literature; Reading (process); History; Art; Sociology; Gender studies; Philosophy; Archaeology; Linguistics","score_opus":0.12380872439609514,"score_gpt":0.27403491528723645,"score_spread":0.1502261908911413,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234891373","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25590748,0.006913596,0.0014812102,0.08145177,0.0011083537,0.000015700985,0.000091198985,0.000038905106,0.65299183],"genre_scores_gemma":[0.95813763,0.0020436475,0.00019809135,0.0027696744,0.00026853825,0.000008853699,0.000015803638,0.000034427845,0.036523324],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935895,0.00039628785,0.000006489752,0.00004532982,0.00007839458,0.00011466296],"domain_scores_gemma":[0.9992787,0.0004171437,0.000093574185,0.00002671688,0.00008270787,0.00010109265],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010032873,0.00021459495,0.00012423092,0.00062165316,0.005455895,0.005021119,0.0003213333,0.0011933709,0.0058489786],"category_scores_gemma":[0.0015101962,0.00012724697,0.00008887949,0.00054203876,0.008597865,0.0032019643,0.0016822201,0.0018802019,0.00038976435],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008783035,0.00004929496,0.0034645256,0.00014581745,0.000007893416,0.00079796626,0.4280277,0.00007237581,0.0009629828,0.46459445,0.08057313,0.02121604],"study_design_scores_gemma":[0.000008870988,0.00002394911,0.0050062113,0.00028799512,0.000010925047,0.00034394997,0.27260384,0.00012958044,0.0006308357,0.010005817,0.7109334,0.000014680313],"about_ca_topic_score_codex":0.021701353,"about_ca_topic_score_gemma":0.05710913,"teacher_disagreement_score":0.021701353,"about_ca_system_score_codex":0.0031598902,"about_ca_system_score_gemma":0.001113708,"threshold_uncertainty_score":0.043150127},"labels":[],"label_agreement":null},{"id":"W4234953149","doi":"10.22215/etd/2010-09162","title":"Who designed these boxes?: queer film festivals in Canada : the economics and politics of queer space","year":2010,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Politics; Queer theory; Space (punctuation); Gender studies; Sociology; Art; Humanities; Art history; Political science; Computer science","score_opus":0.01513503309678246,"score_gpt":0.21101552277316862,"score_spread":0.19588048967638616,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4234953149","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63704693,0.015401596,0.0007392149,0.13960522,0.00035261665,0.00008167713,0.002592714,0.00004100808,0.20413904],"genre_scores_gemma":[0.96962625,0.0031651973,0.00014707417,0.0014662456,0.000044651504,0.000008904219,0.00017137564,0.000025790385,0.02534449],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9990614,0.0001244715,0.000010028733,0.00007874605,0.00019982166,0.0005255956],"domain_scores_gemma":[0.9972277,0.00045311364,0.00029065806,0.00006764821,0.00084202766,0.0011188509],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00096205994,0.00022795655,0.00025222905,0.0014808459,0.015051611,0.009737846,0.0010847956,0.001638959,0.014623509],"category_scores_gemma":[0.0047932356,0.000267555,0.00019191288,0.0042128405,0.0073783523,0.0034339975,0.0020769562,0.0020579698,0.0005302335],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00046944062,0.00015889872,0.13020393,0.00029924055,0.00009791773,0.0010419004,0.21166205,0.0010468949,0.0007928881,0.32389215,0.22560169,0.10473309],"study_design_scores_gemma":[0.000046608002,0.000026339476,0.2914914,0.00057121745,0.00007721068,0.00011992955,0.42052293,0.00068886596,0.00055050076,0.011332693,0.2744567,0.0001155075],"about_ca_topic_score_codex":0.99523807,"about_ca_topic_score_gemma":0.99833506,"teacher_disagreement_score":0.08238262,"about_ca_system_score_codex":0.08238262,"about_ca_system_score_gemma":0.07044916,"threshold_uncertainty_score":0.5977305},"labels":[],"label_agreement":null},{"id":"W4235181167","doi":"10.4000/books.pus.1568","title":"Introduction","year":2018,"lang":"fr","type":"book-chapter","venue":"Presses universitaires de Strasbourg eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Computer science","score_opus":0.019650676575860015,"score_gpt":0.1950732661619412,"score_spread":0.1754225895860812,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235181167","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008844217,0.0063790595,0.0021665606,0.006023544,0.0044109575,0.00011032016,0.002813962,0.00057851884,0.9766326],"genre_scores_gemma":[0.0072216056,0.004766976,0.0014253639,0.0024004553,0.0012282046,0.00009212136,0.002409625,0.0003392364,0.9801165],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987925,0.00014787966,0.00006002486,0.0003462794,0.00048576551,0.00016752709],"domain_scores_gemma":[0.9988902,0.00017924052,0.00006075411,0.00018789299,0.0004574397,0.00022439775],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00089008,0.00087915844,0.00062503264,0.0015556426,0.0022690475,0.0069867177,0.0017490742,0.0029107013,0.5241474],"category_scores_gemma":[0.0032404112,0.00034386994,0.0005879332,0.0018581296,0.0012566234,0.004523512,0.003307499,0.0022292603,0.3725101],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043714,0.00004181766,0.00034070158,0.00028617113,0.0000050515455,0.0001413268,0.0006286669,0.00009592793,0.00032861333,0.09206155,0.7546955,0.1513309],"study_design_scores_gemma":[0.0000014821554,0.000004900734,0.00015430554,0.00008672339,7.8658525e-7,0.000064409076,0.00008459739,0.000010403665,0.000037096244,0.0025996917,0.9969531,0.0000024712522],"about_ca_topic_score_codex":0.0047658454,"about_ca_topic_score_gemma":0.0053918203,"teacher_disagreement_score":0.4758526,"about_ca_system_score_codex":0.0025263724,"about_ca_system_score_gemma":0.0028415557,"threshold_uncertainty_score":0.678746},"labels":[],"label_agreement":null},{"id":"W4235252618","doi":"10.3828/liverpool/9781911325970.003.0003","title":"Third Reel","year":2019,"lang":"en","type":"book-chapter","venue":"Liverpool University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pleasure; Narrative; Exposition (narrative); Comics; Movie theater; Subject (documents); Context (archaeology); Art; Visual arts; Psychology; Aesthetics; History; Literature; Computer science; Neuroscience","score_opus":0.03817559103995167,"score_gpt":0.17327263701436613,"score_spread":0.13509704597441446,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235252618","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000631287,0.0033300372,0.00076579856,0.0033623348,0.0022540775,0.00004078195,0.00037678436,0.0002892901,0.98894954],"genre_scores_gemma":[0.0022827133,0.00096078374,0.00021565301,0.0006129249,0.00013986968,0.0000140214315,0.00012021628,0.0001550647,0.9954987],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994821,0.00006694582,0.000021894919,0.00011623964,0.00022236863,0.00009051422],"domain_scores_gemma":[0.999584,0.00006233226,0.000020561625,0.000073884425,0.0001721313,0.000086958054],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00044411843,0.00075441826,0.00042301507,0.0019653619,0.0029092557,0.0062219645,0.0010778024,0.0015115025,0.3386397],"category_scores_gemma":[0.0016042474,0.00035673333,0.00051324227,0.001306376,0.0010025349,0.003862523,0.002852507,0.0024448656,0.17500354],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024601019,0.000027987902,0.00018111228,0.0001179999,0.000003425281,0.00015175289,0.0014482407,0.00006519887,0.0002489926,0.14646158,0.7510037,0.10026546],"study_design_scores_gemma":[7.160174e-7,0.0000023270848,0.000042397754,0.000028996259,4.7097046e-7,0.00003226602,0.00010606199,0.00000819008,0.000036341582,0.0010012285,0.99873966,0.000001402441],"about_ca_topic_score_codex":0.010859829,"about_ca_topic_score_gemma":0.031009564,"teacher_disagreement_score":0.3386397,"about_ca_system_score_codex":0.00316059,"about_ca_system_score_gemma":0.0020176154,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4235254904","doi":"10.1093/oxfordhb/9780190229108.013.5","title":"Movie Envy","year":2019,"lang":"en","type":"reference-entry","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Exhibition; Value (mathematics); Internationalization; State (computer science); Globalization; History; Media studies; Art history; Sociology; Art; Political science; Law","score_opus":0.05125480922762337,"score_gpt":0.23201039097066947,"score_spread":0.1807555817430461,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235254904","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012190173,0.0012705565,0.00024971366,0.003366083,0.0018130777,0.000053051524,0.006254683,0.00036540537,0.9854085],"genre_scores_gemma":[0.0126482975,0.0012902487,0.00045536863,0.0013830636,0.00040668822,0.000023565777,0.0042349626,0.00022374732,0.97933394],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995192,0.00003515089,0.000011620965,0.00007024598,0.00024824287,0.00011549641],"domain_scores_gemma":[0.999041,0.00004927476,0.00002294393,0.00006529545,0.00049651024,0.00032487276],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003258503,0.00072157616,0.00024074956,0.0017408148,0.005057476,0.005379003,0.0007805337,0.0010735758,0.4815839],"category_scores_gemma":[0.0017465666,0.00019057571,0.00028949327,0.0019484181,0.00054885267,0.0018859862,0.0015624446,0.0012028178,0.11524984],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020551544,0.0000060506595,0.00025934054,0.000056309807,0.0000024278547,0.000060115224,0.00031158965,0.000017843116,0.00014491369,0.010499241,0.9628933,0.025728276],"study_design_scores_gemma":[0.0000012636311,0.0000015721406,0.00055618107,0.000021518688,9.548966e-7,0.00002406348,0.00014826981,0.000012363969,0.000028386798,0.00010135336,0.99910116,0.0000029111884],"about_ca_topic_score_codex":0.4898418,"about_ca_topic_score_gemma":0.76226956,"teacher_disagreement_score":0.5184161,"about_ca_system_score_codex":0.0056087603,"about_ca_system_score_gemma":0.0049651535,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4235421417","doi":"10.1017/ccol9780521898881.011","title":"Channelling the ghosts: the Wooster Group’s remediation of the 1964 Electronovision <i>Hamlet</i>","year":2008,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"HAMLET (protein complex); Greenwich; Art; Interpretation (philosophy); Admiration; Performance art; Art history; History; Literature; Philosophy","score_opus":0.025117362957327975,"score_gpt":0.1667641258493881,"score_spread":0.14164676289206013,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235421417","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.188883,0.008676345,0.007318339,0.47556517,0.027636308,0.00019897358,0.000065378284,0.00064717047,0.29100937],"genre_scores_gemma":[0.6326309,0.0016706057,0.004438888,0.06380634,0.0013843091,0.000083538805,0.00004072265,0.00074057106,0.29520413],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9960089,0.0017531174,0.00008593848,0.00037428556,0.0007480121,0.0010297007],"domain_scores_gemma":[0.9958692,0.0013050832,0.00023680112,0.0006285838,0.0006483346,0.001311884],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0068227556,0.0005573494,0.00036166125,0.00078561687,0.027584797,0.007706801,0.0017646982,0.0076640863,0.01108646],"category_scores_gemma":[0.017251361,0.0005234997,0.0003931642,0.00045496927,0.01938549,0.0055631227,0.009045809,0.012168474,0.00214447],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000097784636,0.000076337994,0.0012139607,0.00009675442,0.000009787882,0.0033467645,0.49743208,0.00012689354,0.0014854436,0.1705804,0.2746044,0.05092943],"study_design_scores_gemma":[0.000022826032,0.000047995516,0.00041787548,0.00021304474,0.000005860253,0.00038251225,0.12843435,0.00009364064,0.0007365965,0.010453366,0.8591631,0.000028890687],"about_ca_topic_score_codex":0.04379295,"about_ca_topic_score_gemma":0.14361782,"teacher_disagreement_score":0.04379295,"about_ca_system_score_codex":0.0064474363,"about_ca_system_score_gemma":0.011834392,"threshold_uncertainty_score":0.08707613},"labels":[],"label_agreement":null},{"id":"W4235422413","doi":"10.4000/amerika.6850","title":"Matthew Ruddick, Funny Valentine : The Story of Chet Baker","year":2015,"lang":"fr","type":"article","venue":"Amerika","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Literature; Art; Art history; History","score_opus":0.05137828155565655,"score_gpt":0.23286247427772197,"score_spread":0.18148419272206542,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235422413","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013310898,0.13514626,0.00076079846,0.66851604,0.011049348,0.00002520491,0.00045161354,0.00006595338,0.1706739],"genre_scores_gemma":[0.31124678,0.09693353,0.0009023351,0.12561858,0.010695016,0.00010281383,0.00030081812,0.00042061426,0.4537794],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99862874,0.00078342337,0.000024565297,0.00017320337,0.00022766089,0.00016255178],"domain_scores_gemma":[0.99710006,0.0019022609,0.00016665857,0.00008317482,0.0003516469,0.00039621477],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012718975,0.0006097758,0.00039134294,0.0011931969,0.009470028,0.0066113803,0.0010468474,0.003970212,0.0112176025],"category_scores_gemma":[0.007226261,0.00037365349,0.00019141505,0.0017550078,0.006552211,0.005980398,0.0019613814,0.0066675167,0.00255582],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002822604,0.000012562637,0.00038286083,0.00007783781,0.0000063181315,0.00026324004,0.021973744,0.000027579415,0.00004427044,0.038981777,0.93053126,0.007670384],"study_design_scores_gemma":[0.0000050196327,0.000004949951,0.00092365465,0.0002394227,0.000003281314,0.00022902197,0.024809454,0.000037254304,0.0000665168,0.004616415,0.96905154,0.00001347519],"about_ca_topic_score_codex":0.0510973,"about_ca_topic_score_gemma":0.13079184,"teacher_disagreement_score":0.0510973,"about_ca_system_score_codex":0.0042100027,"about_ca_system_score_gemma":0.002088641,"threshold_uncertainty_score":0.10159975},"labels":[],"label_agreement":null},{"id":"W4235538626","doi":"10.4324/9781135000356-rem1688-1","title":"Truffaut, François (1932–1984)","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Alienation; Art; Art history; Performance art; Humanities; Visual arts; Political science; Law","score_opus":0.04028949817854728,"score_gpt":0.20902213294180957,"score_spread":0.16873263476326228,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235538626","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0072453353,0.23176384,0.0021348854,0.036028728,0.008300906,0.00005231091,0.001017742,0.00018138063,0.7132749],"genre_scores_gemma":[0.083099514,0.04119087,0.0011499521,0.0044443584,0.0013269016,0.00006160602,0.00028192936,0.00017731191,0.8682675],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994142,0.00014955796,0.000016894732,0.00016250473,0.0001602498,0.00009660305],"domain_scores_gemma":[0.99956363,0.00017459565,0.000036479112,0.000018512827,0.00013878728,0.000067918634],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006770055,0.00087794545,0.00031030623,0.0017430153,0.0035264248,0.0036074352,0.00043193798,0.0017179691,0.023890553],"category_scores_gemma":[0.0016407869,0.00030341596,0.00025424318,0.0014159402,0.0024357291,0.0023865395,0.0007203076,0.0020167064,0.005795096],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000498291,0.000022859049,0.00075342914,0.00015488603,0.000008911001,0.000284984,0.0051271864,0.00016964438,0.00022332778,0.26051155,0.6465879,0.08610549],"study_design_scores_gemma":[0.0000017755614,0.000003927934,0.0004888656,0.00008454842,9.3085436e-7,0.00009395915,0.00020603987,0.000018356499,0.00005206712,0.0015779233,0.9974667,0.0000049423843],"about_ca_topic_score_codex":0.17363776,"about_ca_topic_score_gemma":0.19444735,"teacher_disagreement_score":0.17363776,"about_ca_system_score_codex":0.008910398,"about_ca_system_score_gemma":0.003930039,"threshold_uncertainty_score":0.34525412},"labels":[],"label_agreement":null},{"id":"W4235543538","doi":"10.15353/kinema.vi.989","title":"Moscow 2002","year":2002,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Stylized fact; Insider; Hollywood; Economic history; History; Art history; Political science; Economics; Law","score_opus":0.05791737532786938,"score_gpt":0.2556782005042686,"score_spread":0.1977608251763992,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235543538","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0027726963,0.016180933,0.001567903,0.008827061,0.010197744,0.000081308026,0.0041947034,0.00066044484,0.95551723],"genre_scores_gemma":[0.010172187,0.00548725,0.0005436869,0.000857239,0.00070800603,0.000051489747,0.002282988,0.00019379784,0.9797035],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99965775,0.00003497428,0.00002824438,0.00010661615,0.00012201695,0.000050445546],"domain_scores_gemma":[0.9996978,0.000026787337,0.000020472859,0.000052588202,0.00012490775,0.00007746813],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003928961,0.00080353057,0.00047096715,0.0010119351,0.0011513612,0.0039830683,0.0007399078,0.0013343652,0.43886837],"category_scores_gemma":[0.0009426025,0.00029453816,0.00036127513,0.0008475395,0.00044172173,0.0016924951,0.0016905464,0.0014602761,0.3282667],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011505771,0.00005464571,0.00083439547,0.0002854664,0.00001467225,0.00026209565,0.00022346678,0.00025259104,0.0009989368,0.03559017,0.7863883,0.17498018],"study_design_scores_gemma":[0.0000030183403,0.000007306533,0.00062081224,0.000057091,0.0000016600119,0.00007521825,0.00004617127,0.000036901733,0.00009794623,0.0008843339,0.9981674,0.0000021933213],"about_ca_topic_score_codex":0.0032184783,"about_ca_topic_score_gemma":0.00449772,"teacher_disagreement_score":0.43886837,"about_ca_system_score_codex":0.0014978723,"about_ca_system_score_gemma":0.0012330665,"threshold_uncertainty_score":0.8003862},"labels":[],"label_agreement":null},{"id":"W4235702714","doi":"10.13110/framework.54.2.0177","title":"Around &lt;em&gt;the Clock:&lt;/em&gt; Museum and Market","year":2013,"lang":"en","type":"article","venue":"Framework The Journal of Cinema and Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Exhibition; Art; Visual arts; White (mutation); Publicity; Cartography; History; Geography; Law; Political science","score_opus":0.015492231045811728,"score_gpt":0.21176469654721186,"score_spread":0.19627246550140012,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235702714","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017875788,0.0033401577,0.0009149976,0.017611492,0.011746663,0.00012726152,0.0020873724,0.0019032088,0.96048135],"genre_scores_gemma":[0.006160601,0.0006957577,0.00029324033,0.0012451897,0.0005728236,0.000027110846,0.00029304464,0.0007345807,0.9899776],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993418,0.000054238204,0.00001663385,0.0001211267,0.00023742973,0.00022866955],"domain_scores_gemma":[0.9987833,0.00002528389,0.00003679072,0.00007481053,0.0002759599,0.00080382277],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006141031,0.0010787526,0.00036160176,0.0006972748,0.004378296,0.0108082425,0.00095859583,0.0023308229,0.67149866],"category_scores_gemma":[0.0012971794,0.00049452216,0.00039918133,0.0008785701,0.0017973857,0.005829779,0.005614318,0.002631574,0.40231574],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000134813245,0.000007160478,0.00009319411,0.000026276079,8.769316e-7,0.000050922306,0.00018950015,0.000012092605,0.00018374747,0.0024238054,0.98245335,0.014545481],"study_design_scores_gemma":[0.0000015541109,0.0000036722447,0.00029733952,0.000019628938,4.988857e-7,0.00003040836,0.00038330152,0.000008148016,0.00006494551,0.00012059047,0.99906605,0.000003836445],"about_ca_topic_score_codex":0.026646305,"about_ca_topic_score_gemma":0.08548887,"teacher_disagreement_score":0.67149866,"about_ca_system_score_codex":0.0027665037,"about_ca_system_score_gemma":0.0023568224,"threshold_uncertainty_score":0.46856725},"labels":[],"label_agreement":null},{"id":"W4235855662","doi":"10.32920/ryerson.14658189.v1","title":"The Projector's Noises: A Media Archaeology Of Cinema Through The Projector","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; York University","funders":"","keywords":"Movie theater; Projector; Art; Performative utterance; Aesthetics; Conceptualization; Visual arts; Computer science; Computer vision","score_opus":0.05882038101881294,"score_gpt":0.25997290151529556,"score_spread":0.20115252049648263,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235855662","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.65854573,0.01970718,0.019044159,0.011182119,0.0009372777,0.0001567185,0.00067115296,0.00021795757,0.28953773],"genre_scores_gemma":[0.97130346,0.0042790626,0.003118164,0.0003519413,0.00032569494,0.00005278004,0.0001224659,0.00016222395,0.020284174],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99813545,0.0010794139,0.000047417594,0.0002910006,0.00026518456,0.00018136918],"domain_scores_gemma":[0.99801934,0.0012172598,0.00024155046,0.0001984166,0.00016024591,0.00016318844],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017971437,0.00045963153,0.00037758844,0.0040703695,0.005363258,0.0066832653,0.00087227486,0.0011216566,0.0041086082],"category_scores_gemma":[0.0052129747,0.00037748658,0.00019236135,0.003343579,0.009161066,0.005911924,0.0034757145,0.00166564,0.0003438901],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016090457,0.00005314076,0.0049276846,0.00036797367,0.00002731057,0.0017053488,0.73093724,0.0001717541,0.0016664473,0.19712919,0.01128246,0.051570527],"study_design_scores_gemma":[0.000015012348,0.00006793297,0.0143482955,0.0012548564,0.000033675216,0.0017206336,0.2869698,0.00044760611,0.0011656004,0.012452828,0.6814828,0.000041002102],"about_ca_topic_score_codex":0.0045190803,"about_ca_topic_score_gemma":0.010059299,"teacher_disagreement_score":0.0066832653,"about_ca_system_score_codex":0.0023640718,"about_ca_system_score_gemma":0.0011340512,"threshold_uncertainty_score":0.017152607},"labels":[],"label_agreement":null},{"id":"W4235893983","doi":"10.15353/kinema.vi.1163","title":"Eroticon DVD","year":2007,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ecstasy; Mainstream; Czech; Feature (linguistics); Art; Feature film; Visual arts; Art history; Psychology; Movie theater; Philosophy; Theology; Linguistics","score_opus":0.042028792591823,"score_gpt":0.27928915540030047,"score_spread":0.23726036280847745,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4235893983","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019032499,0.0016152154,0.0003852951,0.0016670699,0.0042484193,0.00008331478,0.0065077706,0.00071160466,0.98287797],"genre_scores_gemma":[0.0115480805,0.0009809588,0.00033326395,0.0007305595,0.0010587982,0.000033118933,0.0057760444,0.0005401541,0.97899914],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99980074,0.000020988478,0.000005393331,0.000031723983,0.00010127674,0.000039881586],"domain_scores_gemma":[0.99967074,0.000043080254,0.000010326204,0.000024501018,0.00011479569,0.00013657857],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00024638855,0.00043179613,0.0002922255,0.00087766524,0.0009281836,0.0029754287,0.00045252027,0.00052971195,0.5133172],"category_scores_gemma":[0.0008808777,0.00015295301,0.00020946446,0.00069944485,0.00018196017,0.0009057252,0.0012588145,0.0009558139,0.16758095],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011067831,0.000018855468,0.00010249228,0.00008848381,0.0000029175594,0.00010796381,0.00007293405,0.000030239016,0.00073019514,0.0026514456,0.964656,0.031427752],"study_design_scores_gemma":[0.000009397246,0.000010903064,0.0004190042,0.000019302704,0.000001264485,0.000052681735,0.0000385498,0.000025944226,0.00013233064,0.00025929054,0.99902904,0.0000022004292],"about_ca_topic_score_codex":0.0024549272,"about_ca_topic_score_gemma":0.008278536,"teacher_disagreement_score":0.5133172,"about_ca_system_score_codex":0.00077289384,"about_ca_system_score_gemma":0.0004015702,"threshold_uncertainty_score":0.6941939},"labels":[],"label_agreement":null},{"id":"W4236010416","doi":"10.4000/communication.2187","title":"Jim LEACH et Jeannette SLONIOWSKI (dir.) (2003), Candid Eyes. Essays on Canadian Documentaries","year":2010,"lang":"en","type":"article","venue":"Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université TÉLUQ","funders":"","keywords":"Media studies; Art; Art history; Political science; Sociology","score_opus":0.02114528373224945,"score_gpt":0.24217247158713687,"score_spread":0.22102718785488742,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236010416","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00072670996,0.737088,0.001137683,0.20234598,0.011450632,0.00003073026,0.0010091023,0.0001289502,0.046082098],"genre_scores_gemma":[0.030498274,0.47917488,0.0017159067,0.042930737,0.012179599,0.000107007145,0.0009114093,0.00032750276,0.4321547],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99857163,0.0003361374,0.00007295477,0.00019385431,0.00064171455,0.00018362406],"domain_scores_gemma":[0.99784756,0.0007541887,0.00017967453,0.00006306869,0.00087902026,0.00027656407],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024266578,0.0016870913,0.0007644082,0.0039849663,0.0059697013,0.006555632,0.001186328,0.0032935867,0.030164259],"category_scores_gemma":[0.0047520553,0.0007015363,0.0003966994,0.005224141,0.0030220523,0.0055773994,0.0013267304,0.0029883091,0.015306002],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025736628,0.000007630127,0.00032306896,0.00021547044,0.000009661255,0.000059854014,0.0013359968,0.000033041917,0.00010895937,0.009597158,0.9593321,0.02895138],"study_design_scores_gemma":[0.000006468815,0.000002979163,0.002272086,0.00026905,0.0000066403622,0.000058907182,0.0014273545,0.000028012482,0.00010540109,0.0038682173,0.9919382,0.000016638018],"about_ca_topic_score_codex":0.415374,"about_ca_topic_score_gemma":0.6961514,"teacher_disagreement_score":0.58462596,"about_ca_system_score_codex":0.013499324,"about_ca_system_score_gemma":0.007633395,"threshold_uncertainty_score":0.82591254},"labels":[],"label_agreement":null},{"id":"W4236173515","doi":"10.2307/j.ctv6gqtgt.6","title":"CANADIAN FILM CULTURE BEFORE THE NFB","year":2018,"lang":"en","type":"book-chapter","venue":"University of Calgary Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Business","score_opus":0.021933324715630993,"score_gpt":0.16605980461314396,"score_spread":0.14412647989751295,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236173515","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022285525,0.024610922,0.0003496589,0.043205656,0.0018542504,0.000029594401,0.0012487349,0.00010960363,0.906306],"genre_scores_gemma":[0.34418845,0.018841373,0.00059803354,0.0033568626,0.00043348473,0.00002578964,0.00042428102,0.00021448247,0.63191724],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99877256,0.00013408354,0.00002269052,0.0001722005,0.0005284317,0.00037002628],"domain_scores_gemma":[0.99817157,0.0002503455,0.00006050752,0.00007596534,0.0010724314,0.00036905182],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00089731504,0.000655736,0.00036028697,0.0028413988,0.011882567,0.010820117,0.0008125501,0.0017478133,0.05191248],"category_scores_gemma":[0.003444979,0.00038181624,0.00024183362,0.004547221,0.004147512,0.0024072246,0.0013326266,0.0029938377,0.0024779106],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000094793155,0.000024737235,0.0013025344,0.00020098836,0.000014441946,0.00026594324,0.017387701,0.00021660185,0.0004358444,0.38517466,0.5096848,0.085196935],"study_design_scores_gemma":[0.0000034386385,0.000003360168,0.0033443004,0.00012049939,0.0000043795517,0.000031897354,0.003568266,0.000048222217,0.00015047651,0.0017598729,0.9909526,0.000012724293],"about_ca_topic_score_codex":0.98664457,"about_ca_topic_score_gemma":0.9915182,"teacher_disagreement_score":0.11015302,"about_ca_system_score_codex":0.11015302,"about_ca_system_score_gemma":0.06515425,"threshold_uncertainty_score":0.79921985},"labels":[],"label_agreement":null},{"id":"W4236374643","doi":"10.4000/hommesmigrations.328","title":"Mercan Dede","year":2009,"lang":"fr","type":"article","venue":"Hommes & migrations","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.028941315937411033,"score_gpt":0.24283183197399927,"score_spread":0.21389051603658824,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236374643","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008475463,0.015313405,0.0042035645,0.056687895,0.015657457,0.00009947878,0.002101146,0.00079179514,0.8966699],"genre_scores_gemma":[0.027775884,0.0032189894,0.0014665627,0.0037612224,0.0010664994,0.000053202348,0.00059754035,0.0002651122,0.96179503],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99843913,0.00029415602,0.000074112955,0.00037508382,0.0006097694,0.00020766532],"domain_scores_gemma":[0.99834335,0.00030190794,0.00015465,0.00026574387,0.00057783443,0.00035655886],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013571286,0.00094694254,0.0006285734,0.0020317943,0.004644149,0.0074114604,0.0010163051,0.0030372445,0.2028507],"category_scores_gemma":[0.00475155,0.00043684544,0.0006073282,0.0014608456,0.0016140253,0.003836263,0.0037732564,0.0031555854,0.065453924],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009766647,0.000042540796,0.001311514,0.00023164912,0.000018635474,0.00033910447,0.0028418305,0.00017619928,0.0009886915,0.21020333,0.6743864,0.10936241],"study_design_scores_gemma":[0.000002116785,0.0000072764947,0.0005005877,0.00004417976,0.0000022982704,0.00013834705,0.0002844065,0.00004607741,0.00013766791,0.0024422405,0.99638915,0.0000057526686],"about_ca_topic_score_codex":0.008732162,"about_ca_topic_score_gemma":0.020315316,"teacher_disagreement_score":0.2028507,"about_ca_system_score_codex":0.003362163,"about_ca_system_score_gemma":0.0030666515,"threshold_uncertainty_score":0.6786032},"labels":[],"label_agreement":null},{"id":"W4236418070","doi":"10.32920/ryerson.14653041","title":"The A.I. storyteller: Perpetuating orality using developments in machine learning","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Orality; Experiential learning; Interactivity; Embodied cognition; Generative grammar; Aesthetics; Identity (music); Key (lock); Sociology; Process (computing); Epistemology; Cognitive science; Psychology; Art; Computer science; Pedagogy; Multimedia; Artificial intelligence; Philosophy","score_opus":0.08780080724885833,"score_gpt":0.26508632391555453,"score_spread":0.1772855166666962,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236418070","genre_codex":"methods","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38249427,0.0061962837,0.3885754,0.031319965,0.0005667293,0.00025989825,0.0005480405,0.0011710008,0.1888684],"genre_scores_gemma":[0.8481612,0.0023901179,0.13122746,0.00048865954,0.00014394226,0.00012065977,0.0001823266,0.00014062112,0.01714504],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"simulation_or_modeling","domain_scores_codex":[0.9991805,0.0005942418,0.00001864824,0.00008582674,0.00009280464,0.000027912374],"domain_scores_gemma":[0.99672866,0.0024727834,0.00018641737,0.00031641123,0.0001284682,0.00016722301],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002123743,0.00024370897,0.00015018943,0.0007537463,0.0011394754,0.004407129,0.00042609777,0.0006512115,0.0030861688],"category_scores_gemma":[0.008473577,0.00017123994,0.0001908836,0.00066821434,0.0033349807,0.0053435545,0.0018126552,0.0011017916,0.0005145197],"study_design_candidate":"simulation_or_modeling","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001803202,0.0001001226,0.0059500057,0.00030893122,0.0000281505,0.0003950537,0.055094697,0.0031824678,0.004217198,0.46576974,0.018946635,0.4458267],"study_design_scores_gemma":[0.000071759096,0.0002475737,0.010980747,0.0006368174,0.00006632197,0.0013458721,0.03556294,0.069891796,0.017031215,0.43511692,0.4289234,0.00012461249],"about_ca_topic_score_codex":0.00079662213,"about_ca_topic_score_gemma":0.0010868411,"teacher_disagreement_score":0.004407129,"about_ca_system_score_codex":0.00047250566,"about_ca_system_score_gemma":0.0003149597,"threshold_uncertainty_score":0.011231542},"labels":[],"label_agreement":null},{"id":"W4236753156","doi":"10.1353/dia.2006.0029","title":"Images","year":2004,"lang":"en","type":"article","venue":"diacritics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Courtesy; Art history; Art; Movie theater; Philosophy","score_opus":0.025261279984825896,"score_gpt":0.22664717952641072,"score_spread":0.20138589954158484,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236753156","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005034295,0.0011461461,0.0017699015,0.0023732737,0.003828626,0.00014209471,0.006447527,0.0023226696,0.9814664],"genre_scores_gemma":[0.0046689757,0.001167638,0.0017574679,0.0013310495,0.001135303,0.00007501115,0.0072709024,0.0013968422,0.9811967],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995296,0.000036820038,0.000017775656,0.000075747994,0.00027432575,0.00006576846],"domain_scores_gemma":[0.9991897,0.000088535104,0.000026251266,0.0001364332,0.00040829316,0.00015088044],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00034554116,0.00079463876,0.00046314936,0.0018062949,0.0016011738,0.005375117,0.0013485086,0.0017128158,0.80435634],"category_scores_gemma":[0.0019836994,0.00041161358,0.0006654743,0.001489172,0.00041076983,0.0031627435,0.00225703,0.0016323623,0.5693198],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004419471,0.00001802917,0.000073488576,0.0001107794,0.000002657992,0.00008380318,0.00006972605,0.000058150054,0.00028982785,0.0036593517,0.9407908,0.054799203],"study_design_scores_gemma":[0.000005747877,0.0000047323424,0.00016066106,0.000037552603,0.0000014711961,0.00009564742,0.000066555236,0.000040255414,0.000087665605,0.00063141994,0.9988649,0.0000034050433],"about_ca_topic_score_codex":0.0043639396,"about_ca_topic_score_gemma":0.0071397494,"teacher_disagreement_score":0.80435634,"about_ca_system_score_codex":0.0012362213,"about_ca_system_score_gemma":0.00095761917,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4236766637","doi":"10.32920/ryerson.14657226","title":"A Narrative and Cinematic Analysis of Two Film Trailers: Jurassic Park (1993) and Jurassic World (2015)","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Narrative; Schema (genetic algorithms); Narrative inquiry; Aesthetics; Narrative structure; Trailer; Narrative network; Visual arts; Sociology; Advertising; History; Narrative criticism; Art; Computer science; Business; Literature","score_opus":0.03920664770687715,"score_gpt":0.27172418161021955,"score_spread":0.2325175339033424,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236766637","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92773306,0.0014608175,0.0045919493,0.0026914813,0.00022684645,0.0003393281,0.00060479686,0.00003494324,0.06231686],"genre_scores_gemma":[0.97698045,0.0014865926,0.0042280015,0.000380451,0.00006715424,0.00017728625,0.00036417926,0.00006328695,0.01625249],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99867684,0.0008248745,0.000048612514,0.00012765036,0.0001963199,0.00012567683],"domain_scores_gemma":[0.9973621,0.0015610905,0.00032581453,0.00010685559,0.00034676245,0.00029737188],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020663321,0.0005024677,0.0003264713,0.0022230716,0.0059982967,0.004732455,0.0007463703,0.00092959707,0.004000417],"category_scores_gemma":[0.0060719885,0.00034472678,0.00026784927,0.0017048976,0.004128273,0.0035135814,0.0022418695,0.0019598894,0.00041703638],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048936905,0.000042176558,0.002347197,0.00017382334,0.0000067222604,0.0010853934,0.97668755,0.000055231376,0.0010265592,0.00695294,0.0027629035,0.008810552],"study_design_scores_gemma":[0.000006222814,0.000056439258,0.00793706,0.00033974167,0.000016485648,0.000732238,0.88528645,0.00015747745,0.00091485673,0.0011425719,0.103384025,0.000026461203],"about_ca_topic_score_codex":0.010442888,"about_ca_topic_score_gemma":0.023511998,"teacher_disagreement_score":0.010442888,"about_ca_system_score_codex":0.003041063,"about_ca_system_score_gemma":0.0015500557,"threshold_uncertainty_score":0.022064507},"labels":[],"label_agreement":null},{"id":"W4236872357","doi":"10.1093/oxfordhb/9780190691240.013.50","title":"Creating Big-Screen Audiences Through Small-Screen Appeals","year":2021,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Studio; Advertising; Redress; Knight; Narrative; Art; Perspective (graphical); Citizen journalism; Visual arts; Media studies; Sociology; Political science; Literature; Business; Law","score_opus":0.07423694445487357,"score_gpt":0.20931298980477986,"score_spread":0.1350760453499063,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4236872357","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10085078,0.0019118413,0.016418692,0.0018910539,0.00030479432,0.0001600675,0.00011157347,0.00061927736,0.877732],"genre_scores_gemma":[0.62171316,0.0019055143,0.015087837,0.00061751436,0.00043228507,0.00013180217,0.0001710816,0.0004848377,0.35945597],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99957794,0.00017860845,0.000008027616,0.000049837312,0.00013152616,0.000054093198],"domain_scores_gemma":[0.9986546,0.00085768115,0.000055053453,0.00011268486,0.000106990396,0.00021300258],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00089631096,0.00034322243,0.00016731163,0.0011299336,0.001190985,0.005354337,0.0005456468,0.0005893456,0.04466226],"category_scores_gemma":[0.0015854292,0.00014109281,0.0002352706,0.0006029121,0.0013495235,0.0030883981,0.0028066023,0.0009921507,0.005995591],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027386457,0.0006034742,0.005563565,0.00086526736,0.000022043747,0.0012714206,0.05176569,0.0005758638,0.022114456,0.2847404,0.07259531,0.5596087],"study_design_scores_gemma":[0.00006119863,0.00030749151,0.010780809,0.0005241772,0.00004439478,0.0010383334,0.016693689,0.0024005256,0.005833653,0.04143907,0.92083544,0.00004124794],"about_ca_topic_score_codex":0.00067124295,"about_ca_topic_score_gemma":0.0017616817,"teacher_disagreement_score":0.04466226,"about_ca_system_score_codex":0.0006060699,"about_ca_system_score_gemma":0.000331648,"threshold_uncertainty_score":0.14941019},"labels":[],"label_agreement":null},{"id":"W4237039513","doi":"10.4000/communication.3453","title":"Linda PROVINZANO et Deborah STERNKLAR (dir.) (2002), Film Literature Index","year":2006,"lang":"en","type":"article","venue":"Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université Laval","funders":"","keywords":"Index (typography); Art; Art history; Computer science; World Wide Web","score_opus":0.018362053499287382,"score_gpt":0.2284543150958835,"score_spread":0.2100922615965961,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237039513","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015146717,0.7979564,0.0013137312,0.06809898,0.018534457,0.000053114905,0.003902519,0.00032428248,0.108301915],"genre_scores_gemma":[0.017801136,0.6270643,0.003001196,0.00890298,0.012389861,0.00014539468,0.0041529182,0.00038634977,0.32615587],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992699,0.00014920688,0.00007791142,0.00013801447,0.00030122168,0.000063713895],"domain_scores_gemma":[0.99806994,0.00057297706,0.0002527257,0.000057840687,0.0008528147,0.00019373973],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015056088,0.0010691483,0.00077359023,0.0073331776,0.0016057724,0.0061727697,0.0007021246,0.0016523933,0.046750247],"category_scores_gemma":[0.004542154,0.0005205505,0.00020193988,0.007660262,0.0006358257,0.005020378,0.0012937721,0.0015918791,0.03573876],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021486569,0.000008936951,0.00061345706,0.00035679314,0.000006810763,0.00003129914,0.00040135038,0.000024800232,0.00011410207,0.0039830115,0.8974195,0.09701844],"study_design_scores_gemma":[0.0000031113632,0.0000041608246,0.0039272215,0.00048271503,0.000006301067,0.00009522402,0.00047097498,0.00002762459,0.000070038506,0.0011612239,0.9937417,0.000009697051],"about_ca_topic_score_codex":0.022953574,"about_ca_topic_score_gemma":0.058696847,"teacher_disagreement_score":0.046750247,"about_ca_system_score_codex":0.0021057313,"about_ca_system_score_gemma":0.001726031,"threshold_uncertainty_score":0.15639514},"labels":[],"label_agreement":null},{"id":"W4237044246","doi":"10.5117/9789462989498_ch02","title":"Large-scale Projection and the (New) New Monumentality","year":2021,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"George Brown College","funders":"","keywords":"Superimposition; Movie theater; Scripting language; Narrative; Space (punctuation); Scale (ratio); Cognitive reframing; Public space; Projection (relational algebra); Computer science; Order (exchange); Visual arts; Computer graphics (images); Aesthetics; Computer vision; Art; Geography; Cartography; Psychology; Engineering; Architectural engineering; Literature; Algorithm","score_opus":0.029377082743394144,"score_gpt":0.21662168982366445,"score_spread":0.1872446070802703,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237044246","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03164897,0.004291769,0.030990051,0.0077788685,0.00047302432,0.00002989432,0.00007798849,0.00019490997,0.9245145],"genre_scores_gemma":[0.8537455,0.0032803225,0.009070988,0.00046507103,0.00042399307,0.000056248053,0.00007441083,0.00018375575,0.13269964],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99911004,0.00047788533,0.00001599512,0.000114620845,0.00018513647,0.000096337244],"domain_scores_gemma":[0.99912983,0.0004396986,0.000061024857,0.00022918143,0.000062667204,0.00007767461],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00096773147,0.00038615247,0.00022126129,0.00079811027,0.002130568,0.008690299,0.00071177585,0.00084774185,0.011368384],"category_scores_gemma":[0.0022322924,0.00020645143,0.00024048713,0.0010854815,0.015920311,0.007981479,0.0048728944,0.0019661074,0.0010291943],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006214639,0.0000033642752,0.0000812749,0.000023254799,0.0000012024212,0.000048828155,0.004089827,0.0001232255,0.00012204054,0.98185873,0.0028823977,0.010759723],"study_design_scores_gemma":[0.000008811194,0.000030248748,0.0011511071,0.00019481323,0.000008110644,0.00049201056,0.010594191,0.0010759234,0.0007558388,0.4091286,0.57654035,0.000020081947],"about_ca_topic_score_codex":0.0020949137,"about_ca_topic_score_gemma":0.0036690473,"teacher_disagreement_score":0.011368384,"about_ca_system_score_codex":0.0021031047,"about_ca_system_score_gemma":0.0014179507,"threshold_uncertainty_score":0.03803104},"labels":[],"label_agreement":null},{"id":"W4237078873","doi":"10.4324/9781135000356-rem1211-1","title":"Brakhage, Stan (1933–2003)","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Art; Painting; Narrative; Style (visual arts); Art history; Visual arts; Animation; Literature","score_opus":0.045271177038096515,"score_gpt":0.21861183744213197,"score_spread":0.17334066040403545,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237078873","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0024720163,0.213501,0.0014361755,0.0118020205,0.0075539085,0.000030514595,0.0005820293,0.00020920388,0.7624131],"genre_scores_gemma":[0.026874615,0.05945433,0.0008920004,0.002192569,0.0009511455,0.00003209283,0.00028527153,0.00021641096,0.90910155],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997991,0.000026728803,0.000008967691,0.00006470811,0.00007354093,0.000026996564],"domain_scores_gemma":[0.9998753,0.000033280558,0.000011752785,0.000009389281,0.000041418876,0.000028869847],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00026271102,0.0006551463,0.00036789774,0.001685509,0.0019312946,0.002748776,0.00036970136,0.00082485075,0.042000096],"category_scores_gemma":[0.00078350183,0.0003124987,0.00015729717,0.0015123319,0.0014160831,0.002810736,0.0010130145,0.0020764887,0.021690315],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028377503,0.000020174735,0.00022045743,0.00015523059,0.000003838654,0.00013957244,0.0020367815,0.00007042661,0.00025089408,0.13576978,0.73222125,0.12908322],"study_design_scores_gemma":[7.586016e-7,0.0000023824437,0.000119251155,0.00008632072,7.780702e-7,0.000063457206,0.0000809244,0.000007511646,0.00006062421,0.0030405172,0.9965358,0.0000017454136],"about_ca_topic_score_codex":0.008751301,"about_ca_topic_score_gemma":0.02489281,"teacher_disagreement_score":0.042000096,"about_ca_system_score_codex":0.0024907829,"about_ca_system_score_gemma":0.0014718411,"threshold_uncertainty_score":0.1405043},"labels":[],"label_agreement":null},{"id":"W4237123359","doi":"10.32920/ryerson.14644896","title":"Screen Stars as Style Icons: an Examination of Audrey Hepburn and Sarah Jessica Parker","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Style (visual arts); Mythology; Order (exchange); Narrative; Art; Advertising; Aesthetics; Visual arts; Sociology; Literature; Business","score_opus":0.04135037535217872,"score_gpt":0.2490366204983925,"score_spread":0.20768624514621378,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237123359","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42342848,0.016282924,0.005110561,0.064432,0.0011562576,0.00024029249,0.00017299864,0.00010396101,0.48907256],"genre_scores_gemma":[0.91445076,0.012820762,0.002823011,0.0068681883,0.00030771893,0.00011753406,0.00007452404,0.00017393849,0.062363565],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99728787,0.0017531753,0.000063428226,0.00015940139,0.0005881145,0.0001479399],"domain_scores_gemma":[0.99497175,0.0031136633,0.0004581345,0.00016225674,0.0008534656,0.00044060615],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031639284,0.00037542984,0.00023943241,0.0023763392,0.0070519326,0.008473152,0.00069411163,0.0017072188,0.0037623579],"category_scores_gemma":[0.0070786467,0.00040434094,0.00024500152,0.0015919934,0.010271248,0.0064860717,0.0027985666,0.0029806558,0.00052887824],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059948525,0.000052907915,0.0033308486,0.00030867054,0.0000109738785,0.0018515941,0.8172789,0.000090111826,0.0012690516,0.10296464,0.041808292,0.030974023],"study_design_scores_gemma":[0.000007688303,0.000057057056,0.011770686,0.0006555885,0.000011682326,0.0010986254,0.47197047,0.00020195666,0.00071229157,0.005817082,0.50766003,0.00003684703],"about_ca_topic_score_codex":0.020696422,"about_ca_topic_score_gemma":0.036734395,"teacher_disagreement_score":0.020696422,"about_ca_system_score_codex":0.0042757657,"about_ca_system_score_gemma":0.0019388683,"threshold_uncertainty_score":0.04115194},"labels":[],"label_agreement":null},{"id":"W4237202495","doi":"10.4000/amerika.4965","title":"Michel Derrien, Aux origines du cinéma irlandais, Sidney Olcott, le premier œil","year":2014,"lang":"fr","type":"article","venue":"Amerika","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Ottawa","funders":"","keywords":"Art; Humanities","score_opus":0.016365034950919264,"score_gpt":0.2225992838051601,"score_spread":0.20623424885424083,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237202495","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008392278,0.33647424,0.00268302,0.42332226,0.02055318,0.000037209637,0.00066413265,0.00017618696,0.2076975],"genre_scores_gemma":[0.16187435,0.1452159,0.0021972887,0.058169056,0.0074900757,0.00006869079,0.00034643334,0.0003634252,0.62427485],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930143,0.00025784547,0.000020604075,0.00014627395,0.00019771094,0.000076081575],"domain_scores_gemma":[0.9990031,0.00046097225,0.00010187055,0.0000301001,0.00025582302,0.00014820679],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00076713006,0.0006757723,0.0003057066,0.001229277,0.0041654017,0.005049952,0.000661711,0.0020862124,0.03181507],"category_scores_gemma":[0.0028304036,0.00034876697,0.00018170306,0.0013534358,0.0023627665,0.004327344,0.0010507856,0.0033728757,0.0054206615],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044687356,0.000015426667,0.0012925919,0.00025296304,0.000009642766,0.00024431007,0.013060469,0.000060347345,0.00033186772,0.0920536,0.85320073,0.039433334],"study_design_scores_gemma":[0.0000025774805,0.000004113769,0.0009916364,0.00015152733,0.0000022408258,0.00010704007,0.0029663835,0.00003320076,0.00014011141,0.0027345738,0.9928559,0.000010601464],"about_ca_topic_score_codex":0.09742348,"about_ca_topic_score_gemma":0.21048714,"teacher_disagreement_score":0.09742348,"about_ca_system_score_codex":0.004922833,"about_ca_system_score_gemma":0.0026707707,"threshold_uncertainty_score":0.19371283},"labels":[],"label_agreement":null},{"id":"W4237251821","doi":"10.32920/ryerson.14650029","title":"The new spectator : a study of the cognitive experience of spectators with three cinematic platforms","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Cognition; Psychology; Comprehension; Digital media; Advertising; Sociology; Media studies; Computer science; Business; World Wide Web","score_opus":0.03412093287738577,"score_gpt":0.2386481041164376,"score_spread":0.20452717123905184,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237251821","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9981889,0.00007624449,0.00015902815,0.00017352017,0.000010250305,0.00001886113,0.0000145045615,0.0000034855063,0.0013551998],"genre_scores_gemma":[0.9970914,0.00019547452,0.00018471555,0.00014749129,0.000035904013,0.000030727788,0.000046494137,0.000010267834,0.0022575303],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9984761,0.0008450942,0.00004486496,0.00014451516,0.00017115867,0.00031829544],"domain_scores_gemma":[0.99392647,0.002682777,0.0008902439,0.00022965857,0.0008132449,0.0014575418],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024399825,0.00066315325,0.00065213715,0.0011523932,0.004441634,0.0032985087,0.00090702577,0.0014824711,0.0043835933],"category_scores_gemma":[0.0083307745,0.00045342292,0.00039726403,0.00054626167,0.0040952573,0.0025673246,0.0032154997,0.0026335795,0.00050784514],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011635746,0.00019895227,0.015765972,0.00007825,0.000012470178,0.000752799,0.97467256,0.000017761651,0.004080515,0.00028865453,0.00046417053,0.0035515649],"study_design_scores_gemma":[0.000022853545,0.0006384433,0.039079983,0.00005400818,0.000020346495,0.00085804536,0.9507232,0.00014512896,0.0011026902,0.00014716676,0.0071679833,0.000040196526],"about_ca_topic_score_codex":0.0079178475,"about_ca_topic_score_gemma":0.01439143,"teacher_disagreement_score":0.0079178475,"about_ca_system_score_codex":0.0010649678,"about_ca_system_score_gemma":0.0007401123,"threshold_uncertainty_score":0.015743554},"labels":[],"label_agreement":null},{"id":"W4237379506","doi":"10.3138/9781442683686-fm","title":"Frontmatter","year":2006,"lang":"en","type":"book-chapter","venue":"University of Toronto Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Calgary; Research Canada; NSCAD University","funders":"University of Toronto","keywords":"Computer science","score_opus":0.02574094527501927,"score_gpt":0.1753798495271261,"score_spread":0.14963890425210682,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237379506","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003319702,0.00080768944,0.0004131755,0.0010387407,0.0013547863,0.000027018896,0.0006918833,0.00063049194,0.9947043],"genre_scores_gemma":[0.0008635388,0.00019528526,0.000101491656,0.00023768174,0.00009447368,0.000004963672,0.00017576954,0.00014581929,0.998181],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99970156,0.00002845233,0.000013018092,0.00006337434,0.00014260302,0.000050904844],"domain_scores_gemma":[0.9995546,0.000053888085,0.000020952917,0.00006292824,0.00016723206,0.00014049673],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024996407,0.0005958666,0.0004608358,0.0012594303,0.0016975843,0.0047597717,0.0009147798,0.001515699,0.8719931],"category_scores_gemma":[0.0011819927,0.00030859187,0.00033532616,0.0010712628,0.000415069,0.0028828362,0.0023839173,0.0012267202,0.73964405],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016904025,0.000015450041,0.000093264665,0.00006583696,0.000001035978,0.0000696122,0.00015476345,0.00001980662,0.00022104914,0.007455629,0.88894033,0.10294642],"study_design_scores_gemma":[0.0000013700246,0.0000033245926,0.000108791886,0.000022369028,4.3620935e-7,0.00004546262,0.000048435017,0.000016235415,0.000045759887,0.0004164289,0.9992899,0.0000015262375],"about_ca_topic_score_codex":0.00429143,"about_ca_topic_score_gemma":0.017183883,"teacher_disagreement_score":0.12800688,"about_ca_system_score_codex":0.0010616144,"about_ca_system_score_gemma":0.00073787355,"threshold_uncertainty_score":0.18258625},"labels":[],"label_agreement":null},{"id":"W4237428665","doi":"10.5117/9789463728409_ch02","title":"The Queer Film Ecosystem: Symbolic Economy, Festivals, and Queer Cinema's Legs","year":2021,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Queer; Movie theater; Taste; Legitimacy; Aesthetics; Negotiation; Sociology; Gender studies; Media studies; Art; Political science; Social science; Visual arts; Politics; Law; Psychology","score_opus":0.02468040144970306,"score_gpt":0.203858543378313,"score_spread":0.17917814192860992,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237428665","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14212255,0.01760388,0.007428036,0.014418326,0.00014221924,0.0000471235,0.00016285981,0.000052517746,0.8180225],"genre_scores_gemma":[0.941656,0.006257619,0.0012339727,0.0004362556,0.00017009799,0.000028973785,0.00005005171,0.000029253208,0.05013776],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99972636,0.00014062639,0.0000044417925,0.000023040324,0.000036147234,0.000069451584],"domain_scores_gemma":[0.9994444,0.00033560506,0.000076436045,0.000033190732,0.000034512635,0.000075718286],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005621864,0.00022962097,0.00014521006,0.001119012,0.0028335871,0.010180516,0.00046336866,0.0009909152,0.011125218],"category_scores_gemma":[0.0011289454,0.00013850995,0.00014295705,0.001642908,0.006848674,0.005312127,0.001500037,0.0010196038,0.00036530572],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012221394,0.00001342145,0.0008501674,0.000024964953,0.0000023373348,0.000091842645,0.011298557,0.0001137027,0.0000961157,0.9749943,0.0026260787,0.00987644],"study_design_scores_gemma":[0.000016356067,0.00006310136,0.012294647,0.000513557,0.000019815658,0.00037682365,0.061521966,0.001824767,0.0007772544,0.37164572,0.55091876,0.000027251519],"about_ca_topic_score_codex":0.009133047,"about_ca_topic_score_gemma":0.022196088,"teacher_disagreement_score":0.011125218,"about_ca_system_score_codex":0.0035072146,"about_ca_system_score_gemma":0.001136136,"threshold_uncertainty_score":0.037217498},"labels":[],"label_agreement":null},{"id":"W4237591841","doi":"10.1093/obo/9780199791286-0200","title":"Mack Sennett","year":2015,"lang":"en","type":"reference-entry","venue":"Cinema and Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Comedy; Art history; Drama; Romance; Glory; Literature; Physics","score_opus":0.11271283340984918,"score_gpt":0.2819537990198063,"score_spread":0.1692409656099571,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237591841","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0036123702,0.016629348,0.0014606935,0.020280756,0.013700756,0.00009115963,0.0014552757,0.0005051142,0.94226456],"genre_scores_gemma":[0.0073044323,0.0051322845,0.0006100771,0.00280426,0.00043680114,0.00003271435,0.0004025705,0.00016238955,0.9831145],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99933594,0.00006169519,0.000026547272,0.0002516795,0.0002071691,0.00011691577],"domain_scores_gemma":[0.99910235,0.00006121792,0.00004638867,0.00004109197,0.0002721919,0.0004769005],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00055502215,0.0010496721,0.0003461635,0.0012242805,0.005069725,0.004040086,0.0009576985,0.0013686208,0.33724642],"category_scores_gemma":[0.001720968,0.00043618635,0.0002666413,0.000832739,0.0010491662,0.0026868263,0.0028216855,0.002314417,0.13479227],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004738282,0.000018303032,0.0005067198,0.00010320873,0.0000025379866,0.00029869162,0.00043509473,0.00003385932,0.00028233288,0.009291055,0.91281843,0.07616236],"study_design_scores_gemma":[0.000001425773,0.0000059823547,0.000253347,0.000047061552,7.514614e-7,0.00012604443,0.00024171293,0.000013798818,0.00007175482,0.00025210917,0.998982,0.0000039985343],"about_ca_topic_score_codex":0.033902336,"about_ca_topic_score_gemma":0.09752728,"teacher_disagreement_score":0.33724642,"about_ca_system_score_codex":0.0023858855,"about_ca_system_score_gemma":0.0036436925,"threshold_uncertainty_score":0.94533753},"labels":[],"label_agreement":null},{"id":"W4237630814","doi":"10.22215/etd/2019-13612","title":"Get Out of La La Land! Naturalizing the Colour Line Through “Colour-Blind\" Cinema","year":2019,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Hollywood; Movie theater; Ideology; Racism; Aesthetics; Sociology; Race (biology); Critical race theory; Narrative; Art; Gender studies; Literature; Art history; Politics; Political science; Law","score_opus":0.044402454465051096,"score_gpt":0.2877562121683881,"score_spread":0.243353757703337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237630814","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17788094,0.00573516,0.023326961,0.03498135,0.0019116215,0.000071981034,0.00012766337,0.00035591304,0.75560844],"genre_scores_gemma":[0.92377007,0.0016676,0.0057476456,0.0023148537,0.00038611665,0.000045668996,0.000036253743,0.00021408885,0.065817654],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99864703,0.0010131444,0.000011256151,0.0000933599,0.000113976195,0.00012120987],"domain_scores_gemma":[0.99884427,0.00060698675,0.00010101912,0.00012170053,0.00016623104,0.00015987594],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020415296,0.00031840848,0.000117784344,0.0005690994,0.004158137,0.0062693916,0.00040877174,0.0007923715,0.011952828],"category_scores_gemma":[0.003214155,0.00010644846,0.00019318315,0.00022318322,0.009775338,0.0053311153,0.0031137057,0.0016392111,0.0013655546],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013565812,0.000084497624,0.0015990386,0.00020214502,0.00000833882,0.00020143109,0.19276385,0.00017911721,0.0029053872,0.6991012,0.041866228,0.060953047],"study_design_scores_gemma":[0.000022401882,0.00008484671,0.002189453,0.00046768834,0.000012118586,0.0002657215,0.08898404,0.0004210952,0.0017664123,0.049556322,0.8561974,0.00003246196],"about_ca_topic_score_codex":0.0040846854,"about_ca_topic_score_gemma":0.007052079,"teacher_disagreement_score":0.011952828,"about_ca_system_score_codex":0.0018819207,"about_ca_system_score_gemma":0.0008788945,"threshold_uncertainty_score":0.039986134},"labels":[],"label_agreement":null},{"id":"W4237662911","doi":"10.1007/978-3-319-96767-7","title":"Critical Distance in Documentary Media","year":2018,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Documentary film; Context (archaeology); Documentary evidence; Sociology; Media studies; History; Archaeology","score_opus":0.026106482455657526,"score_gpt":0.2414639070163935,"score_spread":0.21535742456073598,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237662911","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.034994386,0.052710447,0.03854203,0.02044861,0.0015719531,0.000052443473,0.0002395138,0.0001095016,0.8513311],"genre_scores_gemma":[0.87808824,0.01600359,0.0049421173,0.0011028707,0.005543718,0.000100779915,0.00017858038,0.00018987097,0.09385019],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990615,0.00037610592,0.000044320015,0.00016320236,0.00026393018,0.00009094726],"domain_scores_gemma":[0.98682886,0.009993852,0.0007077999,0.0006758123,0.0012823557,0.00051126105],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001515331,0.00048550812,0.00051407435,0.0033094282,0.0019912943,0.00501447,0.00067026424,0.0016655647,0.016821137],"category_scores_gemma":[0.01729024,0.00027277233,0.00025933128,0.002544967,0.006128933,0.009096536,0.0014828439,0.002641815,0.0012811396],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008358701,0.0000056341282,0.000083812476,0.000041457708,0.0000032322896,0.000016424301,0.0003881819,0.00019139527,0.000035722762,0.9850251,0.0074407207,0.006759832],"study_design_scores_gemma":[0.000004191871,0.0000048415177,0.00020740544,0.0000740082,0.0000031297666,0.000026298121,0.00023492993,0.00041784762,0.00007547566,0.97264534,0.026302332,0.000004118342],"about_ca_topic_score_codex":0.0019128196,"about_ca_topic_score_gemma":0.0016023284,"teacher_disagreement_score":0.016821137,"about_ca_system_score_codex":0.004362272,"about_ca_system_score_gemma":0.0012122714,"threshold_uncertainty_score":0.056272328},"labels":[],"label_agreement":null},{"id":"W4237706129","doi":"10.3138/utq.79.2.819","title":"Tears of Joy: Hollywood Melodrama, Ecstasy, and Restoring Meta-Narratives of Transcendence in Modernity","year":2010,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Modernity; Hollywood; Ecstasy; Aesthetics; Narrative; Literature; Movie theater; Art; History; Sociology; Philosophy; Art history; Anthropology; Epistemology","score_opus":0.02773165744371849,"score_gpt":0.20427085764788086,"score_spread":0.17653920020416236,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237706129","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5585998,0.01807064,0.005146865,0.038406543,0.0012968443,0.000029363295,0.0000718692,0.00009247579,0.3782856],"genre_scores_gemma":[0.9873029,0.0012519879,0.00038554837,0.00055002293,0.00013242007,0.000006060699,0.0000065225204,0.000022960698,0.010341635],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936396,0.00040451466,0.000010499559,0.00004280669,0.00007895627,0.000099270124],"domain_scores_gemma":[0.99916196,0.0004460217,0.00009564813,0.00009189851,0.000056883684,0.00014753477],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011540069,0.00029903505,0.00020638351,0.00061457005,0.0037389174,0.0055703106,0.00044889335,0.0008588352,0.0025727113],"category_scores_gemma":[0.0021691301,0.00016209464,0.0001395835,0.00046444917,0.014684966,0.0048184083,0.003156835,0.0023711403,0.00019485345],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001520187,0.000033025364,0.0012387088,0.00015589809,0.000013011824,0.0007947244,0.47094172,0.000088679175,0.0014507802,0.4887914,0.012564177,0.023775766],"study_design_scores_gemma":[0.0000339681,0.00011107205,0.0040908423,0.00045899505,0.000027917346,0.0014051144,0.32446033,0.00033336345,0.002064073,0.09981136,0.56715673,0.00004625511],"about_ca_topic_score_codex":0.003989236,"about_ca_topic_score_gemma":0.00805291,"teacher_disagreement_score":0.0055703106,"about_ca_system_score_codex":0.0024258834,"about_ca_system_score_gemma":0.0006502285,"threshold_uncertainty_score":0.017601073},"labels":[],"label_agreement":null},{"id":"W4237964993","doi":"10.3138/jrpc.24.3.352","title":"“I’ve never murdered anyone in my life. The decisions are up to them.”: Ethical Guidance and Cultural Pessimism in the<i>Saw</i>Series","year":2012,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Torture; Pessimism; Ideology; Aesthetics; Sociology; Law; Political science; Psychology; Epistemology; Human rights; Philosophy; Politics","score_opus":0.047414812566286754,"score_gpt":0.277955922576353,"score_spread":0.23054111001006622,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4237964993","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41006717,0.0051474324,0.0050527942,0.2637403,0.0052518207,0.000040944964,0.00013258922,0.00006174486,0.31050518],"genre_scores_gemma":[0.96410877,0.0016419422,0.0006206898,0.009474911,0.0010767442,0.00001980107,0.000027263366,0.00005227485,0.022977522],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99818367,0.0013256745,0.000032101387,0.0000874659,0.00023496909,0.00013604182],"domain_scores_gemma":[0.99444866,0.0033672284,0.00097135373,0.00026132772,0.00053135335,0.00042006787],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028856487,0.00023750482,0.00012765384,0.00029232554,0.004529195,0.00547697,0.00048233752,0.0012122939,0.003970495],"category_scores_gemma":[0.010209565,0.00017585637,0.00012537565,0.00029866892,0.009235766,0.0032863112,0.0015287414,0.005928343,0.00044188224],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014426744,0.000105303196,0.009498535,0.0002744321,0.000048649817,0.0015195167,0.35732517,0.00027162183,0.0027401247,0.31065315,0.27255055,0.044868596],"study_design_scores_gemma":[0.000019096982,0.000116119,0.01369431,0.00048989017,0.000018635112,0.001177634,0.21252622,0.00045936927,0.0014907949,0.017760862,0.752193,0.000054116248],"about_ca_topic_score_codex":0.0032661934,"about_ca_topic_score_gemma":0.006249928,"teacher_disagreement_score":0.00547697,"about_ca_system_score_codex":0.0017064947,"about_ca_system_score_gemma":0.00072608615,"threshold_uncertainty_score":0.015260994},"labels":[],"label_agreement":null},{"id":"W4238061960","doi":"10.3138/cras-s036-03-04","title":"Becoming Documentary: Edward Curtis’s In the Land of the Headhunters and the Politics of Archival Reconstruction","year":2006,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ethnography; Fantasy; Objectivity (philosophy); Romance; Alterity; Politics; Art; Colonialism; Literature; History; Art history; Aesthetics; Sociology; Philosophy; Anthropology; Archaeology; Law; Epistemology; Political science","score_opus":0.019447064515127434,"score_gpt":0.24953695834179698,"score_spread":0.23008989382666956,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238061960","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24060729,0.04490844,0.0020054225,0.16349927,0.0016547104,0.000045335408,0.0001471468,0.00011861525,0.5470138],"genre_scores_gemma":[0.9536633,0.0070186188,0.00044209405,0.002818586,0.00036904184,0.00001862436,0.000021488577,0.000079058205,0.035569265],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.995845,0.0024833118,0.00007834072,0.00033673286,0.00076399196,0.00049249234],"domain_scores_gemma":[0.9905902,0.006848369,0.0005516843,0.0005915371,0.00078515505,0.00063302],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004349335,0.00035458742,0.0003474965,0.0021471812,0.01359508,0.015522501,0.0011119345,0.0027202596,0.005540729],"category_scores_gemma":[0.011873876,0.00029646687,0.00012458302,0.0021200962,0.036353204,0.0069375145,0.0041660247,0.004004496,0.00045340415],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060972903,0.000020505684,0.0008603549,0.0001255195,0.0000078552475,0.001064546,0.57746166,0.000102413695,0.00039759782,0.34124735,0.05839159,0.020259546],"study_design_scores_gemma":[0.000008215702,0.000015784975,0.0010419551,0.00043288158,0.0000069314046,0.00052748,0.23854718,0.000087467335,0.00093063357,0.012875136,0.7455034,0.000022936032],"about_ca_topic_score_codex":0.09274901,"about_ca_topic_score_gemma":0.15257351,"teacher_disagreement_score":0.09274901,"about_ca_system_score_codex":0.013313824,"about_ca_system_score_gemma":0.005924898,"threshold_uncertainty_score":0.18441826},"labels":[],"label_agreement":null},{"id":"W4238154689","doi":"10.32920/ryerson.14643975","title":"A cut above: the end (and ends) of film censorship","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University; York University","funders":"York University; Brandeis University","keywords":"Censorship; Government (linguistics); Law; Political science; Sociology; Media studies; Advertising; Business","score_opus":0.04567564829578754,"score_gpt":0.23355683563445448,"score_spread":0.18788118733866693,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238154689","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18481809,0.040345263,0.015079401,0.2552866,0.0040151444,0.00009560666,0.00035049158,0.00020884424,0.49980053],"genre_scores_gemma":[0.9454978,0.006210031,0.0026098047,0.012777489,0.0022807233,0.000069104055,0.00012803591,0.00025358776,0.030173419],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9852492,0.0077457163,0.0005909234,0.0022751438,0.0027037924,0.0014352094],"domain_scores_gemma":[0.9756597,0.0124286255,0.0019562661,0.00433107,0.0034791795,0.0021451302],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0115184,0.00040103693,0.0006528893,0.0020264024,0.010332506,0.032472912,0.0014620293,0.005345073,0.0065047746],"category_scores_gemma":[0.0276678,0.0005913501,0.0005939399,0.0012429175,0.042622443,0.044847477,0.0091377,0.014698792,0.0013350593],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020609451,0.00005123483,0.0030442474,0.00015294041,0.000022087603,0.0003495145,0.092767574,0.00009571853,0.00084628625,0.8399921,0.016604457,0.045867756],"study_design_scores_gemma":[0.000028613264,0.0001083502,0.00868387,0.0013334136,0.00003786429,0.0006066271,0.09877868,0.00031424852,0.0014898217,0.40550032,0.4830104,0.00010782933],"about_ca_topic_score_codex":0.0045784735,"about_ca_topic_score_gemma":0.0039919275,"teacher_disagreement_score":0.032472912,"about_ca_system_score_codex":0.0055217133,"about_ca_system_score_gemma":0.0030697247,"threshold_uncertainty_score":0.060915887},"labels":[],"label_agreement":null},{"id":"W4238236480","doi":"10.32920/ryerson.14653239","title":"How she sees it: cataloguing and rehousing the Arleen Schloss Super 8mm film collection at Anthology Film Archives","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; York University","funders":"","keywords":"Downtown; Context (archaeology); Art; Visual arts; Art history; Painting; Performance art; History; Archaeology","score_opus":0.03978777691928499,"score_gpt":0.22592735187777319,"score_spread":0.1861395749584882,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238236480","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53983766,0.009067756,0.0070488444,0.025889479,0.0013549394,0.0008696971,0.0027026278,0.00036550112,0.41286352],"genre_scores_gemma":[0.66361904,0.0153743,0.022474913,0.0026652834,0.00076490827,0.0006549509,0.0029520048,0.00092432054,0.29057026],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982583,0.0007849003,0.000088042216,0.00017718483,0.00053964835,0.00015185458],"domain_scores_gemma":[0.99642295,0.0017595474,0.00042562207,0.0002556168,0.00077348424,0.00036280265],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029352645,0.00032603083,0.00025935078,0.0040903357,0.006495072,0.0072111567,0.0008042679,0.0007238597,0.018218573],"category_scores_gemma":[0.011325623,0.0003210681,0.00014904015,0.0048355213,0.0023047645,0.004886013,0.0030111908,0.0015646785,0.0038098383],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008413921,0.00006065732,0.011287869,0.00059915753,0.000011253719,0.0015281204,0.49635282,0.00012405167,0.002491887,0.023360897,0.18308458,0.2810146],"study_design_scores_gemma":[0.0000040447444,0.000029274477,0.01396919,0.0006174703,0.000009311021,0.0003499457,0.29399106,0.00011734261,0.00080599234,0.0014417012,0.68864,0.000024721692],"about_ca_topic_score_codex":0.030296132,"about_ca_topic_score_gemma":0.12694359,"teacher_disagreement_score":0.030296132,"about_ca_system_score_codex":0.0038059112,"about_ca_system_score_gemma":0.003087375,"threshold_uncertainty_score":0.06094724},"labels":[],"label_agreement":null},{"id":"W4238369094","doi":"10.15353/kinema.vi.1147","title":"Berlinale 2006","year":2006,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Spring (device); Accreditation; Advertising; History; Economic history; Art history; Art; Business; Political science; Engineering; Law","score_opus":0.026585265387802162,"score_gpt":0.24737223661752927,"score_spread":0.22078697122972712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238369094","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018771102,0.0045894873,0.0007082475,0.0045673633,0.008339589,0.00013015828,0.014051407,0.0010081563,0.9647284],"genre_scores_gemma":[0.0037377155,0.0012443217,0.00024593473,0.0004900381,0.00037494235,0.00004199313,0.004808523,0.00025668897,0.9887998],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943775,0.000039680788,0.00002445945,0.00010737872,0.0002847203,0.0001059933],"domain_scores_gemma":[0.99925214,0.0000497676,0.00004809475,0.000091246904,0.0002688077,0.00028980814],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00070839096,0.00084017176,0.000455092,0.0015284022,0.0013504217,0.00666517,0.0010108665,0.0013922004,0.6303873],"category_scores_gemma":[0.001776258,0.00038923114,0.0004571089,0.0009167106,0.00039675253,0.0018949781,0.0021168152,0.0016043397,0.45874143],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009315923,0.000031416857,0.00027713133,0.000087628076,0.0000051431934,0.00007144156,0.000032022144,0.000062045474,0.00024483615,0.0036133179,0.952285,0.04319692],"study_design_scores_gemma":[0.000004476669,0.000008188115,0.00080108666,0.000034159475,7.6142743e-7,0.000026329266,0.0000232085,0.000018515855,0.000054660188,0.00017841943,0.99884677,0.0000034184354],"about_ca_topic_score_codex":0.006858414,"about_ca_topic_score_gemma":0.02386858,"teacher_disagreement_score":0.6303873,"about_ca_system_score_codex":0.0014641401,"about_ca_system_score_gemma":0.0013029341,"threshold_uncertainty_score":0.5272076},"labels":[],"label_agreement":null},{"id":"W4238607032","doi":"10.32920/ryerson.14657262","title":"A Film Scholar’s Guide to Writing Silent Film Restoration Reports","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; University of Toronto","funders":"","keywords":"Documentation; Movie theater; Publication; Auteur theory; Visual arts; Art; History; Library science; Computer science; Advertising; Business","score_opus":0.0437704241147408,"score_gpt":0.2743235623142701,"score_spread":0.23055313819952927,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238607032","genre_codex":"other","genre_gemma":"methods","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"methods","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0042240024,0.03715331,0.21898334,0.05478477,0.023954675,0.00799727,0.014228147,0.016448403,0.62222606],"genre_scores_gemma":[0.016705295,0.040915854,0.37298438,0.018418994,0.004797631,0.007675756,0.008592456,0.0066833626,0.52322626],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9967809,0.0015539633,0.00051729445,0.00022915058,0.00078614085,0.00013260625],"domain_scores_gemma":[0.9859444,0.008249563,0.0005994563,0.0009987575,0.0033909003,0.0008170425],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0048812325,0.0015791692,0.00085300306,0.0055724,0.0022864388,0.003662144,0.0021523342,0.002470929,0.07434532],"category_scores_gemma":[0.020043304,0.0015004185,0.0004141641,0.0038250051,0.0018327109,0.004715766,0.0025098335,0.0048495913,0.07317937],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016383361,0.000069440255,0.00009863362,0.00034546366,0.000002411911,0.00024263235,0.0029601718,0.000110166795,0.0007861187,0.0069178636,0.8778349,0.11061575],"study_design_scores_gemma":[0.0000039011043,0.000009944619,0.00013467734,0.0002001696,7.5236534e-7,0.00014637293,0.0005333612,0.000050463994,0.00008329133,0.0015168572,0.9973138,0.0000063694138],"about_ca_topic_score_codex":0.0050393213,"about_ca_topic_score_gemma":0.016204027,"teacher_disagreement_score":0.07434532,"about_ca_system_score_codex":0.0015110084,"about_ca_system_score_gemma":0.0041188737,"threshold_uncertainty_score":0.24870986},"labels":[],"label_agreement":null},{"id":"W4238746179","doi":"10.1525/aft.2012.40.1.4","title":"Moving Images","year":2012,"lang":"en","type":"article","venue":"Afterimage","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Citation; Afterimage; Download; Computer science; Information retrieval; World Wide Web; Artificial intelligence; Image (mathematics)","score_opus":0.024915976026839908,"score_gpt":0.22334920959257507,"score_spread":0.19843323356573517,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238746179","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001340607,0.005306187,0.002442172,0.008931955,0.018352685,0.00013315215,0.005960154,0.00305992,0.9544732],"genre_scores_gemma":[0.0061874893,0.003900544,0.0017530583,0.0015243085,0.0038459338,0.000046947884,0.005003237,0.0012011371,0.9765372],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992186,0.00007249266,0.000041040625,0.00016302468,0.0004053828,0.00009941834],"domain_scores_gemma":[0.99853826,0.00015593113,0.00007859305,0.00027184293,0.00058406324,0.000371273],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00062269,0.00092205236,0.00055247865,0.0026249741,0.0016743181,0.0069789942,0.0010882273,0.0017445858,0.71550244],"category_scores_gemma":[0.0032459928,0.00045400852,0.0007121266,0.0021708575,0.000776239,0.0041487133,0.0026515548,0.001733678,0.47148573],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003346239,0.000015306061,0.00010598504,0.00009511616,0.0000038019477,0.00005940892,0.000068470086,0.0000306362,0.00039745928,0.0036882176,0.9244464,0.071055695],"study_design_scores_gemma":[0.0000034594357,0.0000067111023,0.0002966025,0.000065190965,0.0000023802172,0.000080904305,0.000060059025,0.000027632195,0.00011751127,0.0005694186,0.9987664,0.000003818317],"about_ca_topic_score_codex":0.0039182464,"about_ca_topic_score_gemma":0.008557359,"teacher_disagreement_score":0.71550244,"about_ca_system_score_codex":0.0015137265,"about_ca_system_score_gemma":0.0013839785,"threshold_uncertainty_score":0.40580124},"labels":[],"label_agreement":null},{"id":"W4238909776","doi":"10.15353/kinema.vi.1082","title":"Vienna 2003","year":2004,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Art history; Regret; Schedule; Art; Performance art; Attendance; History; Visual arts; Media studies; Management; Sociology; Law; Political science; Computer science","score_opus":0.037347484371098826,"score_gpt":0.2632354232498454,"score_spread":0.22588793887874656,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4238909776","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008436591,0.008250448,0.0013254607,0.0034185126,0.005671654,0.000059332087,0.0024403518,0.0006992359,0.9772913],"genre_scores_gemma":[0.0031494752,0.0031740572,0.0005117422,0.000541629,0.00034807544,0.000037174952,0.0017713341,0.0003246639,0.9901418],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941397,0.000055773955,0.000041347877,0.00014579431,0.00026129797,0.00008184703],"domain_scores_gemma":[0.99951315,0.000036839807,0.000031189327,0.00008651821,0.00019062025,0.0001416117],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006447211,0.0009778193,0.00052623777,0.0013409435,0.0011308565,0.006964594,0.0009100405,0.001887158,0.5896445],"category_scores_gemma":[0.0014728345,0.0003991794,0.00042081083,0.0012313331,0.00045961817,0.0023795292,0.002170179,0.00181593,0.5607776],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007387518,0.0000436844,0.0003147491,0.00013372666,0.0000078625435,0.00012281,0.000092423004,0.00014170831,0.0007352915,0.016844768,0.8357125,0.14577666],"study_design_scores_gemma":[0.0000023935613,0.000005194888,0.00031038738,0.00006925659,0.0000010032023,0.00005325956,0.000033510616,0.000031812655,0.000084455714,0.0007426035,0.99866366,0.000002548258],"about_ca_topic_score_codex":0.0039852196,"about_ca_topic_score_gemma":0.007189263,"teacher_disagreement_score":0.5896445,"about_ca_system_score_codex":0.0016261349,"about_ca_system_score_gemma":0.0011467874,"threshold_uncertainty_score":0.5853223},"labels":[],"label_agreement":null},{"id":"W4239235677","doi":"10.32920/ryerson.14645391.v1","title":"Cataloguing a man’s love of mid to late 20th century posters: the Guy McKone collection at the TIFF Film Reference Library","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Wilfrid Laurier University; Toronto Metropolitan University","funders":"","keywords":"Ephemera; Digitization; Special collections; Digital collections; Library science; World Wide Web; Collections management; Cataloging; Metadata; Computer science; Visual arts; Art; Telecommunications","score_opus":0.03675950736954254,"score_gpt":0.21802181473312,"score_spread":0.18126230736357746,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239235677","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30061147,0.03170875,0.013134485,0.07640925,0.0037879902,0.0008241062,0.0066196662,0.0014226716,0.56548166],"genre_scores_gemma":[0.47033423,0.020747336,0.025762074,0.0043043527,0.0019226972,0.00023788752,0.0044721453,0.00111402,0.47110522],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99765354,0.00081340683,0.00012464887,0.00024304217,0.00091376196,0.00025163373],"domain_scores_gemma":[0.99350846,0.0014524921,0.0008735776,0.0012914101,0.001516873,0.0013571187],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005463517,0.00026601003,0.00026705855,0.0038978187,0.00634676,0.009695058,0.000793088,0.0007047155,0.031575177],"category_scores_gemma":[0.011047772,0.00046279986,0.00020096583,0.0064866557,0.0031001419,0.0051676724,0.003569659,0.0011971337,0.0062218374],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012916524,0.00006724269,0.015230226,0.00057357573,0.00002515584,0.0013352098,0.05386597,0.0002647423,0.0019143049,0.06162747,0.5014143,0.3635526],"study_design_scores_gemma":[0.0000060991565,0.00003518173,0.018496348,0.0003606339,0.000009009483,0.00043685274,0.017715685,0.00008164061,0.0005803735,0.001299219,0.9609484,0.000030562278],"about_ca_topic_score_codex":0.058195226,"about_ca_topic_score_gemma":0.16100788,"teacher_disagreement_score":0.058195226,"about_ca_system_score_codex":0.0054216953,"about_ca_system_score_gemma":0.006293667,"threshold_uncertainty_score":0.115713},"labels":[],"label_agreement":null},{"id":"W4239238993","doi":"10.4324/9781135000356-rem1701-1","title":"Ophüls, Max (1902–1957)","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Film director; Judaism; Art history; Hollywood; Shame; The arts; Period (music); Art; History; Genealogy; Literature; Movie theater; Visual arts; Law; Political science; Archaeology; Aesthetics","score_opus":0.051843147608815296,"score_gpt":0.212875894346457,"score_spread":0.16103274673764173,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239238993","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0075249854,0.068202116,0.0007474693,0.008836236,0.0052455296,0.00003251372,0.0006370423,0.000077967205,0.9086961],"genre_scores_gemma":[0.06960044,0.028038228,0.00044898601,0.00149259,0.00144733,0.000040245577,0.00021535016,0.0001247382,0.898592],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998393,0.000022742846,0.000005162429,0.000035371984,0.000065288696,0.00003213458],"domain_scores_gemma":[0.99987984,0.000034779932,0.000012082464,0.000005539928,0.000028432367,0.000039277176],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00021182012,0.00046724515,0.00015208058,0.0016530063,0.0016555989,0.0024218676,0.00028854015,0.00049980485,0.03051046],"category_scores_gemma":[0.00090197346,0.00018926463,0.00007395343,0.001017282,0.0013201445,0.0024241772,0.0014054867,0.0011573628,0.007797204],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056272584,0.000020003887,0.00050504104,0.00018631195,0.000003101572,0.00024186673,0.006443751,0.00009115659,0.000505452,0.25876355,0.5910289,0.1421546],"study_design_scores_gemma":[7.9896944e-7,0.0000028641352,0.00025143463,0.00006544923,4.8524595e-7,0.00008025143,0.00024096528,0.000009642583,0.00007676898,0.0022460017,0.9970239,0.00000157727],"about_ca_topic_score_codex":0.004530771,"about_ca_topic_score_gemma":0.008299476,"teacher_disagreement_score":0.03051046,"about_ca_system_score_codex":0.0018528672,"about_ca_system_score_gemma":0.001002012,"threshold_uncertainty_score":0.10206765},"labels":[],"label_agreement":null},{"id":"W4239334413","doi":"10.5810/kentucky/9780813169651.003.0002","title":"Vaudeville Roots","year":2017,"lang":"en","type":"book-chapter","venue":"University Press of Kentucky eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Passion; Style (visual arts); Persona; Culmination; Quarter (Canadian coin); Performance art; Art; Art history; Psychology; History; Visual arts; Humanities; Social psychology; Archaeology","score_opus":0.0381596560717598,"score_gpt":0.18998527653831937,"score_spread":0.15182562046655956,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239334413","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007496566,0.003464049,0.00062100374,0.0014645566,0.00059629034,0.000010489492,0.0002812875,0.00022646812,0.9925861],"genre_scores_gemma":[0.0061090416,0.0012428233,0.00039418627,0.0003123638,0.00006306086,0.000013153765,0.00014930985,0.00013053064,0.9915856],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99977046,0.0000292865,0.0000069146304,0.000076072225,0.000086565575,0.000030761614],"domain_scores_gemma":[0.9998274,0.00004627947,0.000010231377,0.000021849388,0.00005355835,0.000040662246],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0001941689,0.00040150876,0.0002395964,0.001206038,0.0023036506,0.0036007038,0.00070846017,0.0013204721,0.34404436],"category_scores_gemma":[0.0008365661,0.00022127733,0.00014629618,0.0009845298,0.00070863805,0.0021176815,0.001516418,0.001777629,0.093588606],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028412673,0.00003321284,0.0002727493,0.00012918004,0.0000026032299,0.0002688582,0.0015530615,0.00011239477,0.0005593971,0.30054465,0.5181654,0.17833003],"study_design_scores_gemma":[6.1165554e-7,0.0000015427297,0.00004908921,0.000035227647,2.8157265e-7,0.000049583236,0.00008105902,0.000012550219,0.000043504737,0.0017759412,0.9979498,9.12037e-7],"about_ca_topic_score_codex":0.009085685,"about_ca_topic_score_gemma":0.033831242,"teacher_disagreement_score":0.34404436,"about_ca_system_score_codex":0.002079273,"about_ca_system_score_gemma":0.0013769607,"threshold_uncertainty_score":0.9356411},"labels":[],"label_agreement":null},{"id":"W4239865221","doi":"10.26686/wgtn.14404826","title":"All Feelings are Queer Feelings: Queer Worlding Through Affect in the Films of Xavier Dolan","year":2021,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Temporality; Shame; Heteronormativity; Queer theory; Aesthetics; Gender studies; Sociology; Psychoanalysis; Art; Psychology; Social psychology; Philosophy","score_opus":0.040968397447306286,"score_gpt":0.2750673481709405,"score_spread":0.23409895072363418,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239865221","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.54535276,0.007565265,0.0018966085,0.033565152,0.00070012215,0.000046649377,0.00022386885,0.00005000306,0.4105996],"genre_scores_gemma":[0.96494395,0.0019482578,0.00034081406,0.0016831333,0.00009300514,0.000016978702,0.000032636854,0.000038342565,0.03090277],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9989656,0.0007031513,0.000008322723,0.000063580876,0.00013451795,0.00012470764],"domain_scores_gemma":[0.99929774,0.00033465843,0.000090641595,0.00003030169,0.00012245226,0.0001241868],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000940248,0.00032233878,0.00016279476,0.00059417833,0.011184515,0.0067625605,0.00037218627,0.0008674477,0.0035043159],"category_scores_gemma":[0.0018940126,0.00019711716,0.00018807536,0.00061752397,0.010637842,0.003401353,0.00152882,0.002911468,0.00020464598],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039340866,0.000021670261,0.002235252,0.00005872459,0.000012097142,0.00057811476,0.8919046,0.0000948848,0.0011879206,0.080157325,0.014856253,0.008853756],"study_design_scores_gemma":[0.0000068634085,0.000019554718,0.012176101,0.00020987444,0.000014706607,0.00033998897,0.68261796,0.00013043486,0.00052920764,0.0057093385,0.2982042,0.00004173869],"about_ca_topic_score_codex":0.20352013,"about_ca_topic_score_gemma":0.3924481,"teacher_disagreement_score":0.20352013,"about_ca_system_score_codex":0.00911651,"about_ca_system_score_gemma":0.0018543466,"threshold_uncertainty_score":0.404671},"labels":[],"label_agreement":null},{"id":"W4239878469","doi":"10.1386/fiin.5.3.77","title":"Book Reviews","year":2007,"lang":"en","type":"article","venue":"Film International","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Movie theater; Art history; Media studies; Art; Sociology; Humanities","score_opus":0.03876520776746738,"score_gpt":0.26300827498425333,"score_spread":0.22424306721678594,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4239878469","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00031331705,0.06321323,0.0010977912,0.0095387,0.020647416,0.00013539892,0.002418445,0.000828009,0.9018078],"genre_scores_gemma":[0.0014357221,0.025652772,0.0008459717,0.004343938,0.004777614,0.0000734439,0.001877237,0.00043095002,0.9605623],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99887687,0.00010775483,0.000064184125,0.00021073945,0.000654301,0.000086153064],"domain_scores_gemma":[0.9983814,0.00028487487,0.000090940746,0.00018700038,0.00074934174,0.00030646205],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00051758613,0.00097136514,0.001030569,0.0030919928,0.0013772071,0.007295011,0.0020186182,0.0023106334,0.6342427],"category_scores_gemma":[0.0036401297,0.0004026531,0.00073794177,0.003546067,0.0007875875,0.00401881,0.0024603712,0.0022987165,0.55125225],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009307598,0.000017572609,0.00003879634,0.0003090807,0.000002826312,0.000046789915,0.00005914946,0.00003187018,0.00012195831,0.0042126914,0.8950754,0.10007456],"study_design_scores_gemma":[0.0000015227802,0.0000031135035,0.000054027132,0.00014889117,0.000001088446,0.000052277523,0.000027591992,0.0000068145982,0.0000171623,0.00055958284,0.9991259,0.0000019465178],"about_ca_topic_score_codex":0.003146024,"about_ca_topic_score_gemma":0.005916751,"teacher_disagreement_score":0.6342427,"about_ca_system_score_codex":0.0017815001,"about_ca_system_score_gemma":0.003045034,"threshold_uncertainty_score":0.52170837},"labels":[],"label_agreement":null},{"id":"W4240030159","doi":"10.7312/wils17211-fm","title":"Frontmatter","year":2014,"lang":"en","type":"book-chapter","venue":"Columbia University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Geography","score_opus":0.030305858267393956,"score_gpt":0.16868139432219426,"score_spread":0.1383755360548003,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240030159","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00023998607,0.0008293337,0.00038279578,0.00056406384,0.0008357023,0.000024186493,0.0016955726,0.00094936474,0.99447906],"genre_scores_gemma":[0.00064712163,0.00033489073,0.00013309655,0.00016387587,0.00009479209,0.000008357195,0.0005357907,0.00029132736,0.9977908],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997191,0.000021183949,0.00001195026,0.00006659449,0.00014254283,0.000038629292],"domain_scores_gemma":[0.9996012,0.00006837195,0.000020314537,0.000070874754,0.0001314274,0.00010789418],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021192314,0.00076999486,0.0007010511,0.001907278,0.001377999,0.0049929423,0.0010194577,0.0014842537,0.9129629],"category_scores_gemma":[0.0010713296,0.00042143004,0.00043372306,0.0019068269,0.0004419151,0.0035353939,0.0023772358,0.0016001337,0.8378526],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017827258,0.000018706876,0.0000759521,0.000110176385,0.0000018199903,0.000047268517,0.00008468052,0.000025513755,0.0003216436,0.0069545517,0.88035613,0.11198573],"study_design_scores_gemma":[0.0000019861902,0.0000040831314,0.00015374091,0.00003884544,7.019298e-7,0.000035875357,0.000029409764,0.000019531748,0.000075109994,0.0005828487,0.9990557,0.000002239444],"about_ca_topic_score_codex":0.0024930113,"about_ca_topic_score_gemma":0.0076655736,"teacher_disagreement_score":0.08703709,"about_ca_system_score_codex":0.00096478657,"about_ca_system_score_gemma":0.00060908863,"threshold_uncertainty_score":0.12414777},"labels":[],"label_agreement":null},{"id":"W4240031996","doi":"10.32920/ryerson.14638743","title":"Home improvement television: Holmes on Homes Makes It Right","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Reality tv; Economic Justice; Reality television; Art; Sociology; Media studies; Advertising; Art history; Political science; Law; Business","score_opus":0.030666495332024,"score_gpt":0.2375028450842239,"score_spread":0.2068363497521999,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240031996","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05493869,0.0060566906,0.0037575117,0.28523687,0.002640127,0.000026257241,0.00065118907,0.00028475,0.6464079],"genre_scores_gemma":[0.62247443,0.0059528225,0.0032102915,0.01758337,0.0009116686,0.000017797844,0.00034033606,0.00030761113,0.34920165],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991277,0.00022531474,0.000011597152,0.000082300416,0.00035884956,0.00019434479],"domain_scores_gemma":[0.99824995,0.00064780883,0.00010807538,0.00014917488,0.0005150351,0.0003299017],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00088116864,0.00013232962,0.00012613289,0.00046258772,0.0027045594,0.005288054,0.00030590894,0.0015413206,0.016067436],"category_scores_gemma":[0.00537797,0.00012910692,0.000084739746,0.0008808546,0.0034796607,0.0029292223,0.0010266433,0.0017852596,0.0016979753],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000080490914,0.000031212436,0.003065409,0.00007952813,0.000010074608,0.00022523613,0.00809735,0.00019629415,0.0005394453,0.46750715,0.44802123,0.07214656],"study_design_scores_gemma":[0.000010059327,0.00001198795,0.0044217207,0.00013859429,0.0000073708275,0.000089562694,0.006438188,0.00022424983,0.0005442563,0.022219747,0.9658757,0.000018517047],"about_ca_topic_score_codex":0.32312968,"about_ca_topic_score_gemma":0.40975457,"teacher_disagreement_score":0.32312968,"about_ca_system_score_codex":0.0061632907,"about_ca_system_score_gemma":0.0050890874,"threshold_uncertainty_score":0.6424977},"labels":[],"label_agreement":null},{"id":"W4240141116","doi":"10.1515/9789048537808","title":"Film Serials and the American Cinema, 1910-1940","year":2018,"lang":"en","type":"book","venue":"Amsterdam University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Illinois at Urbana-Champaign; York University; University of Oxford; University of Wisconsin-Madison; Harvard University; Princeton University; Temple University; Yale University","keywords":"Movie theater; Art; Art history","score_opus":0.023926779200567086,"score_gpt":0.19466001272304184,"score_spread":0.17073323352247477,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240141116","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0509622,0.06800621,0.00042839765,0.0071304925,0.00088485354,0.000029199095,0.000325341,0.000042734264,0.8721907],"genre_scores_gemma":[0.69917256,0.084108785,0.0005267817,0.0008238359,0.0017861818,0.00005595577,0.00028627628,0.000056643767,0.21318305],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99969757,0.000099173696,0.000012599277,0.00004724587,0.00008728451,0.000056232493],"domain_scores_gemma":[0.99935895,0.00032370762,0.00007675068,0.000039462146,0.00012329916,0.000077893186],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040355232,0.0003484956,0.0001391082,0.002255085,0.002793845,0.0051543363,0.00026639277,0.00061583595,0.01237314],"category_scores_gemma":[0.0017653989,0.00022892623,0.00010114922,0.0030744942,0.0029640533,0.0023894156,0.00085041136,0.0010957333,0.0010446501],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012246548,0.00010907315,0.0048245364,0.0004669748,0.000014220456,0.0003608916,0.037300065,0.00019304264,0.0004432752,0.6351282,0.12071644,0.20032072],"study_design_scores_gemma":[0.000007166804,0.000021900385,0.012707082,0.00034170068,0.000010108308,0.00013852352,0.0055728997,0.00006868046,0.0001741203,0.0076090754,0.97334284,0.0000059236622],"about_ca_topic_score_codex":0.01669659,"about_ca_topic_score_gemma":0.031113826,"teacher_disagreement_score":0.01669659,"about_ca_system_score_codex":0.0031171532,"about_ca_system_score_gemma":0.0012480743,"threshold_uncertainty_score":0.041392326},"labels":[],"label_agreement":null},{"id":"W4240441231","doi":"10.2307/j.ctv6cfprf.11","title":"FILM AND FILM CULTURE IN CANADA:","year":2018,"lang":"en","type":"book-chapter","venue":"University of Calgary Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Materials science; Art","score_opus":0.022162768546350096,"score_gpt":0.1576249836151319,"score_spread":0.13546221506878178,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240441231","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.34117216,0.11151034,0.00043678173,0.09587059,0.0016314026,0.00013195087,0.0054299505,0.00010765532,0.4437092],"genre_scores_gemma":[0.78038573,0.057148762,0.0005382843,0.0026578493,0.00019925146,0.00004679454,0.0009649328,0.000095491734,0.15796284],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99854845,0.000110830246,0.00003822214,0.0001621784,0.0005976732,0.00054266496],"domain_scores_gemma":[0.99646616,0.00038643187,0.00016405211,0.000054283144,0.0015487848,0.0013803135],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008920638,0.00045343957,0.0004910165,0.0032928577,0.012253026,0.011411516,0.0013731008,0.0014904325,0.02297678],"category_scores_gemma":[0.004280287,0.00045568694,0.0002997895,0.011234291,0.003722361,0.0025531482,0.0020641722,0.0026078075,0.00085432193],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028091657,0.00022767125,0.046541378,0.0010211329,0.00009062879,0.0008646998,0.15649742,0.00058301765,0.00070585177,0.14899184,0.3266719,0.31752348],"study_design_scores_gemma":[0.000021321883,0.000025726898,0.19896162,0.0010507005,0.00004932586,0.00016367779,0.14083722,0.000392277,0.00034304138,0.0033636,0.65471166,0.00007988744],"about_ca_topic_score_codex":0.99740845,"about_ca_topic_score_gemma":0.99892515,"teacher_disagreement_score":0.15544283,"about_ca_system_score_codex":0.15544283,"about_ca_system_score_gemma":0.2111754,"threshold_uncertainty_score":0.9795666},"labels":[],"label_agreement":null},{"id":"W4240449791","doi":"10.4000/books.pur.1280","title":"Introduction","year":2000,"lang":"fr","type":"book-chapter","venue":"Presses universitaires de Rennes eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.01770833330441193,"score_gpt":0.18508294562184446,"score_spread":0.16737461231743253,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240449791","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003276083,0.010881567,0.0040618638,0.012996186,0.0041508703,0.00014069739,0.0028646237,0.0008594014,0.9607687],"genre_scores_gemma":[0.022774726,0.0058582067,0.002795515,0.0043683695,0.0012326448,0.00011395757,0.0019706758,0.00034940641,0.9605366],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989182,0.00016577094,0.000033322118,0.0002921398,0.00039959725,0.00019099451],"domain_scores_gemma":[0.99841464,0.00028025216,0.000066859466,0.00015434102,0.0007990649,0.00028477682],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011867739,0.00068864744,0.00047308236,0.0015044515,0.0030400052,0.006075135,0.001430045,0.0027334848,0.35420755],"category_scores_gemma":[0.0031367016,0.00024485207,0.00042647086,0.0014578626,0.0011649999,0.0030778358,0.0019490237,0.0018585621,0.12578431],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006320734,0.00005179301,0.0009002598,0.0002729978,0.0000065591767,0.00030379553,0.0017882508,0.00016170635,0.00072781224,0.12256346,0.6937867,0.17937346],"study_design_scores_gemma":[0.0000020205912,0.000006743602,0.00048142904,0.000104151084,0.0000011151551,0.00009703978,0.00025454856,0.000020346928,0.00005920687,0.0016844849,0.9972851,0.000003826923],"about_ca_topic_score_codex":0.03347201,"about_ca_topic_score_gemma":0.032187335,"teacher_disagreement_score":0.35420755,"about_ca_system_score_codex":0.004756306,"about_ca_system_score_gemma":0.0043248176,"threshold_uncertainty_score":0.92114455},"labels":[],"label_agreement":null},{"id":"W4240450413","doi":"10.1525/9780520957411-025","title":"DISCONTINUOUS FILMS (Canada, 1967)","year":2019,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Materials science; History","score_opus":0.021193194097356313,"score_gpt":0.1797178955126349,"score_spread":0.15852470141527858,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240450413","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019526379,0.031209096,0.0016170673,0.0031853071,0.0016781059,0.00007762592,0.002709929,0.000143515,0.9574268],"genre_scores_gemma":[0.022325544,0.023614505,0.0014586857,0.00031139227,0.00018194367,0.000044433044,0.00088220363,0.00015867063,0.9510226],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999632,0.000029530156,0.000013879684,0.00006056289,0.00018598142,0.00007805838],"domain_scores_gemma":[0.99941516,0.000071448674,0.000018225712,0.000034854194,0.00037013623,0.00009017406],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00035751265,0.0010687226,0.00042202362,0.003927656,0.0061549023,0.007288025,0.0010766285,0.0011924464,0.09487554],"category_scores_gemma":[0.0016978775,0.00048495905,0.00022886338,0.009057883,0.0021787353,0.0027814168,0.0011986643,0.001805333,0.014049643],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028896275,0.000025014057,0.00051652564,0.00020018584,0.0000044326002,0.00014181135,0.0028429893,0.0002551458,0.00020118912,0.13281047,0.64833295,0.2146403],"study_design_scores_gemma":[0.0000017629733,0.0000027361875,0.0009588179,0.00018369545,0.0000028537286,0.00006172174,0.00080336246,0.000057110286,0.000098898934,0.0032099644,0.9946127,0.0000062765653],"about_ca_topic_score_codex":0.8969258,"about_ca_topic_score_gemma":0.95483357,"teacher_disagreement_score":0.10307419,"about_ca_system_score_codex":0.022374036,"about_ca_system_score_gemma":0.028674655,"threshold_uncertainty_score":0.31739032},"labels":[],"label_agreement":null},{"id":"W4240615867","doi":"10.4324/9781003008439-1","title":"Introduction","year":2021,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Materials science","score_opus":0.03136766550348967,"score_gpt":0.1951536929617122,"score_spread":0.16378602745822252,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240615867","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008936851,0.012001341,0.004704019,0.005568799,0.005677239,0.00020005678,0.0028796308,0.0009551741,0.96712005],"genre_scores_gemma":[0.004854503,0.011038207,0.004139841,0.0031209458,0.0012764427,0.00015008182,0.003703618,0.00043930157,0.9712772],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990766,0.00009722281,0.000052316693,0.0002078643,0.0004517055,0.000114281494],"domain_scores_gemma":[0.9994073,0.00011648072,0.00003557085,0.000061190134,0.0002803238,0.000099131954],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00051296223,0.00088780286,0.00067975186,0.0016312025,0.0017838428,0.005389892,0.0019010159,0.002468611,0.40668094],"category_scores_gemma":[0.0023517555,0.00038321578,0.0006067467,0.0016936791,0.0008254219,0.004320428,0.002612906,0.0023267427,0.24903634],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003173264,0.00005244677,0.0002867854,0.00041757844,0.0000048663214,0.00018267929,0.00064553646,0.00017838202,0.0003797775,0.06323381,0.76873213,0.16585435],"study_design_scores_gemma":[0.0000010980552,0.0000058845635,0.00010084464,0.0001207141,7.4572426e-7,0.0000917337,0.0000908443,0.000017883613,0.00003778307,0.0024023955,0.9971276,0.0000025815484],"about_ca_topic_score_codex":0.0028066172,"about_ca_topic_score_gemma":0.003545614,"teacher_disagreement_score":0.59331906,"about_ca_system_score_codex":0.0017988082,"about_ca_system_score_gemma":0.0017508175,"threshold_uncertainty_score":0.8462976},"labels":[],"label_agreement":null},{"id":"W4240844455","doi":"10.32920/ryerson.14653041.v1","title":"The A.I. storyteller: Perpetuating orality using developments in machine learning","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Orality; Experiential learning; Interactivity; Embodied cognition; Generative grammar; Aesthetics; Identity (music); Key (lock); Process (computing); Sociology; Cognitive science; Epistemology; Psychology; Computer science; Art; Multimedia; Pedagogy; Artificial intelligence; Philosophy","score_opus":0.08780080724885833,"score_gpt":0.26508632391555453,"score_spread":0.1772855166666962,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240844455","genre_codex":"methods","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38249427,0.0061962837,0.3885754,0.031319965,0.0005667293,0.00025989825,0.0005480405,0.0011710008,0.1888684],"genre_scores_gemma":[0.8481612,0.0023901179,0.13122746,0.00048865954,0.00014394226,0.00012065977,0.0001823266,0.00014062112,0.01714504],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991805,0.0005942418,0.00001864824,0.00008582674,0.00009280464,0.000027912374],"domain_scores_gemma":[0.99672866,0.0024727834,0.00018641737,0.00031641123,0.0001284682,0.00016722301],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002123743,0.00024370897,0.00015018943,0.0007537463,0.0011394754,0.004407129,0.00042609777,0.0006512115,0.0030861688],"category_scores_gemma":[0.008473577,0.00017123994,0.0001908836,0.00066821434,0.0033349807,0.0053435545,0.0018126552,0.0011017916,0.0005145197],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001803202,0.0001001226,0.0059500057,0.00030893122,0.0000281505,0.0003950537,0.055094697,0.0031824678,0.004217198,0.46576974,0.018946635,0.4458267],"study_design_scores_gemma":[0.000071759096,0.0002475737,0.010980747,0.0006368174,0.00006632197,0.0013458721,0.03556294,0.069891796,0.017031215,0.43511692,0.4289234,0.00012461249],"about_ca_topic_score_codex":0.00079662213,"about_ca_topic_score_gemma":0.0010868411,"teacher_disagreement_score":0.004407129,"about_ca_system_score_codex":0.00047250566,"about_ca_system_score_gemma":0.0003149597,"threshold_uncertainty_score":0.011231542},"labels":[],"label_agreement":null},{"id":"W4240868033","doi":"10.2307/j.ctv6gqtgt","title":"Filming Politics","year":2007,"lang":"en","type":"book","venue":"University of Calgary Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"Alberta Foundation for the Arts; Social Sciences and Humanities Research Council of Canada; Government of Canada; Canada Council for the Arts; Federation for the Humanities and Social Sciences","keywords":"Politics; Political science; Law","score_opus":0.03679276794487711,"score_gpt":0.19091693428582004,"score_spread":0.15412416634094295,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240868033","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0026001746,0.006577222,0.00035679087,0.0037552712,0.0006639237,0.000010301636,0.0000650724,0.000034417837,0.9859368],"genre_scores_gemma":[0.08238313,0.011941288,0.00046552156,0.0016873971,0.00068430795,0.000014017259,0.000111616704,0.00010845616,0.9026042],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99966884,0.00008830714,0.000008196019,0.00005499549,0.00009955177,0.00008013511],"domain_scores_gemma":[0.99955016,0.00014539981,0.000032347434,0.00006890849,0.00009096485,0.00011234202],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00035702647,0.00034627903,0.00014977869,0.0007721614,0.0029666936,0.005602604,0.0003510512,0.0008710818,0.08967627],"category_scores_gemma":[0.0015506101,0.00019629154,0.0001444253,0.0010974292,0.0018923384,0.0028135707,0.0012349843,0.0013403025,0.009371726],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028020906,0.000035260233,0.00061126665,0.000149957,0.0000060560865,0.00016676316,0.007836202,0.000105300955,0.0010062929,0.48075777,0.38923204,0.12006502],"study_design_scores_gemma":[0.0000013629515,0.0000039419547,0.0007199467,0.00011839858,0.0000019368508,0.00005371342,0.0016808449,0.000026841206,0.00022059874,0.0059847296,0.9911857,0.0000019967486],"about_ca_topic_score_codex":0.010052454,"about_ca_topic_score_gemma":0.022056108,"teacher_disagreement_score":0.08967627,"about_ca_system_score_codex":0.0021451765,"about_ca_system_score_gemma":0.0011020127,"threshold_uncertainty_score":0.29999697},"labels":[],"label_agreement":null},{"id":"W4240964140","doi":"10.3747/co.20.1585","title":"“His Turn”","year":2013,"lang":"en","type":"article","venue":"Current Oncology","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Turn (biochemistry); Medicine; Biology","score_opus":0.13624694206692745,"score_gpt":0.32864234585925683,"score_spread":0.1923954037923294,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4240964140","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008337099,0.008195862,0.007812775,0.20507807,0.048258428,0.00013192798,0.0004980762,0.0010438304,0.720644],"genre_scores_gemma":[0.08277462,0.0038593193,0.0029747277,0.09514205,0.006164796,0.00009231117,0.00028833435,0.00089013693,0.80781376],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99725795,0.0010600068,0.00005722347,0.00045534948,0.00058193476,0.0005875918],"domain_scores_gemma":[0.9967219,0.00032435395,0.00014926762,0.00033572072,0.0011587779,0.0013099154],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022073844,0.0011963431,0.00052429567,0.001003894,0.008809776,0.008715301,0.0010302706,0.0028524473,0.10085715],"category_scores_gemma":[0.0089793755,0.0005006357,0.0006118763,0.0005851536,0.0050764736,0.008204515,0.004633651,0.0110394815,0.047170073],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060851617,0.000034056822,0.0005847982,0.00008139321,0.00001916864,0.00031865668,0.007180642,0.00003289311,0.0006296182,0.050709374,0.9067939,0.03355459],"study_design_scores_gemma":[0.000005003129,0.000017263288,0.0003205874,0.00012008656,0.000007262604,0.00033551388,0.0045352834,0.00003176068,0.00021984449,0.0038111801,0.9905778,0.000018290568],"about_ca_topic_score_codex":0.007322841,"about_ca_topic_score_gemma":0.011969514,"teacher_disagreement_score":0.10085715,"about_ca_system_score_codex":0.0028732126,"about_ca_system_score_gemma":0.0023342818,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4241118143","doi":"10.15353/kinema.vi.1205","title":"Berlinale 2009","year":2009,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Elite; Politics; Superstar; Film director; Government (linguistics); Law; China; German; Media studies; Political science; Art history; History; Art; Sociology; Economic history; Movie theater","score_opus":0.03627643934439027,"score_gpt":0.2694738732995176,"score_spread":0.23319743395512735,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4241118143","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015028655,0.0028653492,0.00061441766,0.0037219394,0.0058178967,0.000089058005,0.013153721,0.0009454953,0.97128916],"genre_scores_gemma":[0.005229603,0.0011172446,0.00032085073,0.0007891206,0.00039488386,0.000058052614,0.00551882,0.0003326491,0.9862388],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99951696,0.00003442996,0.000020711484,0.00009164885,0.00024078788,0.000095365365],"domain_scores_gemma":[0.9994136,0.000051022653,0.000041078947,0.00008964427,0.00018504338,0.00021961161],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005198803,0.00063217786,0.00035505882,0.0016080759,0.0013037968,0.0054749288,0.00087212323,0.0012986585,0.6379121],"category_scores_gemma":[0.0017113237,0.0003232275,0.00035686517,0.000971934,0.00039932365,0.0020620555,0.0024448328,0.0015837115,0.41635495],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000665381,0.000031381733,0.00026716277,0.00009299723,0.0000050323138,0.00009375916,0.000045443983,0.000060159768,0.00039023868,0.0077846064,0.93882656,0.05233616],"study_design_scores_gemma":[0.0000027569142,0.0000034212394,0.0004271245,0.000021937809,4.596255e-7,0.00002070632,0.000018299212,0.000012619986,0.000051370967,0.00019516498,0.99924386,0.0000022523477],"about_ca_topic_score_codex":0.0068161194,"about_ca_topic_score_gemma":0.016360128,"teacher_disagreement_score":0.6379121,"about_ca_system_score_codex":0.0014724468,"about_ca_system_score_gemma":0.001308802,"threshold_uncertainty_score":0.5164744},"labels":[],"label_agreement":null},{"id":"W4241133666","doi":"10.1525/aft.2020.47.4.1","title":"From the Editor","year":2020,"lang":"en","type":"article","venue":"Afterimage","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.027729584471718038,"score_gpt":0.20452648759425368,"score_spread":0.17679690312253565,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4241133666","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002493294,0.01194687,0.000505606,0.063085586,0.7596915,0.00007712471,0.00060831464,0.0005475164,0.16328818],"genre_scores_gemma":[0.002287263,0.01050384,0.0004252676,0.04987787,0.2242474,0.000080733975,0.0006656483,0.0005450474,0.71136695],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987589,0.0001594854,0.00010961427,0.00022717589,0.0005946525,0.00015002226],"domain_scores_gemma":[0.9965643,0.0005218267,0.00015676017,0.000265243,0.001539182,0.00095267687],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011304553,0.0012345379,0.00086728286,0.0013926672,0.001906101,0.007614656,0.0020381962,0.0036255985,0.45029452],"category_scores_gemma":[0.007895573,0.00045646945,0.0006293413,0.0011584488,0.0008080289,0.0044485573,0.0028323182,0.004380558,0.30911016],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000056175286,0.0000043654495,0.000021007823,0.000051120354,0.0000010401634,0.00003066971,0.000012750627,0.0000049581795,0.000034158853,0.00035852735,0.98444194,0.015033745],"study_design_scores_gemma":[0.0000019637137,0.000003693583,0.000056561268,0.00006212952,9.665068e-7,0.00005790727,0.000031910276,0.000006359454,0.000023425097,0.00017277764,0.9995801,0.0000022113647],"about_ca_topic_score_codex":0.0010217709,"about_ca_topic_score_gemma":0.002706439,"teacher_disagreement_score":0.45029452,"about_ca_system_score_codex":0.0012419743,"about_ca_system_score_gemma":0.0020328357,"threshold_uncertainty_score":0.78408813},"labels":[],"label_agreement":null},{"id":"W4241275199","doi":"10.32920/ryerson.14662791","title":"In limited release : the political economy of the Canadian motion picture distribution system","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Film industry; Politics; Negotiation; Studio; Distribution (mathematics); Power (physics); Movie theater; Preference; Motion (physics); Balance (ability); Economics; Political economy; Market economy; Economy; Political science; Economic system; Art; Law; Visual arts; Microeconomics","score_opus":0.021297810154910567,"score_gpt":0.20091131849284147,"score_spread":0.1796135083379309,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4241275199","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12617464,0.0018544982,0.0058898726,0.025735032,0.00017248723,0.00012276272,0.0026381991,0.00012508067,0.8372874],"genre_scores_gemma":[0.9434032,0.00110905,0.000910043,0.0008577237,0.00006663235,0.00003109577,0.000504048,0.00006968887,0.053048663],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99670404,0.00041463794,0.000045812776,0.0002838614,0.0015042532,0.0010473611],"domain_scores_gemma":[0.99511886,0.0011058091,0.00039005972,0.00027649486,0.0025547184,0.0005540231],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017441207,0.00017695829,0.00022389722,0.0016065516,0.0063252104,0.008460122,0.0008251514,0.0010114422,0.025752662],"category_scores_gemma":[0.011981238,0.00025585416,0.00019088868,0.0023232144,0.0029717288,0.0018313045,0.0012912884,0.0013229846,0.0011245818],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011683192,0.000031806143,0.01514266,0.00008605154,0.000021571477,0.00030430278,0.0031676812,0.0048237364,0.00072969,0.83228433,0.087686986,0.055604324],"study_design_scores_gemma":[0.00007364547,0.000044234017,0.0949687,0.00023668556,0.00006532815,0.00018040484,0.011967368,0.020981165,0.0012345104,0.0830751,0.78702116,0.00015168259],"about_ca_topic_score_codex":0.9554483,"about_ca_topic_score_gemma":0.9462304,"teacher_disagreement_score":0.056325227,"about_ca_system_score_codex":0.056325227,"about_ca_system_score_gemma":0.04039456,"threshold_uncertainty_score":0.40867007},"labels":[],"label_agreement":null},{"id":"W4241333034","doi":"10.15353/kinema.vi.1024","title":"Locarno 2003","year":2003,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Solitude; Passion; Theme (computing); Art; Subject (documents); History; Art history; Literature; Psychology; Social psychology","score_opus":0.03812137312903481,"score_gpt":0.259396485852982,"score_spread":0.22127511272394718,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4241333034","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0024670148,0.007621109,0.00047903042,0.0047892514,0.004697889,0.000067141555,0.00467304,0.00079611415,0.97440946],"genre_scores_gemma":[0.0075116204,0.0022696157,0.00027920955,0.0004626676,0.0005391159,0.00005165286,0.0020413978,0.00032847168,0.98651624],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959654,0.000048476,0.000018008604,0.000102341626,0.00014831561,0.00008635446],"domain_scores_gemma":[0.9994892,0.00006203956,0.000043610093,0.000069782895,0.00016101386,0.00017444651],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00048577593,0.00072420813,0.00036068304,0.0016339553,0.0017209994,0.0060874447,0.00079811976,0.0011738713,0.48769787],"category_scores_gemma":[0.0011750399,0.00030018846,0.00029221212,0.0012663129,0.0005098743,0.001813508,0.002499003,0.0011997867,0.19404495],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016257283,0.000036615063,0.00039592307,0.00023303546,0.000006740912,0.00021866323,0.00041516466,0.00006234945,0.0007150654,0.007897345,0.9008531,0.08900345],"study_design_scores_gemma":[0.0000038635144,0.0000055894343,0.0005677604,0.0000844595,0.0000012301296,0.000050960494,0.00010761538,0.000017799543,0.00008662813,0.00019549133,0.99887604,0.0000025442805],"about_ca_topic_score_codex":0.007441756,"about_ca_topic_score_gemma":0.02047335,"teacher_disagreement_score":0.48769787,"about_ca_system_score_codex":0.0021620945,"about_ca_system_score_gemma":0.00091589947,"threshold_uncertainty_score":0.7307368},"labels":[],"label_agreement":null},{"id":"W4241460829","doi":"10.1525/9780520937833-002","title":"Acknowledgments","year":2019,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"University of Minnesota; Social Sciences and Humanities Research Council of Canada; McGill University; McKnight Foundation","keywords":"Geography","score_opus":0.04570925984232707,"score_gpt":0.21392322843557868,"score_spread":0.1682139685932516,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4241460829","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0020395634,0.0045601674,0.008505266,0.09701863,0.06090672,0.0005144087,0.024632113,0.0020129927,0.7998102],"genre_scores_gemma":[0.007938384,0.0013329947,0.0037128283,0.009090651,0.0029688056,0.0002103034,0.0067325276,0.0009806856,0.9670329],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998192,0.00030819658,0.000085478445,0.00029836502,0.0010011344,0.00011485984],"domain_scores_gemma":[0.9889177,0.001021325,0.0002744927,0.0005975265,0.007620628,0.0015684029],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0019946708,0.0007699534,0.0007059621,0.0015367271,0.0019467431,0.0026361584,0.0015572372,0.0009479748,0.4070074],"category_scores_gemma":[0.011298872,0.000257296,0.0003160516,0.0013343513,0.00047136375,0.0019588133,0.0024885244,0.002366376,0.29024196],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012561107,0.000006294432,0.00012379009,0.000036960926,0.0000013496916,0.00004051103,0.0001390805,0.000022868899,0.00010773598,0.0051853377,0.97480744,0.019516101],"study_design_scores_gemma":[0.0000020961306,0.0000023708571,0.00013961976,0.000026961956,0.0000010591627,0.0000522038,0.00010792839,0.000022464224,0.000044751352,0.000738429,0.99886024,0.0000019445902],"about_ca_topic_score_codex":0.0060133007,"about_ca_topic_score_gemma":0.010628652,"teacher_disagreement_score":0.5929926,"about_ca_system_score_codex":0.002510102,"about_ca_system_score_gemma":0.003562421,"threshold_uncertainty_score":0.845832},"labels":[],"label_agreement":null},{"id":"W4241589306","doi":"10.32396/usurj.v5i2.487","title":"Artworks:","year":2019,"lang":"en","type":"article","venue":"USURJ University of Saskatchewan Undergraduate Research Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.04414946795674963,"score_gpt":0.25388956247350797,"score_spread":0.20974009451675835,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4241589306","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014293194,0.0022121891,0.001163914,0.0020951908,0.0059039155,0.00008667065,0.001115018,0.0012828978,0.9847109],"genre_scores_gemma":[0.0065298257,0.000993202,0.0006923973,0.0005680284,0.000955475,0.00005495985,0.00051939255,0.0008147125,0.988872],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99969137,0.00003743019,0.000007770422,0.00006413284,0.00013111626,0.00006823975],"domain_scores_gemma":[0.99954575,0.00006970915,0.00001899841,0.00007708745,0.00015149085,0.00013701127],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00041085776,0.0012757148,0.00046286738,0.0019482,0.004141063,0.006063149,0.00082937663,0.0011942629,0.5876795],"category_scores_gemma":[0.0010866678,0.00048202014,0.00080862705,0.0012536538,0.0008684285,0.0029005157,0.0036369716,0.0024461893,0.26342407],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007824965,0.00002812169,0.00012611755,0.00013983286,0.0000040781656,0.00007204414,0.00045786705,0.000052517797,0.0007645395,0.008089081,0.9290322,0.06115533],"study_design_scores_gemma":[0.000004643653,0.000008716222,0.00033663964,0.00008412985,0.0000022388929,0.000082980434,0.0002612728,0.0000454995,0.00020275344,0.0007787885,0.998187,0.000005244969],"about_ca_topic_score_codex":0.0024680805,"about_ca_topic_score_gemma":0.012666524,"teacher_disagreement_score":0.4123205,"about_ca_system_score_codex":0.001106409,"about_ca_system_score_gemma":0.000633644,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4241898973","doi":"10.4324/9781135000356-rem332-1","title":"Menken, Marie (1910–1970)","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Painting; Film director; League; Art history; Art; The arts; Lithuanian; Visual arts; Performance art; History; Movie theater","score_opus":0.04775964606317088,"score_gpt":0.212967261379878,"score_spread":0.16520761531670713,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4241898973","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0024779106,0.22548266,0.00085410743,0.008068316,0.004610186,0.000036178066,0.00046300993,0.00009367291,0.75791395],"genre_scores_gemma":[0.016341347,0.051597223,0.0005225963,0.0018284089,0.00089101173,0.000038829337,0.00020103219,0.00010261455,0.9284769],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99983,0.000023985276,0.000006475212,0.00006006074,0.000057855337,0.00002165379],"domain_scores_gemma":[0.99985516,0.00005518307,0.000015019559,0.000007633335,0.000038238486,0.000028712266],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002774164,0.00063922646,0.00025802903,0.0012841284,0.0015475183,0.0017306613,0.0003467562,0.0007262636,0.032861967],"category_scores_gemma":[0.00068422256,0.00027741084,0.0001290727,0.00092574646,0.0010448531,0.0020523074,0.00086166634,0.0016484053,0.01227064],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003721476,0.000026353402,0.00033880805,0.00028054375,0.000005712203,0.0001969053,0.0038399107,0.0001553522,0.0003574435,0.11272662,0.79663396,0.08540105],"study_design_scores_gemma":[9.490704e-7,0.0000033662873,0.0003845611,0.00012360317,9.207816e-7,0.00006911157,0.00015230487,0.00001210433,0.00004450839,0.0013235859,0.997883,0.0000018887465],"about_ca_topic_score_codex":0.019481534,"about_ca_topic_score_gemma":0.05881383,"teacher_disagreement_score":0.032861967,"about_ca_system_score_codex":0.0033279508,"about_ca_system_score_gemma":0.0013808728,"threshold_uncertainty_score":0.10993427},"labels":[],"label_agreement":null},{"id":"W4242019635","doi":"10.3138/cjfs.15.1.75","title":"Film and Religion the Hidden God: Film and Faith. Edited by Mary Lea Bandy and Antonio Monda; Perspectives on the Passion of the Christ: Religious Thinkers and Writers Explore the Issues Raised by the Controversial Movie; The End of the World: The Apocalyptic Imagination. John W. Martens; Film As Religion: Myths, Morals, and Rituals. John Lyden; Alien Sex: The Body and Desire in Cinema and Theology. Gerard Loughlin; Cinema, Religion and the Romantic Legacy. Paul Coates","year":2006,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Passion; Faith; Religious studies; Art; Sociology; Theology; Aesthetics; Philosophy; Psychology; Social psychology","score_opus":0.009407025688807849,"score_gpt":0.21495934210210355,"score_spread":0.2055523164132957,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4242019635","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014594125,0.8862476,0.000491787,0.027617512,0.010305721,0.00002821358,0.000401776,0.00004697963,0.07340106],"genre_scores_gemma":[0.056332573,0.7509408,0.0014274268,0.0056374506,0.010094825,0.00008240551,0.0005307169,0.0001669228,0.17478693],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99962926,0.00016002875,0.00002347066,0.000043577907,0.00011082194,0.00003280364],"domain_scores_gemma":[0.9987357,0.0005289098,0.00012049577,0.000060667313,0.0003307678,0.00022346509],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007089755,0.0014482127,0.0007839297,0.0031925938,0.002998048,0.00546622,0.0007730124,0.0020397925,0.024617942],"category_scores_gemma":[0.0027680378,0.00078860624,0.00034791452,0.0035435993,0.0021152415,0.0050436286,0.0017063348,0.002761483,0.0040391576],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000450427,0.00003692476,0.0003966017,0.0006493245,0.000021796563,0.00019351271,0.0060881055,0.00007018137,0.00027741815,0.023411563,0.88243693,0.08637257],"study_design_scores_gemma":[0.000008747325,0.00001393049,0.0016779104,0.0014776627,0.000012324264,0.00026102975,0.0046039107,0.000041248433,0.00009705172,0.004712595,0.9870859,0.000007689692],"about_ca_topic_score_codex":0.020957053,"about_ca_topic_score_gemma":0.048893888,"teacher_disagreement_score":0.024617942,"about_ca_system_score_codex":0.002321892,"about_ca_system_score_gemma":0.0023288103,"threshold_uncertainty_score":0.0823552},"labels":[],"label_agreement":null},{"id":"W4242148506","doi":"10.1525/9780520957411-050","title":"HOW TO MAKE A CANADIAN FILM (Canada, 1967)","year":2019,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.023725180853422713,"score_gpt":0.17149657197734614,"score_spread":0.14777139112392343,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4242148506","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005435082,0.02120567,0.00230535,0.01762415,0.002564855,0.00018474669,0.0017730126,0.00018258023,0.9487246],"genre_scores_gemma":[0.051416386,0.018275728,0.0046277307,0.0013802141,0.00015228716,0.000057646503,0.00051533536,0.00015371198,0.923421],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995819,0.00003531677,0.000013884164,0.000048401285,0.00021618346,0.00010429921],"domain_scores_gemma":[0.99949884,0.00004781964,0.000010608993,0.000014551338,0.00031663498,0.00011158765],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004993132,0.0006453847,0.00023161377,0.0020578895,0.007944493,0.0058934344,0.0006441097,0.0013399643,0.040773466],"category_scores_gemma":[0.001984963,0.0003561625,0.00022271919,0.0034543606,0.002281777,0.0019686578,0.00085584074,0.0016369263,0.007038276],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016651338,0.000022955848,0.0006885142,0.00010319994,0.0000035725418,0.00015852199,0.0044380156,0.00023741297,0.00030683406,0.10127026,0.7001604,0.19259377],"study_design_scores_gemma":[0.0000013029829,0.0000029893436,0.0015589052,0.000106713334,0.000002683735,0.00005299087,0.0017936431,0.000058113117,0.00012480207,0.0022340957,0.99405295,0.000010866359],"about_ca_topic_score_codex":0.9759729,"about_ca_topic_score_gemma":0.9915354,"teacher_disagreement_score":0.040773466,"about_ca_system_score_codex":0.029750388,"about_ca_system_score_gemma":0.05339456,"threshold_uncertainty_score":0.21585524},"labels":[],"label_agreement":null},{"id":"W4242463090","doi":"10.32920/ryerson.14657262.v1","title":"A Film Scholar’s Guide to Writing Silent Film Restoration Reports","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; University of Toronto","funders":"","keywords":"Documentation; Movie theater; Publication; Visual arts; History; Art; Computer science; Advertising; Business","score_opus":0.0437704241147408,"score_gpt":0.2743235623142701,"score_spread":0.23055313819952927,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4242463090","genre_codex":"other","genre_gemma":"methods","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"methods","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0042240024,0.03715331,0.21898334,0.05478477,0.023954675,0.00799727,0.014228147,0.016448403,0.62222606],"genre_scores_gemma":[0.016705295,0.040915854,0.37298438,0.018418994,0.004797631,0.007675756,0.008592456,0.0066833626,0.52322626],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9967809,0.0015539633,0.00051729445,0.00022915058,0.00078614085,0.00013260625],"domain_scores_gemma":[0.9859444,0.008249563,0.0005994563,0.0009987575,0.0033909003,0.0008170425],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0048812325,0.0015791692,0.00085300306,0.0055724,0.0022864388,0.003662144,0.0021523342,0.002470929,0.07434532],"category_scores_gemma":[0.020043304,0.0015004185,0.0004141641,0.0038250051,0.0018327109,0.004715766,0.0025098335,0.0048495913,0.07317937],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016383361,0.000069440255,0.00009863362,0.00034546366,0.000002411911,0.00024263235,0.0029601718,0.000110166795,0.0007861187,0.0069178636,0.8778349,0.11061575],"study_design_scores_gemma":[0.0000039011043,0.000009944619,0.00013467734,0.0002001696,7.5236534e-7,0.00014637293,0.0005333612,0.000050463994,0.00008329133,0.0015168572,0.9973138,0.0000063694138],"about_ca_topic_score_codex":0.0050393213,"about_ca_topic_score_gemma":0.016204027,"teacher_disagreement_score":0.07434532,"about_ca_system_score_codex":0.0015110084,"about_ca_system_score_gemma":0.0041188737,"threshold_uncertainty_score":0.24870986},"labels":[],"label_agreement":null},{"id":"W4242596338","doi":"10.15353/kinema.vi.1210","title":"Istanbul 2008","year":2009,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"German; Turkish; Heaven; Art; Movie theater; Art history; Ancient history; Victory; Visual arts; History; Law; Literature; Political science; Archaeology; Philosophy","score_opus":0.03519970043970968,"score_gpt":0.2685442930096131,"score_spread":0.2333445925699034,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4242596338","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0149238575,0.032020118,0.0013237252,0.020799378,0.015899746,0.00012646304,0.010289636,0.000738377,0.9038787],"genre_scores_gemma":[0.050183408,0.012224732,0.001295086,0.0014099433,0.00087891787,0.00008443168,0.007537705,0.00021081379,0.92617494],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953556,0.000058967187,0.000025710862,0.00010533855,0.00015317902,0.00012113043],"domain_scores_gemma":[0.999534,0.000026049345,0.00003359386,0.000045112625,0.00024795978,0.00011326202],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008313741,0.0009886228,0.0005111792,0.0010530866,0.001640536,0.0051744157,0.00080094783,0.0013501502,0.2744457],"category_scores_gemma":[0.0009247868,0.0002820967,0.00033385374,0.0009549787,0.00056884147,0.0013884282,0.0016053306,0.0011769263,0.13598329],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025864464,0.00009162271,0.001559516,0.00027901848,0.000017094268,0.0003168462,0.00021559211,0.00028963125,0.00046344203,0.0144696925,0.86368173,0.11835725],"study_design_scores_gemma":[0.000014494763,0.000022212618,0.0036231983,0.00012756395,0.0000051039206,0.0001285946,0.00024517646,0.00011343727,0.0003183998,0.00082203554,0.9945708,0.000008828832],"about_ca_topic_score_codex":0.011174147,"about_ca_topic_score_gemma":0.017847443,"teacher_disagreement_score":0.2744457,"about_ca_system_score_codex":0.0031772025,"about_ca_system_score_gemma":0.0027132973,"threshold_uncertainty_score":0.9181124},"labels":[],"label_agreement":null},{"id":"W4242746779","doi":"10.15353/kinema.vi.1019","title":"Istanbul 2003","year":2003,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Midnight; Atmosphere (unit); History; Period (music); Film festival; Ancient history; Geography; Media studies; Art history; Art; Sociology; Meteorology","score_opus":0.03867047309266238,"score_gpt":0.2624571275539847,"score_spread":0.22378665446132232,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4242746779","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009598752,0.019980835,0.000841718,0.009891759,0.008839648,0.00011751952,0.0054597952,0.00064861553,0.94462126],"genre_scores_gemma":[0.02882446,0.0075835045,0.0007874339,0.0009706884,0.00042041857,0.00007280052,0.0040027215,0.00021128745,0.9571266],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996117,0.000042937438,0.00002162729,0.0000913467,0.00013022506,0.00010219688],"domain_scores_gemma":[0.9996617,0.00002047116,0.000022584927,0.000032976277,0.00016090856,0.00010135424],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006005899,0.0010391264,0.0004706754,0.00091939286,0.0020743022,0.0055996375,0.0008718872,0.0015194821,0.3235457],"category_scores_gemma":[0.0006093918,0.0003100132,0.00030454533,0.0009185808,0.0005540657,0.0014989811,0.0016379951,0.0011192722,0.16620919],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030302236,0.00011120122,0.0010457663,0.00041943253,0.00001624103,0.0005808817,0.0003972077,0.0002652859,0.0012149585,0.014782208,0.8445042,0.13635953],"study_design_scores_gemma":[0.000011074806,0.000015378662,0.001953217,0.000103619284,0.0000032750618,0.00014397684,0.00025222258,0.000071887815,0.00040903114,0.00069679145,0.99633276,0.000006673739],"about_ca_topic_score_codex":0.0078155855,"about_ca_topic_score_gemma":0.013693824,"teacher_disagreement_score":0.3235457,"about_ca_system_score_codex":0.0026273322,"about_ca_system_score_gemma":0.002182971,"threshold_uncertainty_score":0.96488},"labels":[],"label_agreement":null},{"id":"W4242829517","doi":"10.15353/kinema.vi.1286","title":"Istanbul 2013","year":2013,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Exhibition; Turkish; Movie theater; Closing (real estate); Visual arts; Humanities; Art history; Art; Geography; Advertising; History; Media studies; Political science; Sociology; Law; Business","score_opus":0.03281063414219778,"score_gpt":0.25094341388404995,"score_spread":0.21813277974185216,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4242829517","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022378612,0.034903042,0.002486026,0.0156213865,0.019262046,0.000247745,0.013786245,0.0013658507,0.88994914],"genre_scores_gemma":[0.08605254,0.016126132,0.0025048538,0.0020747022,0.0014567384,0.0001713372,0.01031098,0.0005058855,0.8807968],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992699,0.00009348809,0.00005513231,0.00016580115,0.00023222706,0.00018354457],"domain_scores_gemma":[0.999421,0.000038983882,0.000042928757,0.00005944338,0.0002955053,0.00014219868],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011437448,0.0012753676,0.00069840107,0.0013430793,0.0021656414,0.005872942,0.0010293056,0.0016438398,0.2763684],"category_scores_gemma":[0.0010259163,0.00038165323,0.00049709616,0.0010348329,0.0008292451,0.0016606095,0.0022787245,0.0014543482,0.13916774],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00059307413,0.00015712081,0.0023314995,0.0007266725,0.0000420133,0.0009894118,0.00028143736,0.00068559556,0.0016176855,0.021734016,0.78914213,0.18169934],"study_design_scores_gemma":[0.00003143028,0.000041020423,0.005296913,0.00020025067,0.000010831406,0.00035441478,0.00031368464,0.00026014273,0.00089659414,0.0016688247,0.9909045,0.000021333031],"about_ca_topic_score_codex":0.009364941,"about_ca_topic_score_gemma":0.011944525,"teacher_disagreement_score":0.2763684,"about_ca_system_score_codex":0.0033366312,"about_ca_system_score_gemma":0.0040902505,"threshold_uncertainty_score":0.92454445},"labels":[],"label_agreement":null},{"id":"W4242843821","doi":"10.4324/9781135000356-rem1214-1","title":"French New Wave","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"French New Wave; Art; Art history; Auteur theory; Performance art; Humanities; Movie theater; Literature","score_opus":0.0662629231092051,"score_gpt":0.20769554678172644,"score_spread":0.14143262367252135,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4242843821","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0033276945,0.02345021,0.0012175887,0.01830526,0.0050857407,0.000046889272,0.0016579573,0.00022484132,0.9466838],"genre_scores_gemma":[0.031844918,0.01041272,0.00070591987,0.0055876737,0.001985325,0.00007092946,0.00092256913,0.000295059,0.9481751],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998722,0.0002788144,0.00004206619,0.00021513039,0.00043059303,0.00031135246],"domain_scores_gemma":[0.9987312,0.00028681837,0.00006812923,0.00013208293,0.00051309005,0.00026865088],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016358849,0.00094150304,0.0004808545,0.0033355467,0.0036590847,0.008308134,0.00076387945,0.0023189466,0.14082621],"category_scores_gemma":[0.0030111605,0.0002923565,0.0006266921,0.0024836573,0.0017704371,0.0047536837,0.0023000326,0.0030887742,0.03536192],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000061251376,0.00002305193,0.000439893,0.00011748342,0.0000075341086,0.00019134859,0.0012388657,0.000069330425,0.00022046195,0.26667288,0.66834223,0.06261573],"study_design_scores_gemma":[0.000002217655,0.0000049715513,0.00028964915,0.000036108646,9.894209e-7,0.00006981317,0.00010932772,0.000017723054,0.000037088106,0.0010358269,0.9983925,0.0000036547299],"about_ca_topic_score_codex":0.07026037,"about_ca_topic_score_gemma":0.07543355,"teacher_disagreement_score":0.14082621,"about_ca_system_score_codex":0.010283651,"about_ca_system_score_gemma":0.0033402059,"threshold_uncertainty_score":0.47111058},"labels":[],"label_agreement":null},{"id":"W4243020776","doi":"10.22215/etd/2002-05293","title":"'Spectators' as 'actors': a ritual model for film exhibition in Ottawa","year":2002,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Visual arts; Art; Art history; Media studies; Aesthetics; Sociology","score_opus":0.030515990164973052,"score_gpt":0.24758458362647065,"score_spread":0.2170685934614976,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243020776","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85576254,0.0008190735,0.046390507,0.005106863,0.000083764324,0.00022724511,0.0014260632,0.00022790881,0.089955956],"genre_scores_gemma":[0.9758288,0.00028714727,0.0026267155,0.00007005596,0.000018045474,0.000065531785,0.00022620251,0.00004444487,0.02083299],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936455,0.0002169017,0.000020755166,0.000102616505,0.000037588234,0.0002575565],"domain_scores_gemma":[0.9977501,0.0011144932,0.0002988009,0.0002036899,0.00021102633,0.00042198246],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011843578,0.00084215833,0.0012886899,0.0009608782,0.0028111956,0.005325427,0.0038905886,0.0038093643,0.018478949],"category_scores_gemma":[0.0046258587,0.0009589503,0.0011069931,0.0013050894,0.0039675636,0.00325407,0.002124303,0.002460287,0.0013070606],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005564502,0.0004170546,0.017849619,0.00019230571,0.00018150917,0.0008338758,0.008898017,0.2894189,0.0008983444,0.66027796,0.0075287716,0.0129471],"study_design_scores_gemma":[0.00020252149,0.000167812,0.013974977,0.00009009475,0.00028644802,0.0002690766,0.010463001,0.8548666,0.00028810115,0.110076204,0.009166216,0.00014899414],"about_ca_topic_score_codex":0.37574044,"about_ca_topic_score_gemma":0.40241355,"teacher_disagreement_score":0.6242596,"about_ca_system_score_codex":0.0070017925,"about_ca_system_score_gemma":0.0036604062,"threshold_uncertainty_score":0.7471068},"labels":[],"label_agreement":null},{"id":"W4243035789","doi":"10.1215/9780822381372","title":"The Skin of the Film","year":2000,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1223,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Film theory; Aesthetics; Silence; Embodied cognition; Film studies; Visual arts; Art; Sociology; Media studies; Epistemology","score_opus":0.017648534783832784,"score_gpt":0.18703412085147936,"score_spread":0.1693855860676466,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243035789","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010659837,0.01493654,0.0021035592,0.02499091,0.010860768,0.00006385221,0.00027865014,0.00021334327,0.93589264],"genre_scores_gemma":[0.19697767,0.017822674,0.0024731632,0.010948827,0.0038267605,0.000076645236,0.0003033965,0.00040239954,0.76716846],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994511,0.00021324932,0.000016053387,0.000090706875,0.0001522091,0.00007663019],"domain_scores_gemma":[0.9995739,0.00011901823,0.00002635806,0.00005527767,0.0001302113,0.00009526453],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00036388187,0.00038853215,0.00019669098,0.0005563248,0.0033687074,0.0071147527,0.00042104977,0.001235126,0.0342262],"category_scores_gemma":[0.0022867022,0.00019608671,0.00025102304,0.00048337193,0.0032425204,0.0054671173,0.0027393494,0.0025343613,0.0059201964],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000081844584,0.000034767065,0.00054507016,0.0003990697,0.000013733218,0.001024882,0.03913777,0.000096887175,0.0031720144,0.28732046,0.57326025,0.094913214],"study_design_scores_gemma":[0.0000022014754,0.000008648395,0.0002982624,0.000107420135,0.00000216831,0.0002551728,0.005863048,0.000023159519,0.00021636997,0.0034207222,0.9897982,0.0000045596275],"about_ca_topic_score_codex":0.00445359,"about_ca_topic_score_gemma":0.0064833933,"teacher_disagreement_score":0.0342262,"about_ca_system_score_codex":0.0016744313,"about_ca_system_score_gemma":0.0009813916,"threshold_uncertainty_score":0.11449808},"labels":[],"label_agreement":null},{"id":"W4243086932","doi":"10.4095/301438","title":"Mother Tongue (French), 1996","year":2010,"lang":"en","type":"report","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Tongue; Linguistics; Philosophy","score_opus":0.055117115072472696,"score_gpt":0.2532817914214588,"score_spread":0.1981646763489861,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243086932","genre_codex":"dataset","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0052700294,0.0015051946,0.000115088034,0.0005378153,0.00022845443,0.000091111615,0.8413336,0.0004861761,0.15043254],"genre_scores_gemma":[0.028019521,0.0047241137,0.00092813885,0.00023710847,0.00007182512,0.00019412508,0.7592586,0.0002197201,0.20634684],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989568,0.000025182775,0.000038881513,0.000091887174,0.0005016451,0.0003855611],"domain_scores_gemma":[0.99833316,0.00004482176,0.000095081705,0.000039859635,0.0013507728,0.00013626515],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003243208,0.00159121,0.00041009742,0.0069842073,0.0017695995,0.0029273443,0.0012247791,0.00046685495,0.09008889],"category_scores_gemma":[0.0019573467,0.00032419994,0.00056133507,0.013360729,0.0003231455,0.0013067512,0.00093179353,0.00094928313,0.047910456],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007290843,0.000014489584,0.0072182068,0.00034017322,0.00001550465,0.00010057276,0.00034805012,0.00018563867,0.00020389685,0.0014337832,0.9486156,0.041451022],"study_design_scores_gemma":[0.000013459653,0.000014025099,0.10795949,0.00019445452,0.000008245301,0.00009461541,0.0007778707,0.000084514846,0.00015878788,0.000099527,0.89057845,0.000016556824],"about_ca_topic_score_codex":0.92560786,"about_ca_topic_score_gemma":0.92246103,"teacher_disagreement_score":0.92560786,"about_ca_system_score_codex":0.009535897,"about_ca_system_score_gemma":0.009951399,"threshold_uncertainty_score":0.30137736},"labels":[],"label_agreement":null},{"id":"W4243846939","doi":"10.4324/9781135000356-rem1184-1","title":"Bresson, Robert (1901–99)","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Style (visual arts); Movie theater; Art; Art history; Focus (optics); Literature; Optics","score_opus":0.039152016689326635,"score_gpt":0.21687950144874105,"score_spread":0.1777274847594144,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4243846939","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002602459,0.3810977,0.0011791824,0.038230512,0.010903916,0.000027728061,0.00038611633,0.00014522746,0.5654271],"genre_scores_gemma":[0.052818738,0.10661469,0.0009589113,0.007359601,0.0017811807,0.000034712764,0.00032233872,0.00026361036,0.8298462],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99954826,0.00011331722,0.000019157034,0.00010918843,0.00015050569,0.000059545768],"domain_scores_gemma":[0.9996977,0.000090229565,0.000031751977,0.000016775975,0.00010520423,0.000058374597],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005260878,0.0006407858,0.00040036484,0.0016019111,0.0024305868,0.004120351,0.0004907725,0.0015059607,0.021074511],"category_scores_gemma":[0.0014726837,0.00026437794,0.00016744538,0.0011562757,0.00204917,0.0031144354,0.0010870586,0.0025840178,0.013258152],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031703326,0.000012194174,0.0002475564,0.00015593054,0.0000052048767,0.0001502415,0.004582922,0.00006583776,0.00015201105,0.14624858,0.7637462,0.08460154],"study_design_scores_gemma":[9.2018877e-7,0.000002406017,0.00018374411,0.0001472665,7.54518e-7,0.00008512668,0.00030633467,0.000004504378,0.000035355355,0.0026830405,0.99654835,0.000002158641],"about_ca_topic_score_codex":0.015682643,"about_ca_topic_score_gemma":0.026785871,"teacher_disagreement_score":0.021074511,"about_ca_system_score_codex":0.003734815,"about_ca_system_score_gemma":0.0016393478,"threshold_uncertainty_score":0.07050127},"labels":[],"label_agreement":null},{"id":"W4244116263","doi":"10.1093/oxfordhb/9780190229108.013.25","title":"Introduction","year":2019,"lang":"en","type":"reference-entry","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Exhibition; Queer; Indigenous; Diversity (politics); Relation (database); Media studies; Field (mathematics); Sociology; Art; Visual arts; Gender studies; Anthropology; Computer science","score_opus":0.03550913652274317,"score_gpt":0.2224951918761262,"score_spread":0.18698605535338303,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244116263","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013028483,0.007599274,0.0026302957,0.0112611465,0.006708549,0.00020647168,0.009434298,0.00067994505,0.9601772],"genre_scores_gemma":[0.013774416,0.0100186365,0.0034794013,0.004455301,0.0016698379,0.00013581816,0.009798685,0.000440241,0.9562276],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970241,0.0001816908,0.00009541764,0.00050915504,0.0016650759,0.0005246144],"domain_scores_gemma":[0.99612033,0.0002512906,0.000084271654,0.0002505065,0.0027180763,0.00057552353],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0015911668,0.0009317731,0.00073250546,0.002830233,0.0055949106,0.009043569,0.0029415034,0.0028859687,0.36700994],"category_scores_gemma":[0.005717796,0.00036255017,0.0006878918,0.0042591183,0.0014225324,0.0028540958,0.002658536,0.001979306,0.15494451],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000369688,0.000021986081,0.0007457986,0.00033037737,0.0000045147995,0.00011670804,0.0008320504,0.0001389591,0.00032213182,0.06890426,0.82914823,0.09939805],"study_design_scores_gemma":[7.6390614e-7,0.0000031483332,0.0003843652,0.00009287597,0.000001233666,0.000031078325,0.00017730703,0.0000144780515,0.000033597884,0.00085144106,0.99840575,0.0000039469596],"about_ca_topic_score_codex":0.38970894,"about_ca_topic_score_gemma":0.42184937,"teacher_disagreement_score":0.63299006,"about_ca_system_score_codex":0.01561791,"about_ca_system_score_gemma":0.02098141,"threshold_uncertainty_score":0.9028835},"labels":[],"label_agreement":null},{"id":"W4244176833","doi":"10.32920/ryerson.14648970","title":"Between The Symbolic And The Sublime : Slavoj Žižek In Film Studies ... And Out","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Ideology; Film theory; Psychoanalytic theory; Film studies; Subjectivity; Movie theater; Sublime; Criticism; Interpretation (philosophy); Epistemology; Aesthetics; Philosophy; Sociology; Psychoanalysis; Literature; Art; Psychology; Politics; Law","score_opus":0.07876570613583946,"score_gpt":0.2717056292111671,"score_spread":0.19293992307532765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244176833","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15735453,0.35695413,0.0062279017,0.2616598,0.007886176,0.00009752278,0.00011474171,0.0000980321,0.20960723],"genre_scores_gemma":[0.91458374,0.059511673,0.0016005515,0.007949056,0.002252558,0.000083660954,0.00003796569,0.00011560405,0.013865074],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9964886,0.002649286,0.00008303864,0.00025189802,0.00028259173,0.0002446425],"domain_scores_gemma":[0.99806875,0.00136015,0.00020627533,0.000073220384,0.00013944061,0.00015215507],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003026783,0.000478747,0.0006116739,0.0025861387,0.007987254,0.01290107,0.0006449992,0.0018581898,0.001922717],"category_scores_gemma":[0.005564088,0.00042274417,0.00023284173,0.0026502789,0.020669986,0.011715066,0.0035385739,0.0047573554,0.00043642466],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012474839,0.000075371616,0.0015607551,0.00062690926,0.000021333022,0.00043009088,0.24670596,0.00012936437,0.00053122453,0.67810315,0.03596651,0.035724558],"study_design_scores_gemma":[0.000044356522,0.00009408921,0.0070802546,0.0028463604,0.000048231548,0.0006247686,0.23464765,0.00045662798,0.00049100677,0.18859112,0.56501234,0.00006326914],"about_ca_topic_score_codex":0.0075306795,"about_ca_topic_score_gemma":0.0066179316,"teacher_disagreement_score":0.01290107,"about_ca_system_score_codex":0.0057406747,"about_ca_system_score_gemma":0.001987483,"threshold_uncertainty_score":0.041651666},"labels":[],"label_agreement":null},{"id":"W4244179244","doi":"10.22215/etd/2012-06725","title":"Cronaca Noir : the circulation and production of Italian crime films in Quebec in the 1970s","year":2012,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Carleton University; Canadian Heritage; Library and Archives Canada","funders":"","keywords":"Circulation (fluid dynamics); Humanities; Political science; Art; Engineering","score_opus":0.028417763455895285,"score_gpt":0.23959657870434406,"score_spread":0.21117881524844878,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244179244","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.898034,0.0078477375,0.00040446877,0.005974333,0.0000804409,0.000103946084,0.018691754,0.000067159635,0.06879635],"genre_scores_gemma":[0.9569573,0.0025237552,0.00024754443,0.00028946286,0.000048320242,0.000022387192,0.0032483276,0.000038281145,0.036624577],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.9997112,0.00003315406,0.000010574203,0.000047951653,0.00008295313,0.0001141438],"domain_scores_gemma":[0.9983571,0.00017623602,0.00039277077,0.00006144613,0.0007636582,0.00024867817],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00048023564,0.00028614362,0.0002013863,0.004113043,0.0017863868,0.0023911973,0.00077005103,0.00045618435,0.0121887345],"category_scores_gemma":[0.0024256145,0.00015256497,0.00017587835,0.0060074073,0.0008612703,0.00066317257,0.0007298037,0.0006712909,0.0006945004],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005150326,0.00015979918,0.6163241,0.000702979,0.0001793488,0.0023502817,0.08326507,0.001053397,0.002885464,0.011616811,0.096633434,0.18431424],"study_design_scores_gemma":[0.0000043884393,0.000013102484,0.9436724,0.00013632936,0.000018044168,0.00008492511,0.010020214,0.00030998053,0.00016366763,0.000053138137,0.0455099,0.000013918621],"about_ca_topic_score_codex":0.9915487,"about_ca_topic_score_gemma":0.9958746,"teacher_disagreement_score":0.025337186,"about_ca_system_score_codex":0.025337186,"about_ca_system_score_gemma":0.0103558,"threshold_uncertainty_score":0.18383503},"labels":[],"label_agreement":null},{"id":"W4244349732","doi":"10.32920/ryerson.14646528.v1","title":"Extra medium: documenting a mood of speculation","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Lethbridge","funders":"Government of Ontario","keywords":"Speculation; Mood; Social media; Photography; Sociology; Media studies; Public relations; Aesthetics; Psychology; Social psychology; Visual arts; Political science; Business; Art; Law","score_opus":0.04188473363327339,"score_gpt":0.24465251345082953,"score_spread":0.20276777981755614,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244349732","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7087983,0.0018940576,0.015965087,0.08457534,0.002131143,0.00021050504,0.0009847997,0.00028309049,0.18515766],"genre_scores_gemma":[0.98698205,0.0003615153,0.0016362362,0.0041868933,0.00044828895,0.00012067272,0.000119494754,0.00013180576,0.0060130884],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9903515,0.0058581433,0.00027739696,0.0011042752,0.0020953214,0.0003133045],"domain_scores_gemma":[0.8739466,0.10768544,0.004663689,0.007596383,0.00509099,0.001016885],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.014017612,0.000382221,0.0003969114,0.0014040613,0.0031541758,0.007224346,0.00094155595,0.002413564,0.009799336],"category_scores_gemma":[0.07177431,0.0002718569,0.00036739965,0.0014233828,0.012109412,0.008049517,0.0040810327,0.00492369,0.00083671],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0016312331,0.00036479675,0.01595466,0.0008942121,0.00009300538,0.0019544214,0.4286514,0.00035845724,0.013029907,0.4625071,0.027615042,0.046945713],"study_design_scores_gemma":[0.0003021151,0.0007876203,0.02855261,0.00090425124,0.00016627721,0.0011241533,0.36496222,0.0037415212,0.011944751,0.21726573,0.3700514,0.00019746473],"about_ca_topic_score_codex":0.0008350959,"about_ca_topic_score_gemma":0.00072773756,"teacher_disagreement_score":0.014017612,"about_ca_system_score_codex":0.0016639488,"about_ca_system_score_gemma":0.0008643508,"threshold_uncertainty_score":0.0741331},"labels":[],"label_agreement":null},{"id":"W4244653522","doi":"10.1007/978-3-030-17320-3","title":"Documentary Film Festivals Vol. 1","year":2020,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Lakehead University","funders":"","keywords":"Politics; Documentary film; Political science; History; Geography; Art history; Art; Visual arts; Media studies; Sociology; Law","score_opus":0.0334172945616016,"score_gpt":0.2146949622854123,"score_spread":0.1812776677238107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244653522","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009069477,0.013886275,0.0003417522,0.0019499965,0.009392671,0.00014510332,0.0039142496,0.0004296437,0.96903336],"genre_scores_gemma":[0.0028978856,0.0048807426,0.00021384394,0.00023490196,0.0013203316,0.000034111,0.0017079299,0.00018819308,0.9885222],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995865,0.00004856148,0.000018958932,0.000059377922,0.00021675981,0.00006983709],"domain_scores_gemma":[0.9991697,0.00013383913,0.00005089873,0.00007922896,0.0003619299,0.00020440112],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.000608313,0.0010129706,0.0005357522,0.0027544587,0.0018213756,0.0068315184,0.00078326894,0.0010341298,0.36604717],"category_scores_gemma":[0.0017347084,0.00037334958,0.00038194348,0.0019669356,0.00048992597,0.0021944123,0.001675097,0.0014186268,0.15712783],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002489337,0.000019818108,0.000066656874,0.00015658505,0.0000023929458,0.000027822278,0.00006288879,0.000044205906,0.00015399492,0.004626406,0.9576054,0.03720889],"study_design_scores_gemma":[0.000002287343,0.000009379672,0.0004163961,0.00012763734,0.0000011993847,0.000031170923,0.000050272574,0.000019494475,0.0000593734,0.00038615838,0.9988939,0.000002709896],"about_ca_topic_score_codex":0.008920907,"about_ca_topic_score_gemma":0.02549361,"teacher_disagreement_score":0.36604717,"about_ca_system_score_codex":0.0014958676,"about_ca_system_score_gemma":0.001201021,"threshold_uncertainty_score":0.90425676},"labels":[],"label_agreement":null},{"id":"W4244834348","doi":"10.1016/j.acra.2009.07.015","title":"Movies","year":2009,"lang":"en","type":"article","venue":"Academic Radiology","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Supper; Sister; Quarter (Canadian coin); Chose; Romance; Art; Art history; History; Literature; Sociology; Law","score_opus":0.035937578629201834,"score_gpt":0.2513035498270469,"score_spread":0.21536597119784506,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4244834348","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0032807465,0.0009813588,0.0005278468,0.0020366025,0.0031312585,0.0000741773,0.007645174,0.00069436384,0.98162854],"genre_scores_gemma":[0.013744219,0.0011272774,0.00064703514,0.0012736898,0.0019059977,0.000034498367,0.0057553956,0.00027541103,0.97523654],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99983144,0.000020670477,0.00000775018,0.0000421691,0.00006583445,0.000032208514],"domain_scores_gemma":[0.99941444,0.00006060147,0.00003675374,0.00008350658,0.00015771801,0.00024703256],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023636555,0.0005367039,0.00023287191,0.0013027311,0.0013856166,0.0030381398,0.00040442517,0.00065529684,0.6430038],"category_scores_gemma":[0.0013163101,0.00016526971,0.00027137136,0.0012336669,0.00022669078,0.0014206073,0.0008863964,0.0008801822,0.26874802],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007007272,0.000037604925,0.00043973484,0.00009595029,0.000006002855,0.00006065514,0.00012335862,0.000027742208,0.0006690464,0.005566801,0.91541755,0.07748549],"study_design_scores_gemma":[0.0000069610087,0.000013176319,0.001985629,0.00002342106,0.0000035378152,0.00007355857,0.000093977476,0.000033567587,0.00014749456,0.00038707955,0.9972276,0.0000039060906],"about_ca_topic_score_codex":0.003400606,"about_ca_topic_score_gemma":0.010741854,"teacher_disagreement_score":0.6430038,"about_ca_system_score_codex":0.00041048546,"about_ca_system_score_gemma":0.00036403092,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4245018785","doi":"10.1353/ecf.2003.0025","title":"Fleetwood (review)","year":2003,"lang":"en","type":"article","venue":"Eighteenth-Century Fiction","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.02274881247564106,"score_gpt":0.21626386152670654,"score_spread":0.19351504905106548,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245018785","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00016056768,0.98460025,0.00021788423,0.0030458525,0.0010741076,0.000014188946,0.00027400284,0.000011353116,0.01060179],"genre_scores_gemma":[0.002574972,0.98001915,0.000493461,0.001548725,0.00094452256,0.00002522633,0.0003334523,0.000008745874,0.01405182],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995009,0.00009512331,0.0000651126,0.00007443017,0.00021995422,0.000044518903],"domain_scores_gemma":[0.9981806,0.0005957049,0.0002449605,0.00009756138,0.000761883,0.00011927348],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010091398,0.00060874334,0.00097119616,0.0044476995,0.0005653032,0.0019365906,0.0010820028,0.0014521651,0.039512727],"category_scores_gemma":[0.003914437,0.00030822697,0.00037108976,0.0069536865,0.0006081275,0.0020453853,0.0009053279,0.0009836447,0.0108044],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045467394,0.000018558978,0.00020303846,0.006718618,0.0000635689,0.000088468274,0.00007471298,0.00007075417,0.00011219289,0.0027768256,0.29059246,0.6992354],"study_design_scores_gemma":[0.0000081938215,0.000012530516,0.000799063,0.0033220935,0.000058520556,0.00019103521,0.000040374696,0.00000896128,0.000056098303,0.0006186089,0.99487996,0.0000045110887],"about_ca_topic_score_codex":0.011195811,"about_ca_topic_score_gemma":0.025075365,"teacher_disagreement_score":0.039512727,"about_ca_system_score_codex":0.0011670031,"about_ca_system_score_gemma":0.0045967055,"threshold_uncertainty_score":0.13218325},"labels":[],"label_agreement":null},{"id":"W4245198566","doi":"10.1525/awr.2004.25.1-2.35","title":"VISUAL REVIEWS","year":2004,"lang":"en","type":"article","venue":"Anthropology of Work Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Computer science","score_opus":0.05425292379535299,"score_gpt":0.3213460459561788,"score_spread":0.2670931221608258,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245198566","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00049245835,0.28892848,0.0014335163,0.035410978,0.06904587,0.00015014621,0.004510381,0.0014077805,0.5986204],"genre_scores_gemma":[0.0031114696,0.084125616,0.0007810266,0.0069069923,0.012662656,0.000074757314,0.0025201992,0.0006251121,0.88919216],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99879575,0.00017286613,0.00007729688,0.00019495508,0.0006514481,0.000107738175],"domain_scores_gemma":[0.9946467,0.0007306906,0.00028006628,0.0004436988,0.0032151078,0.0006837123],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001191482,0.0009946347,0.0008945249,0.004393546,0.0010785809,0.004218842,0.0015168345,0.0016113244,0.438391],"category_scores_gemma":[0.005930895,0.00048606237,0.0005775432,0.0031020907,0.0006782186,0.0027811101,0.0016661232,0.0017757897,0.31623948],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006441161,0.0000037356767,0.000017709674,0.0001406952,0.0000016005024,0.000016313701,0.000022099734,0.0000073475467,0.00006562526,0.0005918004,0.9671751,0.0319514],"study_design_scores_gemma":[9.998605e-7,0.0000019313977,0.00007961404,0.00011657348,0.0000010110003,0.000030920695,0.0000229105,0.0000034214263,0.000016548465,0.00016233459,0.99956244,0.0000013172646],"about_ca_topic_score_codex":0.0056739235,"about_ca_topic_score_gemma":0.015292826,"teacher_disagreement_score":0.438391,"about_ca_system_score_codex":0.0018646332,"about_ca_system_score_gemma":0.0021751886,"threshold_uncertainty_score":0.80106705},"labels":[],"label_agreement":null},{"id":"W4245233448","doi":"10.4324/9781315170244-16","title":"Appendix I","year":2017,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Appendix; Computer science; Geology","score_opus":0.05454393568249822,"score_gpt":0.2278933802911,"score_spread":0.1733494446086018,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245233448","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014647956,0.0022920207,0.004499687,0.0054486105,0.003374332,0.001627484,0.40092415,0.0016750578,0.57869387],"genre_scores_gemma":[0.010011839,0.004591653,0.006080078,0.003695485,0.0009190717,0.0033627148,0.28486076,0.001282259,0.68519616],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99896514,0.00021188463,0.00012196741,0.00020539734,0.00038479478,0.000110916684],"domain_scores_gemma":[0.9899379,0.002797992,0.00046582308,0.0007453059,0.0055853473,0.0004676563],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001290871,0.00091158476,0.00089596084,0.00423991,0.0014461406,0.0031266806,0.0015669283,0.0011531421,0.80908793],"category_scores_gemma":[0.017706018,0.0005112172,0.00046553512,0.006375796,0.00036754928,0.002786108,0.0012900335,0.0016858965,0.55060697],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020261838,0.000019241053,0.00027478117,0.00025495788,0.0000024517467,0.000020825682,0.00005463918,0.000049617393,0.000024908442,0.002265052,0.9777885,0.01922469],"study_design_scores_gemma":[0.00001826159,0.0000134143165,0.0012947813,0.00031556372,0.0000033947088,0.00005662696,0.00017967218,0.0000539016,0.000054565535,0.0021394957,0.99586177,0.000008581388],"about_ca_topic_score_codex":0.012612728,"about_ca_topic_score_gemma":0.013486509,"teacher_disagreement_score":0.19091207,"about_ca_system_score_codex":0.002539974,"about_ca_system_score_gemma":0.0038811236,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4245399985","doi":"10.32920/ryerson.14646147","title":"Survival of the fittest: home exercise, moving image technology, and audiovisual preservation","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Survival of the fittest; Variety (cybernetics); Historiography; Aesthetics; Multimedia; Visual arts; History; Sociology; Art; Law; Political science; Computer science","score_opus":0.029085700033723558,"score_gpt":0.2352707546827379,"score_spread":0.20618505464901432,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245399985","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.54087627,0.037131753,0.004542815,0.029536126,0.00061774976,0.000042291005,0.00012949591,0.00004225408,0.38708124],"genre_scores_gemma":[0.96781284,0.013934137,0.0009660993,0.0013010055,0.0004966126,0.000024809588,0.000044294055,0.000026996331,0.015393177],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99942195,0.000328731,0.00001172108,0.0000674777,0.00009407592,0.00007604643],"domain_scores_gemma":[0.99788994,0.0014154187,0.00031538933,0.00009340191,0.00010294581,0.00018300675],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011006214,0.00019278422,0.000120127545,0.0012038918,0.0016532692,0.0058374144,0.00046043823,0.00099321,0.0059208837],"category_scores_gemma":[0.0029244353,0.00009835061,0.00010993148,0.0013387544,0.007319088,0.0044559967,0.002265448,0.0012918802,0.00039240802],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023566346,0.00025193702,0.021447815,0.00042448903,0.000019098272,0.0014514311,0.18046813,0.00022692383,0.0008930478,0.56291795,0.019161748,0.21250184],"study_design_scores_gemma":[0.000025909629,0.00034417104,0.04287273,0.0026975395,0.000038604685,0.0018693323,0.3043756,0.0005658836,0.0023987778,0.09067098,0.55409896,0.00004152586],"about_ca_topic_score_codex":0.0018029861,"about_ca_topic_score_gemma":0.003596062,"teacher_disagreement_score":0.0059208837,"about_ca_system_score_codex":0.0013066404,"about_ca_system_score_gemma":0.0006903237,"threshold_uncertainty_score":0.019807339},"labels":[],"label_agreement":null},{"id":"W4245679756","doi":"10.15353/kinema.vi.1203","title":"Toronto 2009","year":2009,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Publicity; Theme (computing); Escapism; Famine; History; Event (particle physics); Media studies; Memoir; Art history; Advertising; Political science; Sociology; Law; Psychology; Business; Computer science","score_opus":0.031596737194928566,"score_gpt":0.2727944304883609,"score_spread":0.24119769329343232,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245679756","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010991893,0.009452314,0.00050205353,0.016259387,0.006608313,0.00006164205,0.014372929,0.0004846664,0.9511594],"genre_scores_gemma":[0.0038696667,0.0035681946,0.00024189524,0.00080739317,0.00042423722,0.000018672501,0.0030357826,0.00012214752,0.987912],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994764,0.000030293872,0.000025977612,0.00010393145,0.00025611027,0.000107312226],"domain_scores_gemma":[0.9987556,0.00004547707,0.000052110096,0.000104258404,0.00056822685,0.00047421563],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00038911574,0.0007966449,0.0004175175,0.0011998289,0.002765474,0.005570292,0.0008536299,0.0016956984,0.6161244],"category_scores_gemma":[0.0013960786,0.0004537349,0.0003358657,0.0018161788,0.0006598243,0.0015702342,0.0017544299,0.0014619638,0.3023356],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001683763,0.0000058334313,0.00021646076,0.000053132513,0.0000023437665,0.000073988216,0.00007969072,0.000036758356,0.00010555966,0.003951917,0.97168726,0.023770146],"study_design_scores_gemma":[0.0000015581476,0.0000019484557,0.00054547,0.0000338626,8.378765e-7,0.00002386575,0.000068047004,0.000014018008,0.000025847074,0.0001398458,0.9991424,0.000002334849],"about_ca_topic_score_codex":0.27566433,"about_ca_topic_score_gemma":0.55795056,"teacher_disagreement_score":0.6161244,"about_ca_system_score_codex":0.010216506,"about_ca_system_score_gemma":0.00892312,"threshold_uncertainty_score":0.54811954},"labels":[],"label_agreement":null},{"id":"W4245768920","doi":"10.5840/cpsem20084","title":"Just Spectacles","year":2008,"lang":"en","type":"book-chapter","venue":"Semiotics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.06020399762858464,"score_gpt":0.2216593438590363,"score_spread":0.16145534623045166,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245768920","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010094588,0.004298961,0.004464869,0.019058652,0.004880754,0.000024129358,0.00009950803,0.00015387859,0.9660098],"genre_scores_gemma":[0.05896267,0.0035235905,0.0023030895,0.010471148,0.0028579324,0.00007903363,0.000114764385,0.00048171167,0.921206],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982811,0.00093427475,0.00003833331,0.00020943783,0.00035280586,0.00018400357],"domain_scores_gemma":[0.9985292,0.00043881344,0.00007522657,0.00030564866,0.0004214899,0.00022954309],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014763655,0.0008685217,0.0005120956,0.0013104691,0.004974364,0.011576369,0.00078247336,0.002840633,0.092194356],"category_scores_gemma":[0.0056978213,0.0003696115,0.00027467246,0.000878555,0.010913897,0.0139104035,0.005599061,0.0052615735,0.032460958],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013393855,0.000010974228,0.000050550723,0.000044998407,0.0000020353918,0.000038901042,0.002562794,0.00002383747,0.000099854755,0.83903193,0.1398387,0.01828199],"study_design_scores_gemma":[0.0000024944134,0.000005044835,0.00004248503,0.00009535204,0.0000015410327,0.00006104458,0.0014926761,0.000030567688,0.000070770744,0.074032985,0.9241601,0.000004893773],"about_ca_topic_score_codex":0.0032341732,"about_ca_topic_score_gemma":0.0053315577,"teacher_disagreement_score":0.092194356,"about_ca_system_score_codex":0.0019341406,"about_ca_system_score_gemma":0.0018795496,"threshold_uncertainty_score":0.30842084},"labels":[],"label_agreement":null},{"id":"W4245899932","doi":"10.32920/ryerson.14654217.v1","title":"Integrating cinema: uncovering the film librarianship of William J. Sloan at the New York Public Library","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; University of Lethbridge","funders":"","keywords":"Library science; Movie theater; Institution; Collection development; Work (physics); Sociology; Programmer; Media studies; Political science; Visual arts; Art; Computer science; Engineering; Social science","score_opus":0.05734099617665098,"score_gpt":0.21208993144621513,"score_spread":0.15474893526956415,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4245899932","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6248919,0.010989896,0.0042521884,0.07968068,0.0006110221,0.00007310269,0.0002526218,0.00010001658,0.2791486],"genre_scores_gemma":[0.9328059,0.008774853,0.001800344,0.0041468553,0.0005085043,0.00004441617,0.00011398963,0.00016137894,0.051643774],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9975795,0.0014272477,0.000062112056,0.00023487525,0.00042164017,0.000274663],"domain_scores_gemma":[0.9894488,0.005962073,0.0014249602,0.00037272216,0.0014553644,0.0013360946],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003572097,0.0002120321,0.0002540723,0.0045917076,0.008507569,0.012569736,0.0005996641,0.0008017924,0.005652539],"category_scores_gemma":[0.012261443,0.00037568455,0.00013077815,0.0042070113,0.009299876,0.008011335,0.0041324273,0.002473323,0.00078675937],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007176676,0.000103524544,0.024671486,0.00023682839,0.000018484281,0.001411823,0.6224024,0.00012594546,0.0008615843,0.17403819,0.08239515,0.09366281],"study_design_scores_gemma":[0.0000061611995,0.000025328702,0.029153397,0.0006381992,0.000016437578,0.00046228594,0.35897666,0.00031882143,0.0005977349,0.011126929,0.59864235,0.000035611818],"about_ca_topic_score_codex":0.044969574,"about_ca_topic_score_gemma":0.11888806,"teacher_disagreement_score":0.044969574,"about_ca_system_score_codex":0.0073250975,"about_ca_system_score_gemma":0.0067239697,"threshold_uncertainty_score":0.08941561},"labels":[],"label_agreement":null},{"id":"W4246009809","doi":"10.1386/fiin.6.3.60","title":"DVD Reviews","year":2008,"lang":"en","type":"article","venue":"Film International","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art history; Performance art; Visual arts; Entertainment; Comedy","score_opus":0.07912248803456835,"score_gpt":0.2500595216273256,"score_spread":0.17093703359275725,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246009809","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00022292008,0.010890742,0.0007252255,0.0031557449,0.014280334,0.0002178228,0.0058248206,0.0010656791,0.96361667],"genre_scores_gemma":[0.00086076197,0.004412238,0.0003882069,0.0011816175,0.0021843181,0.0000711912,0.0036180539,0.00032886688,0.98695475],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992588,0.00007355349,0.00003883967,0.00011815797,0.0004460579,0.00006448193],"domain_scores_gemma":[0.9985936,0.00014444233,0.000058675563,0.00011855831,0.0008362332,0.0002484358],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00050819694,0.000926218,0.0007784642,0.0020967827,0.0009744671,0.00473281,0.0015661564,0.0016320422,0.80381477],"category_scores_gemma":[0.0027704507,0.00036373205,0.0005864702,0.0023627551,0.0002995932,0.0020328504,0.0015558122,0.0016947163,0.7206755],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010272833,0.000010214005,0.000016710095,0.00012359189,0.0000015694546,0.00002514046,0.000009159312,0.000021670447,0.00011382561,0.00062677986,0.9544333,0.044607665],"study_design_scores_gemma":[0.0000029967396,0.0000036694453,0.0000626508,0.00004813949,7.795671e-7,0.000023550847,0.000009730053,0.000007919655,0.00002436561,0.00012315366,0.9996916,0.0000013597578],"about_ca_topic_score_codex":0.0040785465,"about_ca_topic_score_gemma":0.0075562824,"teacher_disagreement_score":0.80381477,"about_ca_system_score_codex":0.0013733337,"about_ca_system_score_gemma":0.0015989398,"threshold_uncertainty_score":0.27983433},"labels":[],"label_agreement":null},{"id":"W4246124254","doi":"10.1093/oxfordhb/9780190229108.013.3","title":"On the Road","year":2019,"lang":"en","type":"reference-entry","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Variety (cybernetics); Media studies; Product (mathematics); Key (lock); Political science; Sociology; History; Visual arts; Art; Computer science; Computer security","score_opus":0.05578038102942523,"score_gpt":0.23161039082788856,"score_spread":0.17583000979846333,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246124254","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002037754,0.009947537,0.0012813715,0.13078587,0.0074826106,0.000033642234,0.0008414831,0.00030294186,0.8472868],"genre_scores_gemma":[0.058394928,0.017766913,0.0019588962,0.04126975,0.0019270895,0.000039290768,0.0011597854,0.0005112114,0.8769722],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9965754,0.0003326511,0.000053581334,0.0004435185,0.0013514082,0.0012434237],"domain_scores_gemma":[0.99640757,0.00026658733,0.000070609254,0.0002952159,0.0016364972,0.0013236073],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0018688579,0.000785511,0.00065499305,0.0018723934,0.013818024,0.019236008,0.0018002061,0.0050236494,0.21074024],"category_scores_gemma":[0.007055235,0.00030907505,0.00046936402,0.0022775386,0.0080977045,0.008905422,0.00580448,0.0067713223,0.058356658],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018360397,0.000012980492,0.00039512754,0.000084234205,0.0000051818015,0.00008904884,0.0019003293,0.000081981285,0.00014012236,0.2745935,0.66861624,0.054062895],"study_design_scores_gemma":[8.858732e-7,0.0000021097767,0.0002105626,0.00007838745,0.0000012410333,0.000019733712,0.0009474843,0.000011979972,0.000016551656,0.0050879186,0.9936187,0.000004421318],"about_ca_topic_score_codex":0.6821402,"about_ca_topic_score_gemma":0.69616306,"teacher_disagreement_score":0.7892598,"about_ca_system_score_codex":0.021356761,"about_ca_system_score_gemma":0.048837595,"threshold_uncertainty_score":0.70499635},"labels":[],"label_agreement":null},{"id":"W4246243318","doi":"10.3138/utq.81.4.909","title":"Cinematic Operatics: Barbara Willis Sweete Directs Metropolitan Opera HD Transmissions","year":2012,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Opera; Metropolitan area; Transmission (telecommunications); Media studies; Art; History; Art history; Telecommunications; Sociology; Engineering; Archaeology","score_opus":0.017115034073598375,"score_gpt":0.2043410376885395,"score_spread":0.18722600361494113,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246243318","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21303049,0.010034601,0.00369039,0.10954218,0.00622778,0.000105468345,0.00054010167,0.00036218305,0.65646684],"genre_scores_gemma":[0.5159172,0.007414859,0.0026768437,0.007087514,0.0031259174,0.00004034304,0.00015540913,0.00022568044,0.46335626],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99968755,0.000113647104,0.0000062737085,0.000048572783,0.0000900806,0.00005386679],"domain_scores_gemma":[0.9992755,0.00018491673,0.00009107655,0.00003998758,0.00014109428,0.00026741507],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007190192,0.00024110288,0.00009703848,0.00046165293,0.0027971778,0.0020048143,0.0003024003,0.0006246935,0.016034067],"category_scores_gemma":[0.0030519078,0.00023196028,0.000069510366,0.00039099765,0.0011745157,0.0013082075,0.0019552435,0.0018866872,0.0017026569],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013238746,0.00006312405,0.0054972153,0.0002225731,0.00001603904,0.0019107852,0.06820952,0.00024181059,0.004123507,0.05571643,0.75227445,0.11159219],"study_design_scores_gemma":[0.0000032155149,0.000022994027,0.004587266,0.00007902739,0.0000049685978,0.00044284866,0.011669595,0.00009278991,0.00038754073,0.00074777013,0.98195064,0.000011277884],"about_ca_topic_score_codex":0.019099284,"about_ca_topic_score_gemma":0.07397302,"teacher_disagreement_score":0.019099284,"about_ca_system_score_codex":0.001185277,"about_ca_system_score_gemma":0.00084180245,"threshold_uncertainty_score":0.053639293},"labels":[],"label_agreement":null},{"id":"W4246280781","doi":"10.22215/etd/2012-07365","title":"A demonstration of citizenship: the response of Canadian suffragists to the emergence of film","year":2012,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Citizenship; Political science; Humanities; Art; Law; Politics","score_opus":0.03865214694175759,"score_gpt":0.2440193274398064,"score_spread":0.2053671804980488,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246280781","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.86411303,0.0003965949,0.00025444335,0.025078451,0.000162151,0.00005465563,0.00017590585,0.0000324954,0.109732196],"genre_scores_gemma":[0.98468024,0.00015413515,0.00008108792,0.0015315328,0.000021119808,0.00000891606,0.00004387195,0.000010943893,0.013468046],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9977316,0.00045607064,0.000030127112,0.00016438957,0.00059112476,0.0010267453],"domain_scores_gemma":[0.99450713,0.0009137443,0.00076724135,0.00027463093,0.0018672302,0.0016699254],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022005653,0.00020474925,0.0001472973,0.0009544652,0.016947597,0.004356198,0.00083080394,0.002269949,0.006420113],"category_scores_gemma":[0.008685489,0.00019415983,0.00016224696,0.0012895573,0.0063618943,0.0011720039,0.002609028,0.003993105,0.00031103246],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023468075,0.00009008178,0.055425134,0.000075062715,0.000020931573,0.0013793419,0.7924062,0.00010284828,0.0029438268,0.029003529,0.07814751,0.040170826],"study_design_scores_gemma":[0.000012626812,0.00004176454,0.12930495,0.00007453732,0.000010846745,0.00014811194,0.6838443,0.0001736027,0.000491454,0.0009543097,0.18489389,0.00004960475],"about_ca_topic_score_codex":0.95381624,"about_ca_topic_score_gemma":0.97946435,"teacher_disagreement_score":0.046183765,"about_ca_system_score_codex":0.027211966,"about_ca_system_score_gemma":0.027064951,"threshold_uncertainty_score":0.19743752},"labels":[],"label_agreement":null},{"id":"W4246459104","doi":"10.1386/fiin.7.6.76","title":"DVD Reviews","year":2009,"lang":"en","type":"article","venue":"Film International","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Opera; Art; Art history; German; Performance art; Subtitle; Movie theater; History; Philosophy","score_opus":0.04703174115839303,"score_gpt":0.2595649264382305,"score_spread":0.21253318527983744,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246459104","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00023944034,0.010227452,0.00066331495,0.0038449685,0.01806742,0.0002115465,0.0071051484,0.001189801,0.95845085],"genre_scores_gemma":[0.0009907747,0.0041774977,0.0003661176,0.0014381144,0.0025402247,0.00007027256,0.004381432,0.0004225995,0.9856128],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914134,0.00008502533,0.000048615555,0.0001307717,0.0005160365,0.0000781281],"domain_scores_gemma":[0.99825126,0.00019029937,0.00007220863,0.00015408282,0.0010400844,0.0002920266],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00060294085,0.0010065405,0.0008037519,0.0022580128,0.0010777736,0.005071481,0.001592559,0.001673942,0.8243851],"category_scores_gemma":[0.0036426762,0.0003877174,0.0006043291,0.0025311005,0.00033188084,0.0024138326,0.0016565503,0.0016821856,0.74634254],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009438615,0.0000083651885,0.000015587459,0.00012691799,0.0000013948961,0.000026882879,0.000009714316,0.000016783102,0.00008370403,0.00076795317,0.9621092,0.03682409],"study_design_scores_gemma":[0.0000032699274,0.0000036074223,0.0000619063,0.000054272867,8.261256e-7,0.00002641494,0.000011310482,0.0000069941843,0.000025004942,0.00014962042,0.99965525,0.0000015861332],"about_ca_topic_score_codex":0.0040857,"about_ca_topic_score_gemma":0.007148293,"teacher_disagreement_score":0.8243851,"about_ca_system_score_codex":0.0016799074,"about_ca_system_score_gemma":0.0018198132,"threshold_uncertainty_score":0.25049335},"labels":[],"label_agreement":null},{"id":"W4246674503","doi":"10.4324/9781135000356-rem1708-1","title":"Zheng Zhengqiu (郑正秋) (1889–1935)","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; York University","funders":"","keywords":"Film director; Zhàng; Drama; China; Movie theater; Art history; Art; Literature; Political science; Law","score_opus":0.04987110521751955,"score_gpt":0.21165154087229954,"score_spread":0.16178043565477998,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246674503","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008124574,0.079577096,0.003076129,0.007655678,0.006020821,0.00011137341,0.0008688618,0.0002698692,0.8942955],"genre_scores_gemma":[0.03214852,0.015624083,0.0010728939,0.0007164191,0.00079603406,0.00005615266,0.00022287334,0.000080393555,0.9492827],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99986887,0.000015870328,0.0000060613497,0.000041995612,0.000046299043,0.000020907639],"domain_scores_gemma":[0.99994326,0.0000106408415,0.0000056629992,0.0000038942167,0.000022203829,0.00001435286],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023157755,0.00049446087,0.00020454104,0.00099891,0.0014193882,0.001003698,0.0002545563,0.0004513401,0.043589804],"category_scores_gemma":[0.00039997647,0.00018622736,0.00014092891,0.00122727,0.0005908126,0.0013871421,0.00068974297,0.000868283,0.011456763],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045422865,0.00002472728,0.0013036011,0.00042220607,0.000009934943,0.00043349416,0.004418321,0.00026685986,0.0010450812,0.21065755,0.48383582,0.297537],"study_design_scores_gemma":[0.0000011264643,0.0000066560447,0.00075127,0.000033209904,0.0000014203794,0.00005350698,0.00008692307,0.00003581493,0.00012573224,0.0014314001,0.99747,0.0000029161558],"about_ca_topic_score_codex":0.009833375,"about_ca_topic_score_gemma":0.023349263,"teacher_disagreement_score":0.043589804,"about_ca_system_score_codex":0.001799453,"about_ca_system_score_gemma":0.0010520387,"threshold_uncertainty_score":0.1458224},"labels":[],"label_agreement":null},{"id":"W4246838470","doi":"10.32920/ryerson.14654217","title":"Integrating cinema: uncovering the film librarianship of William J. Sloan at the New York Public Library","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; University of Lethbridge","funders":"","keywords":"Library science; Movie theater; Institution; Work (physics); Sociology; Collection development; Programmer; Media studies; Political science; Art history; History; Computer science; Engineering; Social science","score_opus":0.05734099617665098,"score_gpt":0.21208993144621513,"score_spread":0.15474893526956415,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246838470","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6248919,0.010989896,0.0042521884,0.07968068,0.0006110221,0.00007310269,0.0002526218,0.00010001658,0.2791486],"genre_scores_gemma":[0.9328059,0.008774853,0.001800344,0.0041468553,0.0005085043,0.00004441617,0.00011398963,0.00016137894,0.051643774],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9975795,0.0014272477,0.000062112056,0.00023487525,0.00042164017,0.000274663],"domain_scores_gemma":[0.9894488,0.005962073,0.0014249602,0.00037272216,0.0014553644,0.0013360946],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003572097,0.0002120321,0.0002540723,0.0045917076,0.008507569,0.012569736,0.0005996641,0.0008017924,0.005652539],"category_scores_gemma":[0.012261443,0.00037568455,0.00013077815,0.0042070113,0.009299876,0.008011335,0.0041324273,0.002473323,0.00078675937],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007176676,0.000103524544,0.024671486,0.00023682839,0.000018484281,0.001411823,0.6224024,0.00012594546,0.0008615843,0.17403819,0.08239515,0.09366281],"study_design_scores_gemma":[0.0000061611995,0.000025328702,0.029153397,0.0006381992,0.000016437578,0.00046228594,0.35897666,0.00031882143,0.0005977349,0.011126929,0.59864235,0.000035611818],"about_ca_topic_score_codex":0.044969574,"about_ca_topic_score_gemma":0.11888806,"teacher_disagreement_score":0.044969574,"about_ca_system_score_codex":0.0073250975,"about_ca_system_score_gemma":0.0067239697,"threshold_uncertainty_score":0.08941561},"labels":[],"label_agreement":null},{"id":"W4246935030","doi":"10.1093/oso/9780190052126.003.0007","title":"Bill Morrison","year":2019,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Art; Art history; Visual arts; History","score_opus":0.046195595105013774,"score_gpt":0.2046291672954847,"score_spread":0.1584335721904709,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246935030","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017708819,0.026055152,0.00077148597,0.0604559,0.006882281,0.00002649934,0.00021030997,0.00019228672,0.9036354],"genre_scores_gemma":[0.009449837,0.004949958,0.00022086411,0.0071465485,0.0005255487,0.000014691696,0.000045060468,0.00009279507,0.9775547],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997228,0.000052097024,0.000008650355,0.000060298258,0.00012207539,0.00003412259],"domain_scores_gemma":[0.9997342,0.00008601553,0.000014746204,0.000015836084,0.00008523561,0.00006391601],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00022156,0.0003700074,0.00018185732,0.00085009256,0.0019610464,0.0026068564,0.00046567028,0.0011668386,0.08513031],"category_scores_gemma":[0.0010636142,0.00019360837,0.00009790483,0.0005347645,0.001162003,0.0030098325,0.0013227201,0.0025950589,0.023654662],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007726905,0.0000101640535,0.000085022344,0.000034392127,5.2897354e-7,0.000067798916,0.0008191887,0.000021701744,0.00011867812,0.06667034,0.90472096,0.027443457],"study_design_scores_gemma":[4.3869994e-7,0.0000013066121,0.00004454564,0.000043082935,2.343793e-7,0.000038193146,0.00014005594,0.0000092116,0.000033156746,0.0010762223,0.9986124,0.0000010619855],"about_ca_topic_score_codex":0.010320119,"about_ca_topic_score_gemma":0.02006461,"teacher_disagreement_score":0.08513031,"about_ca_system_score_codex":0.0025052868,"about_ca_system_score_gemma":0.0011676174,"threshold_uncertainty_score":0.28478926},"labels":[],"label_agreement":null},{"id":"W4246996753","doi":"10.15353/kinema.vi.1099","title":"Toronto 2005","year":2005,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spectacle; Hollywood; Jury; Tribute; Position (finance); Media studies; Test (biology); Parade; Political science; Advertising; Law; Art history; Sociology; History; Business","score_opus":0.032368587402042515,"score_gpt":0.27141033242785134,"score_spread":0.23904174502580883,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4246996753","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012238,0.008112921,0.00047415262,0.019762484,0.009660687,0.0000823632,0.015684763,0.0005467463,0.94445205],"genre_scores_gemma":[0.0045768796,0.002424951,0.00021693794,0.0011249625,0.0005385199,0.000024499519,0.0043180785,0.0001266768,0.9866485],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99927706,0.000039957675,0.00003243478,0.00012302538,0.00036257756,0.00016493526],"domain_scores_gemma":[0.9983083,0.000051029932,0.000054230193,0.000112290865,0.0008276924,0.0006463588],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00058262754,0.000806555,0.00044146413,0.0013092671,0.0032944665,0.0061610453,0.0009589859,0.0021737008,0.5671607],"category_scores_gemma":[0.0016337546,0.0004221552,0.00036486774,0.0015314843,0.0006509967,0.0014194552,0.0015724375,0.0016062687,0.26727018],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023371524,0.00000624507,0.0001731711,0.000047235462,0.0000022159527,0.000062115425,0.000066959285,0.000027642896,0.00008431383,0.003035611,0.9813934,0.015077886],"study_design_scores_gemma":[0.0000021831331,0.0000028089923,0.00063746836,0.000033917364,9.992625e-7,0.00001714348,0.000063056665,0.000012453107,0.000025951162,0.0001300849,0.99907124,0.0000026700775],"about_ca_topic_score_codex":0.29909214,"about_ca_topic_score_gemma":0.61158705,"teacher_disagreement_score":0.43283927,"about_ca_system_score_codex":0.012266374,"about_ca_system_score_gemma":0.011289644,"threshold_uncertainty_score":0.61739266},"labels":[],"label_agreement":null},{"id":"W4247248545","doi":"10.1525/9780520957411-051","title":"HOW TO NOT MAKE A CANADIAN FILM (Canada, 1967)","year":2019,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.02787489997896516,"score_gpt":0.17513548572844007,"score_spread":0.1472605857494749,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247248545","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008615325,0.041128423,0.0020037391,0.046738915,0.0043962193,0.00013791467,0.0013699478,0.00011519973,0.8954943],"genre_scores_gemma":[0.1063739,0.030074527,0.0031477083,0.0041106506,0.0002819009,0.00006754913,0.00035897116,0.00014962496,0.8554352],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992854,0.00007603967,0.000023226576,0.00008588743,0.0003438214,0.00018571403],"domain_scores_gemma":[0.999074,0.00012163708,0.000022927978,0.000027966365,0.0005881892,0.0001652131],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00077402126,0.00061077275,0.00026433865,0.0019461123,0.010550206,0.006700711,0.00074174337,0.0018059767,0.021227296],"category_scores_gemma":[0.0034080467,0.00037510195,0.00021433871,0.0034538503,0.004445097,0.002493598,0.0010298477,0.0024364118,0.0030894056],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002211676,0.000024222867,0.001087224,0.00010691994,0.0000053637527,0.000172096,0.008437379,0.00024510233,0.00020575266,0.19494013,0.63463354,0.16012016],"study_design_scores_gemma":[0.0000019762513,0.0000036079787,0.002139271,0.0001606793,0.000004545016,0.00006935662,0.0034785427,0.00007367801,0.000112911934,0.004693667,0.9892447,0.000017006087],"about_ca_topic_score_codex":0.9851671,"about_ca_topic_score_gemma":0.9941705,"teacher_disagreement_score":0.042313248,"about_ca_system_score_codex":0.042313248,"about_ca_system_score_gemma":0.076931186,"threshold_uncertainty_score":0.30700552},"labels":[],"label_agreement":null},{"id":"W4247284442","doi":"10.1525/9780520957411-060","title":"THE CINEMA WE NEED (Canada, 1985)","year":2019,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Art history","score_opus":0.025088185111488845,"score_gpt":0.1807421620271648,"score_spread":0.15565397691567595,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247284442","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013688861,0.039223727,0.0016172086,0.016251322,0.0022300438,0.00007305375,0.0024487858,0.00017934828,0.9366076],"genre_scores_gemma":[0.014027618,0.02051564,0.0014944673,0.0018764726,0.00027275333,0.00004102214,0.00057685847,0.00013177094,0.9610634],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999445,0.00004366068,0.000017805234,0.00006231753,0.0003135039,0.00011775416],"domain_scores_gemma":[0.99917185,0.000098071905,0.00002817304,0.000033096192,0.0004688965,0.00019978182],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00058798696,0.00086514966,0.00048111833,0.0031140712,0.0065930383,0.009616684,0.0008277352,0.0023172463,0.09018513],"category_scores_gemma":[0.0016914924,0.00047380713,0.00023944017,0.0061582956,0.0028558483,0.003699466,0.0014428041,0.002404464,0.023260362],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008474368,0.000015910486,0.0003422944,0.00009112107,0.0000016286637,0.000056969056,0.0012022426,0.00008231114,0.00008937687,0.08210644,0.8210778,0.09492542],"study_design_scores_gemma":[0.0000010110807,0.000001338218,0.0008606161,0.0001257268,0.0000012896153,0.000042787608,0.0005572408,0.000027709846,0.00004318476,0.0033527385,0.99498135,0.0000050651806],"about_ca_topic_score_codex":0.87693805,"about_ca_topic_score_gemma":0.96154785,"teacher_disagreement_score":0.123061955,"about_ca_system_score_codex":0.026474388,"about_ca_system_score_gemma":0.047576386,"threshold_uncertainty_score":0.30169934},"labels":[],"label_agreement":null},{"id":"W4247287549","doi":"10.1353/mdr.2012.0066","title":"Melodramatic Slaves","year":2012,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"History; Art","score_opus":0.03769498828490013,"score_gpt":0.22929215725937344,"score_spread":0.19159716897447332,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247287549","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26985803,0.0037770644,0.0036908407,0.010504264,0.00090321316,0.000039856688,0.000102083046,0.00008022982,0.7110444],"genre_scores_gemma":[0.89716697,0.0012384013,0.0005803528,0.00085332955,0.00026979292,0.000022379534,0.00003266118,0.000049365048,0.099786624],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995932,0.00018073228,0.000009337552,0.00006431235,0.000057444948,0.00009502393],"domain_scores_gemma":[0.9996487,0.00015183653,0.000047352092,0.000050469003,0.00003155473,0.00007005443],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007361503,0.00027542035,0.0002047264,0.0007252673,0.0047144988,0.0030281746,0.00032636174,0.00071228645,0.012088353],"category_scores_gemma":[0.0018079705,0.00010412393,0.00013309014,0.0004817066,0.0055491193,0.0021354244,0.0031012236,0.0017042056,0.0007896015],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008247383,0.000043613738,0.0017361986,0.00009723724,0.0000056288113,0.0007515579,0.12348321,0.000050276147,0.0016234292,0.8347985,0.012780036,0.024547884],"study_design_scores_gemma":[0.00002028718,0.0000860877,0.0031955156,0.00022615341,0.000006094524,0.00095828675,0.04639152,0.00023605458,0.0011072132,0.031492155,0.9162644,0.000016195836],"about_ca_topic_score_codex":0.0012733957,"about_ca_topic_score_gemma":0.003433575,"teacher_disagreement_score":0.012088353,"about_ca_system_score_codex":0.0013523219,"about_ca_system_score_gemma":0.00044907033,"threshold_uncertainty_score":0.040439606},"labels":[],"label_agreement":null},{"id":"W4247554913","doi":"10.15353/kinema.vi.1221","title":"Toronto 2010","year":2010,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Club; Downtown; Economic history; Media studies; History; Art history; Political science; Sociology; Archaeology","score_opus":0.029726309063879387,"score_gpt":0.26667483299275974,"score_spread":0.23694852392888036,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247554913","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00059815444,0.0054903924,0.0004986655,0.009640471,0.006606711,0.000054724616,0.007744777,0.00052531494,0.9688408],"genre_scores_gemma":[0.0021434429,0.002355905,0.00022366349,0.000695216,0.0004940216,0.00001797904,0.0022461342,0.00013826026,0.9916854],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938166,0.00004113855,0.00003188603,0.00014264087,0.00028163657,0.00012102161],"domain_scores_gemma":[0.9988341,0.00004709041,0.000044309585,0.000111297544,0.000491844,0.00047141386],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004261833,0.0009424274,0.00046725545,0.0012503375,0.002712891,0.0060949186,0.0009605016,0.0018462727,0.6950094],"category_scores_gemma":[0.0012959044,0.00044114148,0.00038677882,0.0019210111,0.00065649825,0.0021171214,0.001998945,0.0016960817,0.43882832],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017840568,0.000007927531,0.00017009465,0.0000661799,0.0000023375817,0.00006734695,0.00007196658,0.000036379493,0.00014248732,0.0057603335,0.9664835,0.027173605],"study_design_scores_gemma":[0.0000013588303,0.000002046494,0.0003104517,0.000026728392,6.934609e-7,0.000020227937,0.000048695958,0.00001141347,0.000022874328,0.00017802868,0.99937564,0.0000018126456],"about_ca_topic_score_codex":0.13363759,"about_ca_topic_score_gemma":0.32968608,"teacher_disagreement_score":0.6950094,"about_ca_system_score_codex":0.007753688,"about_ca_system_score_gemma":0.0078042015,"threshold_uncertainty_score":0.435032},"labels":[],"label_agreement":null},{"id":"W4247693171","doi":"10.32920/ryerson.14664276.v1","title":"Documenting the world at home and abroad : The Jacques Madvo collection","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"Durham University","keywords":"Amateur; Lift (data mining); Value (mathematics); Perspective (graphical); Data collection; Media studies; Visual arts; Advertising; Art; Sociology; History; Computer science; Business; Social science; Archaeology","score_opus":0.024120756447305273,"score_gpt":0.2438987449130214,"score_spread":0.21977798846571614,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247693171","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19905862,0.028597457,0.0023491867,0.018365312,0.0033138765,0.0003235547,0.016675768,0.00033444204,0.73098177],"genre_scores_gemma":[0.6648291,0.018258896,0.0050155357,0.001200506,0.0019389732,0.00013202387,0.011565932,0.0007081783,0.2963509],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998901,0.0002138835,0.00004016396,0.0001304451,0.0005496109,0.00016480261],"domain_scores_gemma":[0.9978155,0.0005333069,0.00027278895,0.00044736383,0.00056100707,0.00037007878],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013679952,0.00028810912,0.0002494636,0.004779258,0.00607819,0.0068702362,0.00062913704,0.00058191223,0.015108108],"category_scores_gemma":[0.0056421123,0.000269267,0.00017050415,0.007131297,0.002427212,0.0016921117,0.0026943022,0.0010509513,0.0014185449],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018655839,0.00004908516,0.014409693,0.00080503116,0.000042441967,0.0018837138,0.10954694,0.0003001515,0.0024881698,0.13995251,0.542997,0.18733875],"study_design_scores_gemma":[0.000003477393,0.000011294618,0.0205143,0.0002502254,0.0000066095645,0.00024654437,0.008991489,0.000031822237,0.00035793055,0.0007693965,0.9688023,0.000014627226],"about_ca_topic_score_codex":0.2297574,"about_ca_topic_score_gemma":0.5089328,"teacher_disagreement_score":0.2297574,"about_ca_system_score_codex":0.007936582,"about_ca_system_score_gemma":0.0046999534,"threshold_uncertainty_score":0.4568401},"labels":[],"label_agreement":null},{"id":"W4247776446","doi":"10.1093/obo/9780199791286-0014","title":"Canadian Cinema","year":2011,"lang":"en","type":"reference-entry","venue":"Cinema and Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Film industry; Corporation; National cinema; Censorship; Indigenous; Political science; Media studies; Art history; History; Economic history; Sociology; Law","score_opus":0.08577141108321507,"score_gpt":0.250817111544354,"score_spread":0.16504570046113892,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247776446","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005135627,0.004335413,0.0006414497,0.0041486914,0.0034460083,0.00005766642,0.003708877,0.0004432901,0.98270506],"genre_scores_gemma":[0.010616593,0.0053951815,0.0012083906,0.0013593652,0.0006475264,0.00003855685,0.0029169926,0.00033274986,0.97748464],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99831593,0.00009699956,0.000044054075,0.0002584285,0.0010005636,0.00028416511],"domain_scores_gemma":[0.9972493,0.0001278431,0.000052464704,0.00016395886,0.0018505261,0.00055592577],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00074773363,0.0012625867,0.00054429314,0.004355038,0.010193016,0.009540938,0.0016852836,0.0018636439,0.48737064],"category_scores_gemma":[0.0038705547,0.00047584478,0.00047813953,0.0050820257,0.001434818,0.0029286763,0.0024280087,0.002463321,0.1365148],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013610631,0.0000066883276,0.00012543515,0.00010505737,0.0000023796372,0.00006944359,0.0004556261,0.000038987135,0.00023493718,0.01935126,0.9361284,0.04346814],"study_design_scores_gemma":[6.1210676e-7,7.010219e-7,0.00012852064,0.000021255644,8.6028075e-7,0.000025356667,0.000102639875,0.000012362084,0.000029904366,0.00018082657,0.99949396,0.0000029891435],"about_ca_topic_score_codex":0.61497617,"about_ca_topic_score_gemma":0.80497754,"teacher_disagreement_score":0.48737064,"about_ca_system_score_codex":0.022321776,"about_ca_system_score_gemma":0.025682636,"threshold_uncertainty_score":0.7745826},"labels":[],"label_agreement":null},{"id":"W4247808212","doi":"10.22215/etd/2009-09427","title":"Reinventing the media franchise : context, meaning and discourse","year":2009,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University; Canadian Heritage; Library and Archives Canada","funders":"McKnight Foundation","keywords":"Franchise; Meaning (existential); Context (archaeology); Humanities; Political science; Sociology; Advertising; Art; Philosophy; Epistemology; Business; Business administration; History","score_opus":0.025160310529261057,"score_gpt":0.24051580252234542,"score_spread":0.21535549199308435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247808212","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2779948,0.017635722,0.010265591,0.07644298,0.00090143655,0.000040304916,0.0001899331,0.000075943724,0.6164533],"genre_scores_gemma":[0.98949426,0.0012854466,0.00071306416,0.00055181707,0.0001626598,0.000015332067,0.00002623429,0.000045924557,0.00770524],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.98986316,0.007925394,0.00028832257,0.0005586215,0.00079871377,0.0005658713],"domain_scores_gemma":[0.9712063,0.02146701,0.0024830094,0.0017251279,0.0016730555,0.0014453474],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009907653,0.00042994026,0.00035258313,0.0037629264,0.011377972,0.021119779,0.00096641405,0.0030050771,0.0045330105],"category_scores_gemma":[0.022078557,0.00038936365,0.00021791978,0.0049614892,0.032993995,0.018375898,0.0063844626,0.0036483384,0.0004412969],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004307563,0.000019648956,0.0017439807,0.000090277514,0.000009528783,0.00025828893,0.34749836,0.00006189754,0.00033187988,0.6308353,0.0039952854,0.015112544],"study_design_scores_gemma":[0.000023828457,0.000041916268,0.0059457975,0.00095652713,0.000026968779,0.00040685348,0.42688406,0.00043094342,0.00066859956,0.12195345,0.44261524,0.00004576414],"about_ca_topic_score_codex":0.013934867,"about_ca_topic_score_gemma":0.016444126,"teacher_disagreement_score":0.021119779,"about_ca_system_score_codex":0.006922803,"about_ca_system_score_gemma":0.005408672,"threshold_uncertainty_score":0.05239725},"labels":[],"label_agreement":null},{"id":"W4247841896","doi":"10.15353/kinema.vi.1279","title":"Vesoul 2012","year":2012,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Film festival; China; Film director; Movie theater; East Asia; Ancient history; History; Documentary film; Geography; Art history; Art; Archaeology","score_opus":0.05094573140429755,"score_gpt":0.27629323149185114,"score_spread":0.2253475000875536,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247841896","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012150748,0.009688202,0.0028358756,0.0057747397,0.017766295,0.0001382527,0.007100129,0.0013770248,0.94316864],"genre_scores_gemma":[0.054777265,0.0041405754,0.0018212376,0.0008907276,0.0018094071,0.000100445,0.0059482018,0.0008553538,0.92965674],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999564,0.000051097628,0.000018717556,0.00007637997,0.00017849782,0.00011127696],"domain_scores_gemma":[0.9993882,0.000056810466,0.000029926765,0.000058730486,0.00024989195,0.00021639404],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00061090436,0.0004959107,0.00023907654,0.0011448582,0.0014144455,0.0041197212,0.0005443689,0.00082134083,0.24203433],"category_scores_gemma":[0.0017027704,0.00019673149,0.00033518072,0.0005069117,0.00030233484,0.0010996556,0.002370959,0.0010608525,0.07947411],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00035226755,0.00005291098,0.0011835052,0.00038646077,0.000020276962,0.00041038968,0.0009843883,0.000201387,0.003379491,0.019236358,0.78981334,0.1839793],"study_design_scores_gemma":[0.0000029182927,0.000007721575,0.0006829282,0.00004284545,0.000001398892,0.00006355427,0.00016175982,0.000032621905,0.00023861656,0.000254874,0.99850756,0.0000031896607],"about_ca_topic_score_codex":0.0029420236,"about_ca_topic_score_gemma":0.008061709,"teacher_disagreement_score":0.24203433,"about_ca_system_score_codex":0.0010537173,"about_ca_system_score_gemma":0.0010116271,"threshold_uncertainty_score":0.80968547},"labels":[],"label_agreement":null},{"id":"W4247854736","doi":"10.2307/j.ctt1vw0rv2.8","title":"NATURE LOVERS AS NATION LOVERS IN CANADIAN TV’S THE FOREST RANGERS (1963–1965)","year":2018,"lang":"en","type":"book-chapter","venue":"Rutgers University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Advertising; Visual arts; Art; Geography; Business","score_opus":0.02145905232244288,"score_gpt":0.18320270235080238,"score_spread":0.1617436500283595,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4247854736","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18223403,0.060657542,0.00029860841,0.03350486,0.0019939824,0.00007019306,0.0019508342,0.000035962094,0.719254],"genre_scores_gemma":[0.5979885,0.022430027,0.00027300834,0.002479502,0.00033553306,0.000027350918,0.00042566322,0.000054698365,0.37598574],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992822,0.00007856629,0.000008934755,0.00007393231,0.00022029589,0.00033608993],"domain_scores_gemma":[0.9990447,0.00015385363,0.00006092197,0.000030377916,0.0003440057,0.0003660504],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006844279,0.00034578503,0.00020974585,0.0019426119,0.015605411,0.0048436094,0.0006881023,0.0009776978,0.011997749],"category_scores_gemma":[0.0017550447,0.0002830766,0.00017677549,0.0034758137,0.0045207855,0.0022257376,0.0012287059,0.0023606766,0.00066865236],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011267092,0.00006633721,0.014438805,0.00017754233,0.000016046657,0.00068801973,0.32085615,0.00015628747,0.00036276568,0.17540565,0.35031953,0.13740012],"study_design_scores_gemma":[0.0000026761566,0.000006567633,0.028680084,0.0002004257,0.000007459981,0.00010988635,0.053060297,0.000028640103,0.00010969255,0.00072582456,0.91704994,0.000018518898],"about_ca_topic_score_codex":0.9888418,"about_ca_topic_score_gemma":0.99766624,"teacher_disagreement_score":0.05570163,"about_ca_system_score_codex":0.05570163,"about_ca_system_score_gemma":0.0478212,"threshold_uncertainty_score":0.40414548},"labels":[],"label_agreement":null},{"id":"W4248075654","doi":"10.1386/fm.1.2.31","title":"Reviews DVDs","year":2010,"lang":"en","type":"article","venue":"Film Matters","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Zeitgeist; Art history; Plane (geometry); Art; Political science; Law; Geometry; Mathematics","score_opus":0.029796585741418163,"score_gpt":0.22682988706781484,"score_spread":0.19703330132639668,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248075654","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00043877837,0.03634014,0.0005057152,0.010984111,0.058538876,0.00023586673,0.009627971,0.0010857809,0.8822427],"genre_scores_gemma":[0.001404008,0.010432746,0.0002459053,0.002331988,0.008673625,0.00007370612,0.0037569604,0.00031587094,0.97276515],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930775,0.00006522679,0.000037573158,0.00008636072,0.0004302301,0.00007279865],"domain_scores_gemma":[0.9974452,0.00029545624,0.00013096322,0.00016039936,0.0014927741,0.0004752834],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00044014386,0.0010901308,0.0008190703,0.0028424247,0.0010320643,0.0049845893,0.0013400364,0.0014682435,0.7205231],"category_scores_gemma":[0.004401882,0.00045007098,0.0005667447,0.0036376922,0.00034108866,0.0020650367,0.0013937439,0.0018104695,0.5139885],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008179417,0.000004359486,0.000017666025,0.00010014634,0.0000011980221,0.000015790496,0.000006346313,0.0000107160295,0.000042591673,0.00023335162,0.98025674,0.019302903],"study_design_scores_gemma":[0.0000029945536,0.0000036765518,0.00016610362,0.00008667247,0.0000011091805,0.000018734141,0.000019320254,0.00000472215,0.000018253068,0.000084462125,0.99959224,0.0000016851193],"about_ca_topic_score_codex":0.008869368,"about_ca_topic_score_gemma":0.02126252,"teacher_disagreement_score":0.7205231,"about_ca_system_score_codex":0.0018956909,"about_ca_system_score_gemma":0.0017989214,"threshold_uncertainty_score":0.3986398},"labels":[],"label_agreement":null},{"id":"W4248146650","doi":"10.1386/fm.5.3.82_5","title":"Reviews Books","year":2014,"lang":"en","type":"article","venue":"Film Matters","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art history; White (mutation); Art; Media studies; Sociology","score_opus":0.033883439910751004,"score_gpt":0.21755167073019388,"score_spread":0.1836682308194429,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248146650","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00032698797,0.03759261,0.0010408348,0.009058653,0.018287351,0.00015040564,0.004872104,0.0012742339,0.9273969],"genre_scores_gemma":[0.0018609123,0.022475779,0.0009448862,0.00465658,0.005144979,0.00008758834,0.0042925393,0.0006689759,0.95986766],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99870634,0.000117992786,0.000096523945,0.00029900027,0.0006469977,0.00013311948],"domain_scores_gemma":[0.99823725,0.00028288466,0.00008745274,0.00026892757,0.00075649156,0.00036697023],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0006359602,0.0012718072,0.0015016127,0.0041798875,0.0016030739,0.011894948,0.0023390383,0.0030999854,0.6971136],"category_scores_gemma":[0.0037632072,0.00057481823,0.0010160368,0.004371718,0.00096763985,0.0059142695,0.0035157055,0.0030092918,0.6529799],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011995715,0.000018096982,0.000063580475,0.00048691625,0.000004880534,0.00006547336,0.00006998991,0.00003897186,0.00015125218,0.0053947708,0.8933375,0.1003566],"study_design_scores_gemma":[0.0000020054893,0.000002636447,0.00006430035,0.00016742306,0.0000016959636,0.000053310574,0.000035846228,0.0000064067476,0.000019767114,0.00062136137,0.9990227,0.0000025496656],"about_ca_topic_score_codex":0.003713482,"about_ca_topic_score_gemma":0.005311021,"teacher_disagreement_score":0.30288643,"about_ca_system_score_codex":0.0024056826,"about_ca_system_score_gemma":0.004589481,"threshold_uncertainty_score":0.43203068},"labels":[],"label_agreement":null},{"id":"W4248210751","doi":"10.15353/kinema.vi.1127","title":"Istanbul 2006","year":2006,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Film festival; Turkish; Quarter (Canadian coin); Art; Media studies; Visual arts; Art history; History; Advertising; Sociology; Archaeology; Business","score_opus":0.025253903567763247,"score_gpt":0.24726982684739968,"score_spread":0.22201592327963643,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248210751","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008750447,0.026454499,0.0006012411,0.007554873,0.012660679,0.000112677626,0.0050972467,0.00049950037,0.9382688],"genre_scores_gemma":[0.026680484,0.009681821,0.00076594064,0.00079846993,0.0005810212,0.000067237015,0.004119821,0.00019605312,0.9571093],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999617,0.000044079487,0.000023771709,0.0000913046,0.00012344008,0.000100399244],"domain_scores_gemma":[0.99967086,0.00001434906,0.000022807797,0.00003073011,0.00016906334,0.000092213326],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006561661,0.0013314913,0.00053063873,0.0009306263,0.0022125798,0.0054817544,0.00090560224,0.0014624748,0.3324902],"category_scores_gemma":[0.0005586985,0.00033769937,0.0003107598,0.000999136,0.0005635558,0.0015496822,0.0018024053,0.0012355349,0.16368039],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026454637,0.00008900414,0.00081317936,0.0004308269,0.000015742198,0.00043658866,0.00032536793,0.00021041567,0.0009738954,0.010542237,0.8713429,0.11455536],"study_design_scores_gemma":[0.000007573347,0.000015049799,0.0015809145,0.00009839229,0.0000027807857,0.00012409313,0.00021196099,0.000046334364,0.00027699658,0.00030374204,0.99732673,0.000005364677],"about_ca_topic_score_codex":0.0072598355,"about_ca_topic_score_gemma":0.012094328,"teacher_disagreement_score":0.3324902,"about_ca_system_score_codex":0.0025803985,"about_ca_system_score_gemma":0.0021378582,"threshold_uncertainty_score":0.95212173},"labels":[],"label_agreement":null},{"id":"W4248302507","doi":"10.3138/cras.39.2.163","title":"Reagan's Rainbow Rodeos: Queer Challenges to the Cowboy Dreams of Eighties America","year":2009,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; HERO; Mythology; Frontier; Hollywood; Art history; History; Hegemony; Gender studies; Rainbow; Art; Sociology; Literature; Law; Political science; Politics; Archaeology","score_opus":0.04279234744218885,"score_gpt":0.266079370836663,"score_spread":0.22328702339447415,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248302507","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26710448,0.12705454,0.0015792061,0.23485753,0.0005549078,0.000021417904,0.00056836265,0.00006055378,0.36819896],"genre_scores_gemma":[0.90939325,0.06358091,0.0002825042,0.0052443696,0.0005088394,0.000013582255,0.00009532557,0.000028588427,0.020852592],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99923956,0.00042550618,0.00001026181,0.000065769505,0.00014159306,0.00011728943],"domain_scores_gemma":[0.9972972,0.0017876963,0.00040352455,0.00008001365,0.00021487672,0.00021677568],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014346822,0.00015018656,0.00017271741,0.0013262597,0.0027956113,0.0068126824,0.0003882709,0.0009141236,0.0055095563],"category_scores_gemma":[0.004635932,0.00014292463,0.00011945713,0.003365499,0.005249498,0.004345391,0.0009885286,0.0027060104,0.0002556123],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000720441,0.000062254374,0.0073252395,0.00032005447,0.000029995525,0.0003431634,0.040152118,0.00044331633,0.00016311405,0.81826085,0.071393795,0.061434105],"study_design_scores_gemma":[0.000013797123,0.000023226969,0.021833986,0.0010387813,0.00003426153,0.000118057236,0.10429385,0.0004683101,0.00017790699,0.07601397,0.7959485,0.00003544775],"about_ca_topic_score_codex":0.11435863,"about_ca_topic_score_gemma":0.14569475,"teacher_disagreement_score":0.11435863,"about_ca_system_score_codex":0.0056291306,"about_ca_system_score_gemma":0.0030561439,"threshold_uncertainty_score":0.227386},"labels":[],"label_agreement":null},{"id":"W4248591505","doi":"10.32920/ryerson.14658189","title":"The Projector's Noises: A Media Archaeology Of Cinema Through The Projector","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; York University","funders":"","keywords":"Movie theater; Projector; Art; Performative utterance; Visual arts; Aesthetics; Computer science; Computer vision","score_opus":0.05882038101881294,"score_gpt":0.25997290151529556,"score_spread":0.20115252049648263,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248591505","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.65854573,0.01970718,0.019044159,0.011182119,0.0009372777,0.0001567185,0.00067115296,0.00021795757,0.28953773],"genre_scores_gemma":[0.97130346,0.0042790626,0.003118164,0.0003519413,0.00032569494,0.00005278004,0.0001224659,0.00016222395,0.020284174],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99813545,0.0010794139,0.000047417594,0.0002910006,0.00026518456,0.00018136918],"domain_scores_gemma":[0.99801934,0.0012172598,0.00024155046,0.0001984166,0.00016024591,0.00016318844],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017971437,0.00045963153,0.00037758844,0.0040703695,0.005363258,0.0066832653,0.00087227486,0.0011216566,0.0041086082],"category_scores_gemma":[0.0052129747,0.00037748658,0.00019236135,0.003343579,0.009161066,0.005911924,0.0034757145,0.00166564,0.0003438901],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016090457,0.00005314076,0.0049276846,0.00036797367,0.00002731057,0.0017053488,0.73093724,0.0001717541,0.0016664473,0.19712919,0.01128246,0.051570527],"study_design_scores_gemma":[0.000015012348,0.00006793297,0.0143482955,0.0012548564,0.000033675216,0.0017206336,0.2869698,0.00044760611,0.0011656004,0.012452828,0.6814828,0.000041002102],"about_ca_topic_score_codex":0.0045190803,"about_ca_topic_score_gemma":0.010059299,"teacher_disagreement_score":0.0066832653,"about_ca_system_score_codex":0.0023640718,"about_ca_system_score_gemma":0.0011340512,"threshold_uncertainty_score":0.017152607},"labels":[],"label_agreement":null},{"id":"W4248749939","doi":"10.1525/9780520957411-036","title":"YOUR FILM FARM MANIFESTO ON PROCESS CINEMA (Canada, 2012)","year":2019,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Manifesto; Movie theater; Process (computing); Art; Art history; Materials science; Business; Media studies; Political science; Computer science; Sociology; Law; Operating system","score_opus":0.03652921848400432,"score_gpt":0.21593860737906018,"score_spread":0.17940938889505587,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248749939","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0024522685,0.014649904,0.0007820707,0.022967886,0.008227615,0.00007863939,0.0066571743,0.0003549795,0.9438295],"genre_scores_gemma":[0.014429392,0.006268147,0.00043116533,0.0010548445,0.00063686684,0.000017400422,0.0015600516,0.00018872072,0.9754133],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953556,0.00001976346,0.0000067537803,0.000033239216,0.00029277345,0.00011186687],"domain_scores_gemma":[0.9991084,0.000057858477,0.000020892732,0.000037501482,0.00053119677,0.00024414566],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00054222473,0.0006516196,0.0002994573,0.0018295462,0.005143709,0.009379471,0.00065459247,0.0014453717,0.12366584],"category_scores_gemma":[0.0015030232,0.00027846178,0.0002164233,0.0026544605,0.0011988739,0.0019242145,0.0010875071,0.0019968953,0.018567728],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009562768,0.00000826137,0.000083177874,0.000036537254,0.0000012237355,0.000021458056,0.00024362828,0.000042046304,0.00011125909,0.009747125,0.9667714,0.022924272],"study_design_scores_gemma":[0.0000017509306,0.0000021951264,0.0007499279,0.00005958077,0.0000013503549,0.000013562214,0.00030170564,0.000035262245,0.00008215702,0.0005262723,0.9982224,0.000003919993],"about_ca_topic_score_codex":0.8523788,"about_ca_topic_score_gemma":0.9452371,"teacher_disagreement_score":0.14762121,"about_ca_system_score_codex":0.018124985,"about_ca_system_score_gemma":0.0256302,"threshold_uncertainty_score":0.41370344},"labels":[],"label_agreement":null},{"id":"W4248778265","doi":"10.1353/mdr.2010.0003","title":"Drama is the Cure for Gossip: Television’s Turn to Theatricality in a Time of Media Transition","year":2010,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Gossip; Drama; Fantasy; The Internet; Identity (music); Narrative; Media studies; Appeal; Sociology; Art; Advertising; Aesthetics; Literature; Psychology; Political science; Social psychology; Law; Computer science","score_opus":0.020873987411772644,"score_gpt":0.236437889671179,"score_spread":0.21556390225940636,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248778265","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.45703351,0.012830679,0.0024918912,0.09638072,0.002812985,0.000033173492,0.0001455726,0.00008729813,0.42818418],"genre_scores_gemma":[0.9835278,0.0020665326,0.00019056765,0.001922141,0.00076616387,0.000013035732,0.000019393532,0.000034346478,0.011459986],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985164,0.0010046695,0.000014810681,0.00006530082,0.00012363847,0.0002751838],"domain_scores_gemma":[0.9982185,0.0010658492,0.00014554689,0.000074279465,0.000081942846,0.00041381113],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013463387,0.00026499928,0.00020960752,0.0011368889,0.007099184,0.009610064,0.00061262236,0.0017663437,0.0044361968],"category_scores_gemma":[0.0039363066,0.00015461218,0.00018316317,0.0008948841,0.01499081,0.0038942436,0.004383321,0.0033202434,0.0004081303],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002611707,0.000097654,0.0032191298,0.0001375706,0.000028296801,0.001793549,0.44315773,0.00027756827,0.00063517556,0.46998298,0.05268649,0.027722666],"study_design_scores_gemma":[0.000041149684,0.00009049992,0.008086422,0.00035988528,0.000019816895,0.00075422967,0.41160348,0.00036984915,0.00044667328,0.033353306,0.54483145,0.000043258162],"about_ca_topic_score_codex":0.008115975,"about_ca_topic_score_gemma":0.010540583,"teacher_disagreement_score":0.009610064,"about_ca_system_score_codex":0.0034117948,"about_ca_system_score_gemma":0.0010633093,"threshold_uncertainty_score":0.024754465},"labels":[],"label_agreement":null},{"id":"W4248997350","doi":"10.32920/ryerson.14653743.v1","title":"Know Your Neighbour: Reality Television and Performances of the Self","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Apartment; Order (exchange); Test (biology); Advertising; Computer science; Sociology; Internet privacy; Media studies; Aesthetics; Business; Political science; Art; Law","score_opus":0.04329327479285514,"score_gpt":0.24934858646542,"score_spread":0.20605531167256486,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4248997350","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22099097,0.008403466,0.0029998862,0.022534499,0.0011483213,0.00002072505,0.00022438967,0.000075207514,0.74360263],"genre_scores_gemma":[0.9431782,0.0028569119,0.0004975257,0.0006855065,0.0004808774,0.000013322517,0.000082229126,0.000053448508,0.05215198],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984794,0.0011070766,0.00001785336,0.000095391835,0.00014791451,0.00015229215],"domain_scores_gemma":[0.9984627,0.0008734542,0.00017337783,0.00017246358,0.00008809031,0.00022988554],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010863711,0.0002693556,0.00014569133,0.00062451075,0.0026970468,0.0069017564,0.00048199785,0.0011476388,0.0125018265],"category_scores_gemma":[0.0039705704,0.00016017242,0.00017039721,0.0008463089,0.005842267,0.004280425,0.002734469,0.0014577438,0.0010928556],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018534236,0.00007352539,0.0050459844,0.00020741943,0.000027825345,0.0006660182,0.20084094,0.0002890922,0.0005408319,0.6828921,0.059797134,0.049433842],"study_design_scores_gemma":[0.000027581573,0.0001386769,0.018368797,0.00050297444,0.000029095825,0.0011437752,0.21370189,0.000436702,0.00071070855,0.06672669,0.6981578,0.000055421817],"about_ca_topic_score_codex":0.0035188391,"about_ca_topic_score_gemma":0.005790795,"teacher_disagreement_score":0.0125018265,"about_ca_system_score_codex":0.0013660508,"about_ca_system_score_gemma":0.00042259408,"threshold_uncertainty_score":0.04182279},"labels":[],"label_agreement":null},{"id":"W4249055155","doi":"10.5860/choice.41-1445","title":"Candid eyes: essays on Canadian documentaries","year":2003,"lang":"en","type":"article","venue":"Choice Reviews Online","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Literature; Media studies; Art; Optometry; Sociology; Medicine","score_opus":0.059393499259807726,"score_gpt":0.2816824345265085,"score_spread":0.22228893526670077,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249055155","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019482287,0.0796717,0.001244274,0.46756032,0.02507125,0.00012564144,0.003065971,0.0001902669,0.40358827],"genre_scores_gemma":[0.3331352,0.05652862,0.0021396957,0.07399918,0.017934969,0.00020093958,0.0016631444,0.00060549134,0.5137928],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99119335,0.0009945792,0.00024852093,0.0005460124,0.00544016,0.0015774228],"domain_scores_gemma":[0.9468341,0.018797986,0.0018144033,0.0013176318,0.027332123,0.0039037052],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0064781434,0.00082835107,0.00065881363,0.011430192,0.018833764,0.014950982,0.0017475961,0.0061647254,0.025855245],"category_scores_gemma":[0.06036728,0.0004081462,0.00055645336,0.017615518,0.0065850005,0.0044326833,0.0023213474,0.004175864,0.003120824],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024038301,0.000010415888,0.00046916716,0.000093142815,0.000009402077,0.000059769136,0.004202486,0.00006315414,0.00010315802,0.027913643,0.952962,0.014089746],"study_design_scores_gemma":[0.000004968532,0.0000030360009,0.002981762,0.00029627662,0.00001237566,0.00002500975,0.005085179,0.00006476021,0.00017058608,0.0018032041,0.98952204,0.00003080203],"about_ca_topic_score_codex":0.90197146,"about_ca_topic_score_gemma":0.95021844,"teacher_disagreement_score":0.09802854,"about_ca_system_score_codex":0.07593386,"about_ca_system_score_gemma":0.05893749,"threshold_uncertainty_score":0.5509413},"labels":[],"label_agreement":null},{"id":"W4249201982","doi":"10.32920/ryerson.14662962","title":"To Archive Ephemera: The Importance of Atom Egoyan’s Collection at the TIFF Archives","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Ephemera; Metadata; Ephemeral key; Digital collections; Identification (biology); World Wide Web; Computer science; Entertainment; Database; Library science; Visual arts; Art","score_opus":0.029332098682926293,"score_gpt":0.23233109407830738,"score_spread":0.20299899539538108,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249201982","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06389151,0.015867965,0.056952666,0.07962896,0.011929315,0.0005070814,0.008291791,0.0021031627,0.7608276],"genre_scores_gemma":[0.5081879,0.018097257,0.1460832,0.011820804,0.010249518,0.0006716337,0.011517877,0.0068196123,0.28655216],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99289715,0.002605006,0.00071630045,0.00069386873,0.0026040412,0.00048352222],"domain_scores_gemma":[0.9642499,0.0101824,0.0020866713,0.014903021,0.006654069,0.00192395],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.010070677,0.0003031751,0.0005331295,0.008282413,0.0069940058,0.019024607,0.0015196501,0.0014193199,0.015344247],"category_scores_gemma":[0.0413656,0.0005752978,0.0003317486,0.012954895,0.008056682,0.018967066,0.006533564,0.0035965834,0.004366211],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011036761,0.000045000917,0.008387266,0.0002637018,0.000026813294,0.00039954434,0.028338436,0.00027892453,0.000575931,0.60533136,0.20112935,0.1551133],"study_design_scores_gemma":[0.0000042338406,0.000005860379,0.002415525,0.00019569905,0.000006183487,0.00015862497,0.0029844383,0.00008694352,0.00028336834,0.012951855,0.9808868,0.000020478272],"about_ca_topic_score_codex":0.045690674,"about_ca_topic_score_gemma":0.07246513,"teacher_disagreement_score":0.95430934,"about_ca_system_score_codex":0.007084565,"about_ca_system_score_gemma":0.009581492,"threshold_uncertainty_score":0.09084946},"labels":[],"label_agreement":null},{"id":"W4249317973","doi":"10.15353/kinema.vi.987","title":"Istanbul 2002","year":2002,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Wife; Comedy; Art; Movie theater; Theme (computing); Art history; Performance art; Visual arts; Philosophy; Theology","score_opus":0.05764326060508647,"score_gpt":0.25383108579943897,"score_spread":0.19618782519435252,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249317973","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016342256,0.029579364,0.0010361649,0.0110681895,0.01248158,0.00013539603,0.006861446,0.0005991177,0.9218964],"genre_scores_gemma":[0.048977643,0.010066245,0.00095214666,0.0011948348,0.00063446915,0.00009649827,0.004796192,0.00020514174,0.93307686],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995183,0.00006478174,0.000029032095,0.0001230193,0.00013614605,0.00012866162],"domain_scores_gemma":[0.999673,0.000020634921,0.000027585573,0.000034768094,0.00014500004,0.00009909723],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007479349,0.0011887092,0.000603238,0.0011382164,0.0022307553,0.0052899257,0.00095997326,0.0015650905,0.2549354],"category_scores_gemma":[0.0006395348,0.0003276727,0.0003403664,0.0011140428,0.00071255193,0.0015662294,0.0018690375,0.0012684484,0.12515777],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006498296,0.00016439639,0.0019021691,0.00075527705,0.00003242638,0.0011215704,0.000662255,0.00049986556,0.0018162546,0.027982669,0.79105467,0.1733586],"study_design_scores_gemma":[0.000019289088,0.000027980741,0.0028082258,0.00014716724,0.0000053420563,0.00022667328,0.00030264308,0.000103157734,0.00052248116,0.000916188,0.99491125,0.000009569804],"about_ca_topic_score_codex":0.007147823,"about_ca_topic_score_gemma":0.011981018,"teacher_disagreement_score":0.2549354,"about_ca_system_score_codex":0.0031980646,"about_ca_system_score_gemma":0.0023001397,"threshold_uncertainty_score":0.85284394},"labels":[],"label_agreement":null},{"id":"W4249345588","doi":"10.4324/9781135000356-rem1207-1","title":"Altman, Robert (1925–2006)","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Athabasca University","funders":"","keywords":"Criticism; Art history; Art; Performance art; Literature","score_opus":0.03749136272583797,"score_gpt":0.2132004883693504,"score_spread":0.17570912564351243,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249345588","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013811596,0.24719451,0.0008602043,0.023460303,0.010746947,0.000028240687,0.00039801284,0.000101938465,0.7158287],"genre_scores_gemma":[0.024572974,0.060452666,0.00066860573,0.0050530247,0.0021521011,0.00003139727,0.00020463364,0.0001408543,0.9067238],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972695,0.000056994337,0.000009635688,0.000074047086,0.000090852875,0.000041517244],"domain_scores_gemma":[0.9998253,0.00004083194,0.000020314461,0.000010495774,0.0000668792,0.000036261026],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003971709,0.00059856154,0.00022315494,0.0011383584,0.0022725218,0.00262526,0.00036600867,0.0010584642,0.030488873],"category_scores_gemma":[0.001002639,0.00023970239,0.00013501209,0.0010651082,0.0012944525,0.0034213965,0.00087407907,0.0023853646,0.016666189],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002149909,0.000009568884,0.00014684327,0.00008889302,0.0000022156796,0.00006847935,0.0011721555,0.00004399899,0.000086318614,0.117372945,0.823081,0.057906047],"study_design_scores_gemma":[5.037976e-7,0.0000019039996,0.00010050794,0.00006482285,4.3958102e-7,0.000035198394,0.00007027059,0.000003561522,0.00001906557,0.0014536686,0.9982486,0.0000013694038],"about_ca_topic_score_codex":0.0137487715,"about_ca_topic_score_gemma":0.02637479,"teacher_disagreement_score":0.030488873,"about_ca_system_score_codex":0.0029549315,"about_ca_system_score_gemma":0.0013414946,"threshold_uncertainty_score":0.10199547},"labels":[],"label_agreement":null},{"id":"W4249396850","doi":"10.1515/9781474435505","title":"Caught In-Between","year":2020,"lang":"en","type":"book","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.046906049566906874,"score_gpt":0.19544097914575873,"score_spread":0.14853492957885184,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249396850","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29522082,0.0029492036,0.01387879,0.00532782,0.00069519115,0.00007009257,0.00011429554,0.00017298582,0.6815709],"genre_scores_gemma":[0.9616327,0.0004161642,0.00084641017,0.00050854054,0.00007338103,0.00002133234,0.000033309218,0.00008104201,0.03638699],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982951,0.0006563974,0.000064341635,0.0003706294,0.00019949254,0.00041407623],"domain_scores_gemma":[0.99937683,0.00016604613,0.00010243668,0.00014359561,0.000072523166,0.00013853842],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014322086,0.0004050203,0.000363138,0.0011599002,0.0068655466,0.008289689,0.0007080174,0.0010484083,0.012767425],"category_scores_gemma":[0.0025609294,0.00028452635,0.00035041603,0.000861792,0.010906571,0.006259278,0.008282738,0.0025646372,0.0018588885],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014867773,0.00004001256,0.0054447292,0.0001416546,0.000044343797,0.0014827185,0.32601893,0.00017476053,0.0024141204,0.612557,0.0073997346,0.04413328],"study_design_scores_gemma":[0.000022968645,0.0001316275,0.010772379,0.00077020057,0.000079771344,0.0019468659,0.2796619,0.0004036688,0.0018836267,0.07774834,0.6265334,0.000045220168],"about_ca_topic_score_codex":0.0021648193,"about_ca_topic_score_gemma":0.0023390239,"teacher_disagreement_score":0.012767425,"about_ca_system_score_codex":0.0017962073,"about_ca_system_score_gemma":0.0014015391,"threshold_uncertainty_score":0.042711318},"labels":[],"label_agreement":null},{"id":"W4249409945","doi":"10.32920/ryerson.14662791.v1","title":"In limited release : the political economy of the Canadian motion picture distribution system","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Film industry; Negotiation; Politics; Studio; Distribution (mathematics); Power (physics); Movie theater; Preference; Political economy; Market economy; Economy; Economics; Political science; Economic system; Art; Law; Visual arts","score_opus":0.021297810154910567,"score_gpt":0.20091131849284147,"score_spread":0.1796135083379309,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249409945","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12617464,0.0018544982,0.0058898726,0.025735032,0.00017248723,0.00012276272,0.0026381991,0.00012508067,0.8372874],"genre_scores_gemma":[0.9434032,0.00110905,0.000910043,0.0008577237,0.00006663235,0.00003109577,0.000504048,0.00006968887,0.053048663],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.99670404,0.00041463794,0.000045812776,0.0002838614,0.0015042532,0.0010473611],"domain_scores_gemma":[0.99511886,0.0011058091,0.00039005972,0.00027649486,0.0025547184,0.0005540231],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017441207,0.00017695829,0.00022389722,0.0016065516,0.0063252104,0.008460122,0.0008251514,0.0010114422,0.025752662],"category_scores_gemma":[0.011981238,0.00025585416,0.00019088868,0.0023232144,0.0029717288,0.0018313045,0.0012912884,0.0013229846,0.0011245818],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011683192,0.000031806143,0.01514266,0.00008605154,0.000021571477,0.00030430278,0.0031676812,0.0048237364,0.00072969,0.83228433,0.087686986,0.055604324],"study_design_scores_gemma":[0.00007364547,0.000044234017,0.0949687,0.00023668556,0.00006532815,0.00018040484,0.011967368,0.020981165,0.0012345104,0.0830751,0.78702116,0.00015168259],"about_ca_topic_score_codex":0.9554483,"about_ca_topic_score_gemma":0.9462304,"teacher_disagreement_score":0.056325227,"about_ca_system_score_codex":0.056325227,"about_ca_system_score_gemma":0.04039456,"threshold_uncertainty_score":0.40867007},"labels":[],"label_agreement":null},{"id":"W4249535462","doi":"10.3138/ctr.170.016","title":"Scenework","year":2017,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.049397535368441534,"score_gpt":0.2509349382903747,"score_spread":0.20153740292193317,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249535462","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016675076,0.0066401656,0.0013288547,0.023203082,0.049760867,0.00029900856,0.005487371,0.0007009367,0.91091216],"genre_scores_gemma":[0.0088786185,0.0022827722,0.00085444545,0.00356447,0.0034534703,0.00008571321,0.0018980787,0.00029970278,0.97868264],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99894494,0.00012789083,0.000021980535,0.00014582377,0.0004758269,0.00028345018],"domain_scores_gemma":[0.9979087,0.00013816297,0.00004905415,0.00015905265,0.0009635405,0.00078150345],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009827558,0.0007033421,0.00043747597,0.002375383,0.006061787,0.005932914,0.0014412544,0.0016344493,0.49265453],"category_scores_gemma":[0.004009943,0.0002775929,0.00053798227,0.0016452427,0.0010741799,0.0014802923,0.0032397688,0.002219542,0.13098846],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023838269,0.000005877842,0.000051636267,0.000046323945,9.59676e-7,0.00004528025,0.00011791356,0.00001869341,0.00008557165,0.0067628296,0.9701508,0.022690326],"study_design_scores_gemma":[0.000001847053,0.0000020042476,0.00012255649,0.000030499365,6.4889434e-7,0.000021837775,0.00016912198,0.0000065474846,0.000025739728,0.00031295716,0.99930453,0.0000016636633],"about_ca_topic_score_codex":0.121750094,"about_ca_topic_score_gemma":0.3308277,"teacher_disagreement_score":0.49265453,"about_ca_system_score_codex":0.0070106136,"about_ca_system_score_gemma":0.008199419,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4249851478","doi":"10.18192/jpp.v16i2.5416","title":"Cover Art","year":2007,"lang":"en","type":"article","venue":"Journal of Prisoners on Prisons","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cover (algebra); Political science; Engineering","score_opus":0.02949882328814894,"score_gpt":0.25331303217701834,"score_spread":0.2238142088888694,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249851478","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015387762,0.0014644675,0.00035822703,0.0008953268,0.0022444923,0.000056131168,0.0003931869,0.00020886092,0.9928405],"genre_scores_gemma":[0.0049922164,0.0005057194,0.00015884405,0.00023600999,0.00033366645,0.00001049478,0.00011719107,0.00012344094,0.99352235],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997532,0.000027051892,0.000007856836,0.00005247138,0.000109778244,0.00004964201],"domain_scores_gemma":[0.99942136,0.00007541624,0.000025879277,0.00011874251,0.00020490038,0.00015369734],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002847698,0.000660377,0.00050990155,0.0013508796,0.003850565,0.0046516536,0.00051331805,0.0011220296,0.68636477],"category_scores_gemma":[0.0010127733,0.00034808603,0.0004813014,0.0012681548,0.00084649434,0.0019712248,0.0029637741,0.0014011106,0.2781591],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054167274,0.00003533186,0.00027269206,0.00020518298,0.000004497502,0.0001901092,0.00058949227,0.000086428896,0.0010747345,0.013456954,0.8659838,0.11804665],"study_design_scores_gemma":[0.0000018384039,0.000010609332,0.000952826,0.00007189037,0.0000017096307,0.00019322541,0.00017960812,0.00004197573,0.00008939898,0.00040618563,0.9980477,0.0000029462597],"about_ca_topic_score_codex":0.0053700283,"about_ca_topic_score_gemma":0.021221206,"teacher_disagreement_score":0.68636477,"about_ca_system_score_codex":0.0009374723,"about_ca_system_score_gemma":0.00049191125,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4249924484","doi":"10.15353/kinema.vi.1256","title":"Toronto 2012","year":2012,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Toronto Public Health","funders":"","keywords":"Filmmaking; Movie theater; Chose; Film festival; Media studies; Visual arts; Art; Political science; Sociology; Law","score_opus":0.04472512784138645,"score_gpt":0.2798590995789841,"score_spread":0.23513397173759765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4249924484","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001799931,0.029852495,0.00071628887,0.033597413,0.015377614,0.000068410154,0.030526476,0.0005785734,0.88748276],"genre_scores_gemma":[0.0051917476,0.0069692936,0.000279013,0.0010794309,0.0009914328,0.00001829392,0.0046640825,0.00018532446,0.9806214],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994215,0.000038902417,0.000026641335,0.0001143096,0.00027707638,0.00012153674],"domain_scores_gemma":[0.99890494,0.00004840648,0.000058173537,0.00007371238,0.00046353263,0.00045116383],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00044991547,0.0008543956,0.0004185399,0.0012090022,0.002527161,0.0046275454,0.0006427269,0.0013400613,0.47127476],"category_scores_gemma":[0.001178122,0.00043681878,0.00031433546,0.0022610722,0.0006047497,0.0012720489,0.0014208663,0.0014366406,0.1719556],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001989224,0.000003857096,0.00013238819,0.000058341953,0.000002034352,0.000046947218,0.00006229023,0.000034943318,0.000092565366,0.0023620157,0.9833304,0.013854318],"study_design_scores_gemma":[0.0000015473167,0.0000019469767,0.0006828895,0.000033265034,9.069094e-7,0.000017347256,0.00005357639,0.000010985526,0.000028753617,0.000113910966,0.9990526,0.0000022244292],"about_ca_topic_score_codex":0.26477966,"about_ca_topic_score_gemma":0.6117968,"teacher_disagreement_score":0.7352203,"about_ca_system_score_codex":0.008945882,"about_ca_system_score_gemma":0.008924858,"threshold_uncertainty_score":0.7541624},"labels":[],"label_agreement":null},{"id":"W4250161537","doi":"10.22215/etd/2005-08434","title":"Cinemimesis: realism, representation, and form in David Bordwell's theory of film","year":2005,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University; Canadian Heritage; Library and Archives Canada","funders":"","keywords":"Realism; Humanities; Mathematics; Philosophy; Epistemology","score_opus":0.024835407853409635,"score_gpt":0.2579633165396588,"score_spread":0.2331279086862492,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250161537","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.038050238,0.01637656,0.13181892,0.04432903,0.0010543409,0.000092290175,0.00019860065,0.00009594162,0.7679841],"genre_scores_gemma":[0.93914694,0.0028797467,0.018003885,0.0013897829,0.0006707687,0.000124189,0.00007746627,0.00007765126,0.037629623],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.998408,0.0010741806,0.00004663116,0.00018292652,0.00018079297,0.000107508145],"domain_scores_gemma":[0.99824786,0.0011732829,0.00013311282,0.00020055207,0.00014596179,0.00009920503],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022496597,0.0004270953,0.0003966663,0.0017633473,0.0029084838,0.0062936405,0.0009220695,0.0023542552,0.0071711494],"category_scores_gemma":[0.0052921516,0.00029635016,0.0005468649,0.0015979474,0.018677104,0.009064335,0.0022057793,0.0027998325,0.00041027067],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000027853675,0.0000014652038,0.000023982888,0.0000044123963,4.652788e-7,0.0000065902714,0.000670731,0.000047974812,0.0000110117,0.9979759,0.0003635109,0.0008912484],"study_design_scores_gemma":[0.000010934222,0.000009010798,0.00014295043,0.00004556747,0.000003110098,0.00004858336,0.0006416998,0.0006907465,0.00004724798,0.97251976,0.02583477,0.0000056080194],"about_ca_topic_score_codex":0.007164437,"about_ca_topic_score_gemma":0.0061691557,"teacher_disagreement_score":0.0071711494,"about_ca_system_score_codex":0.0043194513,"about_ca_system_score_gemma":0.0010190988,"threshold_uncertainty_score":0.031339884},"labels":[],"label_agreement":null},{"id":"W4250171215","doi":"10.32920/ryerson.14637288","title":"North of Empire: essays on the cultural technologies of space","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Surprise; Empire; Negotiation; Order (exchange); Relevance (law); Value (mathematics); Jury; Space (punctuation); History; Sociology; Law; Media studies; Political science; Philosophy","score_opus":0.05905766296765067,"score_gpt":0.2407144005085635,"score_spread":0.18165673754091283,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250171215","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013365496,0.15631403,0.0029743772,0.21939631,0.009802634,0.000023126551,0.00019921726,0.00006472395,0.59786004],"genre_scores_gemma":[0.40351415,0.07962587,0.0039148163,0.031098872,0.0052150846,0.00009609047,0.0001752737,0.00036422926,0.47599557],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99797386,0.0008453203,0.000046325713,0.00021020445,0.0006075157,0.00031682255],"domain_scores_gemma":[0.9953625,0.0029177435,0.00016139694,0.00017709003,0.0009341263,0.0004471139],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019092808,0.0006615102,0.0005928201,0.0022979097,0.010298284,0.008978642,0.0009230043,0.0021609312,0.005635925],"category_scores_gemma":[0.007771449,0.0003353108,0.00034283966,0.002762343,0.016267575,0.005366166,0.0017217,0.0043088966,0.00088314345],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016532493,0.000019600328,0.00043670478,0.00012639178,0.000006834056,0.00018389805,0.029943492,0.00016196755,0.00014195872,0.51327974,0.4382412,0.017441733],"study_design_scores_gemma":[0.0000021389903,0.000002384069,0.0009905983,0.00042899663,0.0000030733154,0.00005736337,0.008446856,0.00006670966,0.000061395185,0.018883234,0.97104776,0.000009492315],"about_ca_topic_score_codex":0.38832027,"about_ca_topic_score_gemma":0.5733568,"teacher_disagreement_score":0.38832027,"about_ca_system_score_codex":0.03331356,"about_ca_system_score_gemma":0.021149093,"threshold_uncertainty_score":0.77212},"labels":[],"label_agreement":null},{"id":"W4250230789","doi":"10.32920/ryerson.14668206","title":"Codes of the North: difficulty in the origins of the Canadian avant-garde film","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University","funders":"","keywords":"Vanguard; Movie theater; Poetry; Modernism (music); Art; Avant garde; Aesthetics; Art history; Literature; Individuation; Painting; History; Psychoanalysis; Psychology","score_opus":0.03829335631548024,"score_gpt":0.21893544363358228,"score_spread":0.18064208731810205,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250230789","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2476323,0.0057447627,0.004140095,0.02424174,0.0007346742,0.00010245152,0.00032017613,0.000116650124,0.7169671],"genre_scores_gemma":[0.965204,0.0013563707,0.0012574533,0.0006457354,0.000053231175,0.000016824022,0.000055401626,0.00010148895,0.031309444],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9972319,0.00049481436,0.000044121003,0.0003906059,0.0010816639,0.0007568563],"domain_scores_gemma":[0.9973918,0.0006921464,0.00016796982,0.00013842367,0.0009793025,0.0006303132],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002001497,0.0006733044,0.00042554023,0.0028030535,0.029612914,0.013465476,0.0013870021,0.0017014797,0.0072036367],"category_scores_gemma":[0.006315142,0.00047825102,0.00028807504,0.0025503798,0.023807462,0.0035960963,0.0044737603,0.0042094933,0.00041825112],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006617949,0.000013600592,0.0028443257,0.00011740371,0.000008892825,0.00093083776,0.5519915,0.0001843043,0.0009867343,0.39966688,0.013397756,0.029791588],"study_design_scores_gemma":[0.000008942072,0.000018693609,0.012988534,0.000365271,0.000021490394,0.0006355251,0.21592005,0.00037702773,0.000671702,0.015976781,0.75291663,0.000099199955],"about_ca_topic_score_codex":0.9670844,"about_ca_topic_score_gemma":0.9845115,"teacher_disagreement_score":0.102035664,"about_ca_system_score_codex":0.102035664,"about_ca_system_score_gemma":0.057110976,"threshold_uncertainty_score":0.740324},"labels":[],"label_agreement":null},{"id":"W4250241981","doi":"10.3138/9781442698314-006","title":"1. Canadian Cinema 1896–1986: Invisibility and Difference","year":2012,"lang":"en","type":"book-chapter","venue":"University of Toronto Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Invisibility; Movie theater; Art history; Media studies; Art; Sociology; Optics; Physics","score_opus":0.033027268748329855,"score_gpt":0.18020313697266171,"score_spread":0.14717586822433187,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250241981","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010630177,0.05530784,0.000917441,0.016844224,0.0014324875,0.000060133658,0.0023670117,0.00006148177,0.91237915],"genre_scores_gemma":[0.42786193,0.03707282,0.0015580683,0.0027099801,0.0016771907,0.00006452286,0.0013431768,0.00011931176,0.527593],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99896014,0.00011012017,0.000024355399,0.00012115205,0.0004871568,0.00029700084],"domain_scores_gemma":[0.9987488,0.00030086885,0.00009051469,0.00006165824,0.0006572733,0.00014080691],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008139081,0.0007341498,0.0003134431,0.0040070834,0.008086467,0.004895967,0.0007313905,0.0018213011,0.046598576],"category_scores_gemma":[0.003676367,0.0003284311,0.00023631938,0.005979437,0.0061906106,0.0027950185,0.0012416253,0.0021187016,0.0026658373],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057918976,0.000015483589,0.0014678503,0.0002635141,0.00000564147,0.0001528779,0.019263832,0.00013436752,0.00014883417,0.64394367,0.26532128,0.069224566],"study_design_scores_gemma":[0.0000035929254,0.0000068513455,0.007621156,0.00030170236,0.000008199283,0.000070839036,0.0019289884,0.000037705697,0.00009459938,0.008095525,0.9818169,0.000014026042],"about_ca_topic_score_codex":0.920367,"about_ca_topic_score_gemma":0.9623717,"teacher_disagreement_score":0.079633,"about_ca_system_score_codex":0.04491332,"about_ca_system_score_gemma":0.02593069,"threshold_uncertainty_score":0.32587045},"labels":[],"label_agreement":null},{"id":"W4250275979","doi":"10.1162/leon_a_01378","title":"Experimental Sound Mixing for “The Well”, a Short Film Made for Tablets","year":2016,"lang":"en","type":"article","venue":"Leonardo","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Mixing (physics); Binaural recording; Perspective (graphical); Sound (geography); Acoustics; Computer science; Artificial intelligence; Physics","score_opus":0.04879151808488246,"score_gpt":0.2577057228644296,"score_spread":0.20891420477954714,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250275979","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7553189,0.0031527549,0.10535372,0.0014793254,0.0011632184,0.0040280474,0.0012231421,0.0010132669,0.12726763],"genre_scores_gemma":[0.8903931,0.0016951031,0.08110611,0.0005590635,0.00021825334,0.0018996017,0.00059719884,0.0002511817,0.023280408],"study_design_codex":"bench_or_experimental","study_design_gemma":"bench_or_experimental","domain_scores_codex":[0.99914587,0.0002585706,0.0000658306,0.00021499068,0.0002456615,0.0000689391],"domain_scores_gemma":[0.99805295,0.001181947,0.00013005732,0.000304601,0.00018358504,0.00014690011],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010125615,0.0005747744,0.00024043233,0.00041288923,0.0008696375,0.001099695,0.0007262916,0.00078164757,0.012790748],"category_scores_gemma":[0.004864231,0.0002730768,0.00028038363,0.0003209674,0.0010392913,0.0010584833,0.0014865665,0.0011724862,0.0008246145],"study_design_candidate":"bench_or_experimental","study_design_consensus":"bench_or_experimental","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0038725152,0.004782212,0.004395267,0.003660404,0.00017694684,0.00093491527,0.0132107865,0.0011664307,0.51857114,0.061269034,0.009196492,0.37876397],"study_design_scores_gemma":[0.0015761196,0.022195019,0.05122233,0.0009334691,0.00055906276,0.0030331386,0.0070752604,0.0055423114,0.5627036,0.01993351,0.3247996,0.0004266301],"about_ca_topic_score_codex":0.0005974874,"about_ca_topic_score_gemma":0.0008106696,"teacher_disagreement_score":0.012790748,"about_ca_system_score_codex":0.0003201386,"about_ca_system_score_gemma":0.00032457014,"threshold_uncertainty_score":0.04278928},"labels":[],"label_agreement":null},{"id":"W4250335254","doi":"10.32920/ryerson.14661945","title":"Cinematic Inclusiveness: Horror Cinema’s Portrayal of Mental and Physical Disabilities","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"MacEwan University","funders":"","keywords":"Movie theater; Hollywood; Compassion; Aesthetics; Psychology; Representation (politics); Sociology; Art; Visual arts; Politics; Political science; Art history; Law","score_opus":0.030529294193563747,"score_gpt":0.25449573680163806,"score_spread":0.2239664426080743,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250335254","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5720318,0.01258425,0.0060022464,0.023713006,0.0016716061,0.00011457607,0.00021986049,0.00013955779,0.38352314],"genre_scores_gemma":[0.9856383,0.0021476117,0.0008774063,0.0013064054,0.00028655233,0.00003656588,0.00004574032,0.000056311743,0.009605012],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99899226,0.0006280937,0.000027048298,0.00007719126,0.0001304677,0.00014494233],"domain_scores_gemma":[0.9983224,0.0010070205,0.00016863926,0.000086244465,0.00015469751,0.00026094267],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013670849,0.000465617,0.00017705382,0.0013504409,0.0035407972,0.005194558,0.0005155607,0.0011438864,0.0052592554],"category_scores_gemma":[0.0038029028,0.0001666024,0.0002504051,0.00042785818,0.0047550146,0.003825737,0.005238879,0.0019701836,0.00030821285],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012028654,0.00006117273,0.0038551078,0.00046301962,0.000020150244,0.0019202933,0.8826972,0.00011364902,0.0037638706,0.05133234,0.019469734,0.036183167],"study_design_scores_gemma":[0.000026591557,0.0001245969,0.014040029,0.0013546519,0.000053022195,0.007888555,0.49245185,0.00043998676,0.0023442362,0.006822888,0.4744002,0.000053308617],"about_ca_topic_score_codex":0.0030816728,"about_ca_topic_score_gemma":0.005968184,"teacher_disagreement_score":0.0052592554,"about_ca_system_score_codex":0.0015440967,"about_ca_system_score_gemma":0.00056035735,"threshold_uncertainty_score":0.01759392},"labels":[],"label_agreement":null},{"id":"W4250350385","doi":"10.32920/ryerson.14660256.v1","title":"Algorithms and the Streaming Wars: The Changing Meanings of Film and Television Culture","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University; Professional Engineers Ontario","funders":"","keywords":"Creativity; Meaning (existential); Consumption (sociology); Taste; Production (economics); Computer science; Analytics; Film genre; Process (computing); Big data; Sociology; Data science; Aesthetics; Art; Political science; Movie theater; Visual arts; Epistemology; Economics; Psychology","score_opus":0.02095782406587076,"score_gpt":0.22022719930023943,"score_spread":0.19926937523436866,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250350385","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.37956232,0.018247254,0.029206993,0.07304925,0.0010784128,0.00009766018,0.0004209614,0.00024302902,0.4980941],"genre_scores_gemma":[0.9710948,0.007681554,0.004663433,0.0033460027,0.0006642841,0.00007394352,0.00011987919,0.00023367396,0.012122366],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99476635,0.003320664,0.00018452981,0.00047677834,0.00092412677,0.00032758497],"domain_scores_gemma":[0.9856011,0.011092094,0.0010173742,0.00092116167,0.0008086657,0.00055947766],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005438401,0.0005599612,0.00037934622,0.0036500094,0.0065092384,0.025800835,0.0012987687,0.0026438723,0.0057467557],"category_scores_gemma":[0.017712025,0.0004307408,0.00039870138,0.004544094,0.03059954,0.019742688,0.0048227618,0.0048342734,0.0005620884],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000080906044,0.00002954292,0.0025733598,0.00020750082,0.00002224929,0.00034827468,0.23214418,0.0002812775,0.0005777836,0.7099149,0.007822177,0.045997918],"study_design_scores_gemma":[0.00003760594,0.00008540762,0.008364745,0.0012604295,0.000044910015,0.0010294254,0.28864682,0.002062839,0.0015778014,0.2317367,0.46504155,0.00011172843],"about_ca_topic_score_codex":0.005091087,"about_ca_topic_score_gemma":0.0037347192,"teacher_disagreement_score":0.025800835,"about_ca_system_score_codex":0.0052956543,"about_ca_system_score_gemma":0.0014461358,"threshold_uncertainty_score":0.038422823},"labels":[],"label_agreement":null},{"id":"W4250363102","doi":"10.3366/edinburgh/9780748694846.003.0006","title":"Documentary and Performance","year":2016,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Foregrounding; Queer; Drama; Performative utterance; Girl; Context (archaeology); Art; History; Sociology; Literature; Gender studies; Psychology; Aesthetics","score_opus":0.02580087117920684,"score_gpt":0.1768791913608138,"score_spread":0.15107832018160694,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250363102","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0051490236,0.0050536063,0.0020503257,0.009356817,0.0011325696,0.000030736122,0.00020782121,0.00012637251,0.9768927],"genre_scores_gemma":[0.28275162,0.010231131,0.0029258064,0.0027654206,0.0021191775,0.00012537398,0.00074897497,0.00060098007,0.69773155],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9943316,0.0022008757,0.00029592143,0.000701518,0.0016786307,0.0007912912],"domain_scores_gemma":[0.9947129,0.001748542,0.0006131524,0.0011633657,0.0009429771,0.00081910315],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032359494,0.00076784095,0.0003812225,0.002802427,0.008483575,0.017685115,0.0014218071,0.0021379446,0.07760279],"category_scores_gemma":[0.010365016,0.00024959067,0.00026671047,0.0049778395,0.012458151,0.009305471,0.0076966044,0.0028550173,0.014026584],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040379426,0.000021030799,0.0004720563,0.00016265911,0.000004556322,0.00019704836,0.026298169,0.000105274616,0.00029103976,0.8174126,0.08695409,0.06804105],"study_design_scores_gemma":[0.0000026759787,0.000013158798,0.00036780993,0.00021300041,0.00000215504,0.00015935232,0.0063004605,0.000023101853,0.00010774197,0.009769817,0.98303246,0.0000082249035],"about_ca_topic_score_codex":0.015564324,"about_ca_topic_score_gemma":0.012966382,"teacher_disagreement_score":0.07760279,"about_ca_system_score_codex":0.007106616,"about_ca_system_score_gemma":0.0037412841,"threshold_uncertainty_score":0.2596072},"labels":[],"label_agreement":null},{"id":"W4250628420","doi":"10.32920/ryerson.14650029.v1","title":"The new spectator : a study of the cognitive experience of spectators with three cinematic platforms","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Psychology; Cognition; Digital media; Advertising; Comprehension; Sociology; Computer science; Business; World Wide Web","score_opus":0.03412093287738577,"score_gpt":0.2386481041164376,"score_spread":0.20452717123905184,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4250628420","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9981889,0.00007624449,0.00015902815,0.00017352017,0.000010250305,0.00001886113,0.0000145045615,0.0000034855063,0.0013551998],"genre_scores_gemma":[0.9970914,0.00019547452,0.00018471555,0.00014749129,0.000035904013,0.000030727788,0.000046494137,0.000010267834,0.0022575303],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9984761,0.0008450942,0.00004486496,0.00014451516,0.00017115867,0.00031829544],"domain_scores_gemma":[0.99392647,0.002682777,0.0008902439,0.00022965857,0.0008132449,0.0014575418],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024399825,0.00066315325,0.00065213715,0.0011523932,0.004441634,0.0032985087,0.00090702577,0.0014824711,0.0043835933],"category_scores_gemma":[0.0083307745,0.00045342292,0.00039726403,0.00054626167,0.0040952573,0.0025673246,0.0032154997,0.0026335795,0.00050784514],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011635746,0.00019895227,0.015765972,0.00007825,0.000012470178,0.000752799,0.97467256,0.000017761651,0.004080515,0.00028865453,0.00046417053,0.0035515649],"study_design_scores_gemma":[0.000022853545,0.0006384433,0.039079983,0.00005400818,0.000020346495,0.00085804536,0.9507232,0.00014512896,0.0011026902,0.00014716676,0.0071679833,0.000040196526],"about_ca_topic_score_codex":0.0079178475,"about_ca_topic_score_gemma":0.01439143,"teacher_disagreement_score":0.0079178475,"about_ca_system_score_codex":0.0010649678,"about_ca_system_score_gemma":0.0007401123,"threshold_uncertainty_score":0.015743554},"labels":[],"label_agreement":null},{"id":"W4251058723","doi":"10.15353/kinema.vi.1313","title":"Vesoul 2013","year":2014,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Dance; Ceremony; Visual arts; Art; Martial arts; Film festival; Art history; History; Ancient history; Media studies; Archaeology; Sociology","score_opus":0.03180731425622774,"score_gpt":0.2539173007944114,"score_spread":0.22210998653818365,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251058723","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00779812,0.010896572,0.0038925728,0.005544314,0.014310958,0.00012782385,0.0035459285,0.001067603,0.95281607],"genre_scores_gemma":[0.045839183,0.0063490965,0.0022486167,0.0009302014,0.0013505791,0.00010776286,0.0029832886,0.0007658625,0.93942547],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995073,0.00006220498,0.000024078427,0.00008464395,0.00020836326,0.0001133757],"domain_scores_gemma":[0.9993568,0.000064637374,0.000030499066,0.00005726324,0.00028668562,0.00020412572],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007249308,0.00054894784,0.0002464461,0.0012269375,0.0019507804,0.0047642873,0.0006226173,0.00090406893,0.2631903],"category_scores_gemma":[0.0020123606,0.00026194795,0.0002892251,0.00070876913,0.00044479803,0.0016713334,0.0026898868,0.0011837273,0.09223789],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019463182,0.000044070835,0.00086505053,0.00032919366,0.000013669313,0.00028858002,0.0011096611,0.00018671792,0.0020714034,0.022933284,0.75660276,0.21536094],"study_design_scores_gemma":[0.000001861061,0.0000070074534,0.00054411445,0.000071376366,0.0000017695276,0.00008139381,0.00029147186,0.000035429457,0.0003009787,0.0004873219,0.99817336,0.0000037581776],"about_ca_topic_score_codex":0.0035214485,"about_ca_topic_score_gemma":0.009590999,"teacher_disagreement_score":0.2631903,"about_ca_system_score_codex":0.0013705062,"about_ca_system_score_gemma":0.0014260454,"threshold_uncertainty_score":0.88045925},"labels":[],"label_agreement":null},{"id":"W4251195414","doi":"10.1386/fiin.8.2.63","title":"DVD Reviews","year":2010,"lang":"en","type":"article","venue":"Film International","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art history; AKA; Visual arts; Anime; Computer science; Library science","score_opus":0.03699864599970176,"score_gpt":0.25282677769218576,"score_spread":0.215828131692484,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251195414","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00032131295,0.016158666,0.00083549507,0.003041911,0.015654856,0.00021343734,0.00523256,0.0011253391,0.9574164],"genre_scores_gemma":[0.0012732695,0.0066763917,0.00051784137,0.0013494472,0.0024547654,0.00007659237,0.003947322,0.0003567011,0.9833476],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925,0.000067720255,0.000041406514,0.000113818576,0.0004647557,0.00006218107],"domain_scores_gemma":[0.9984894,0.00015013762,0.00005644612,0.00013308309,0.0009547698,0.00021620766],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004604303,0.0009530163,0.00080094865,0.002617839,0.0009382555,0.004596509,0.0014911487,0.0012759811,0.75553685],"category_scores_gemma":[0.002845574,0.0003592181,0.000602479,0.0032252714,0.0002755698,0.0019445282,0.0013050796,0.0014239792,0.66483146],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013132123,0.000011694865,0.000026590864,0.00019243959,0.0000021269636,0.00003550678,0.000011401663,0.000024103461,0.00015670435,0.00077414577,0.93644774,0.062304553],"study_design_scores_gemma":[0.0000036869537,0.0000046630626,0.0001014333,0.000072501345,0.0000012005111,0.000036955415,0.000015074803,0.0000092007285,0.000039184535,0.00015106083,0.99956316,0.000001781871],"about_ca_topic_score_codex":0.0037758495,"about_ca_topic_score_gemma":0.006767085,"teacher_disagreement_score":0.75553685,"about_ca_system_score_codex":0.0016166377,"about_ca_system_score_gemma":0.0015812282,"threshold_uncertainty_score":0.348697},"labels":[],"label_agreement":null},{"id":"W4251301218","doi":"10.32920/ryerson.14645823","title":"Living for YouTube: an analysis of the PrankvsPrank channel","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; University of Toronto","funders":"","keywords":"Romance; Monetization; Performative utterance; Reciprocal; Leverage (statistics); Compensation (psychology); Illusion; Social psychology; Advertising; Sociology; Psychology; Aesthetics; Computer science; Business; Art; Economics; Psychoanalysis; Cognitive psychology; Philosophy","score_opus":0.05869697256596203,"score_gpt":0.2563793916475226,"score_spread":0.1976824190815606,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251301218","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.974422,0.0003042144,0.0005630152,0.0008014752,0.000035838155,0.000075101976,0.0033390264,0.000047647758,0.020411624],"genre_scores_gemma":[0.9850181,0.0003766267,0.0006660745,0.00008258681,0.00003505878,0.000046271587,0.004440171,0.00006380269,0.009271284],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9994843,0.00012721108,0.000015504536,0.000050007362,0.00016674655,0.00015629917],"domain_scores_gemma":[0.99754363,0.0011562656,0.00027052575,0.00016157146,0.00062484917,0.00024311854],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00049603713,0.00021520616,0.00028051116,0.0024889566,0.0015977466,0.0019301019,0.000512038,0.0006509431,0.005792945],"category_scores_gemma":[0.0034072662,0.00011843734,0.00016963527,0.003879747,0.00071050174,0.0019950867,0.0010748816,0.00059821137,0.0012138654],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008647529,0.00074778625,0.7089865,0.0004950417,0.000114854316,0.008458031,0.033283792,0.008024852,0.0046966663,0.05435941,0.06666491,0.11330341],"study_design_scores_gemma":[0.000030915893,0.00018228476,0.75145024,0.00027659742,0.000054749555,0.0013861326,0.0956696,0.050355855,0.0023699813,0.004814342,0.09326571,0.00014358516],"about_ca_topic_score_codex":0.10243427,"about_ca_topic_score_gemma":0.11998008,"teacher_disagreement_score":0.10243427,"about_ca_system_score_codex":0.0018748688,"about_ca_system_score_gemma":0.0009098116,"threshold_uncertainty_score":0.2036761},"labels":[],"label_agreement":null},{"id":"W4251323215","doi":"10.15353/kinema.vi.1146","title":"Tokyo 2005","year":2006,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Film festival; Entertainment; Movie theater; Art history; Visual arts; Art; Media studies; History; Advertising; Political science; Sociology; Business","score_opus":0.027254872547440922,"score_gpt":0.24931429435104766,"score_spread":0.22205942180360674,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251323215","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015678098,0.007876927,0.0007625513,0.008990125,0.013807086,0.00008843982,0.004499111,0.00066324236,0.96174467],"genre_scores_gemma":[0.0034162311,0.0029299613,0.00032733247,0.0008903149,0.00081145234,0.00003520028,0.0025139637,0.00014509464,0.9889305],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996346,0.000024318164,0.00002647939,0.00008891153,0.00016125507,0.0000643975],"domain_scores_gemma":[0.99940765,0.000022072365,0.000029583533,0.00006260088,0.0003111342,0.0001669202],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047520793,0.0009838598,0.00038519877,0.001162039,0.0014753501,0.0054549114,0.00084021816,0.001472935,0.5482883],"category_scores_gemma":[0.000911964,0.00034651402,0.0003415035,0.0011405308,0.00035971796,0.0020870774,0.0017089385,0.0016111749,0.3892716],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037519883,0.000022126476,0.00028286825,0.000110995075,0.0000047952135,0.000114934635,0.00008893725,0.000045350986,0.00031400338,0.006773553,0.92760926,0.06459575],"study_design_scores_gemma":[0.0000021666717,0.000005417958,0.00050668226,0.000031103504,0.0000012914834,0.00003367674,0.00005323251,0.000014325641,0.0000503939,0.00024148021,0.9990583,0.0000019743975],"about_ca_topic_score_codex":0.007863571,"about_ca_topic_score_gemma":0.01742525,"teacher_disagreement_score":0.5482883,"about_ca_system_score_codex":0.0020218734,"about_ca_system_score_gemma":0.0021393013,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4251443911","doi":"10.32920/ryerson.14664588.v1","title":"Fishnets &amp; desire: performing the neoburlesque","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University","funders":"","keywords":"Burlesque; Aesthetics; Kitsch; Femininity; Art; Liminality; Spectacle; Sociology; Visual arts; Performing arts; Carnivalesque; Gender studies","score_opus":0.0851840636002294,"score_gpt":0.24416964753076675,"score_spread":0.15898558393053736,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251443911","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24015133,0.0013616019,0.009931499,0.008901282,0.00098351,0.00009269746,0.00008744371,0.00021113291,0.73827946],"genre_scores_gemma":[0.6472327,0.0008350078,0.006138491,0.0009127434,0.0001712238,0.000086651096,0.000058035315,0.00016507151,0.34440002],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9991774,0.00035214148,0.000012406715,0.00009413977,0.0002349396,0.00012897431],"domain_scores_gemma":[0.9996555,0.00007680955,0.000026962303,0.000041263793,0.000058642083,0.00014092076],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010554127,0.00047150144,0.00012156241,0.00044985436,0.0052755005,0.00414736,0.00054018147,0.00067754474,0.010993597],"category_scores_gemma":[0.0012259264,0.0001448077,0.00017115439,0.00029662545,0.005996767,0.0018816233,0.0037710578,0.0012056248,0.0012258902],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013248947,0.00009566559,0.0043254006,0.00031065583,0.00001327136,0.0016204978,0.36272293,0.0003505147,0.009919444,0.36283848,0.10961447,0.1480561],"study_design_scores_gemma":[0.000007215998,0.00007761333,0.0047307657,0.00016373397,0.0000053208755,0.0010322334,0.1006306,0.0002441482,0.0019487218,0.004577026,0.88655317,0.000029440975],"about_ca_topic_score_codex":0.005344376,"about_ca_topic_score_gemma":0.02526757,"teacher_disagreement_score":0.010993597,"about_ca_system_score_codex":0.0017505509,"about_ca_system_score_gemma":0.0010607914,"threshold_uncertainty_score":0.036777258},"labels":[],"label_agreement":null},{"id":"W4251573064","doi":"10.1093/oxfordhb/9780190229108.001.0001","title":"The Oxford Handbook of Canadian Cinema","year":2019,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":13,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Spectacle; Indigenous; Media studies; State (computer science); Identity (music); Variety (cybernetics); Scale (ratio); History; Sociology; Aesthetics; Art history; Art; Political science; Geography; Law; Cartography","score_opus":0.029951201401783856,"score_gpt":0.1755693704448526,"score_spread":0.14561816904306873,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251573064","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005981289,0.16584215,0.0015153363,0.006686229,0.0026949486,0.00005067787,0.0017717343,0.00028847813,0.8205523],"genre_scores_gemma":[0.02234363,0.15191458,0.0037807848,0.0017569342,0.0011031805,0.00008977732,0.0017460877,0.0003193835,0.8169457],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998415,0.0001585707,0.000060041213,0.0001362775,0.0010021037,0.00022805629],"domain_scores_gemma":[0.99832004,0.00029904972,0.00006106856,0.000109505425,0.0009159128,0.00029443108],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00089658774,0.0010213698,0.0005473447,0.0049768286,0.004455191,0.008467373,0.0012317648,0.0013220714,0.08444102],"category_scores_gemma":[0.0037033642,0.00041723362,0.00023826872,0.007384036,0.003052443,0.0032296649,0.0013851408,0.0016526442,0.016951466],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000110230885,0.000008619236,0.00016210256,0.00031476573,0.000002489414,0.00005848752,0.0018538788,0.00015746155,0.00014446313,0.10461885,0.7495723,0.14309561],"study_design_scores_gemma":[3.0369404e-7,6.471661e-7,0.00017836958,0.00014470218,6.3011777e-7,0.000019474917,0.00019372786,0.0000090221265,0.000010549555,0.001123733,0.9983163,0.0000025885656],"about_ca_topic_score_codex":0.6788797,"about_ca_topic_score_gemma":0.78218216,"teacher_disagreement_score":0.32112032,"about_ca_system_score_codex":0.027864324,"about_ca_system_score_gemma":0.034128204,"threshold_uncertainty_score":0.6460229},"labels":[],"label_agreement":null},{"id":"W4251702830","doi":"10.15353/kinema.vi.1061","title":"Istanbul 2004","year":2004,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Film festival; Cult; Turkish; Art; Art history; Humanities; History; Media studies; Ancient history; Sociology; Philosophy","score_opus":0.03512855652353738,"score_gpt":0.2636308125575251,"score_spread":0.2285022560339877,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251702830","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011643256,0.032155376,0.0006198835,0.009402963,0.012266579,0.000106355736,0.00362612,0.00037671337,0.9298028],"genre_scores_gemma":[0.041537628,0.01200689,0.00079495716,0.0011064826,0.00068921567,0.00007160867,0.0034461343,0.00016780467,0.9401794],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996176,0.00004295293,0.000022535867,0.000085696905,0.00012184332,0.000109466986],"domain_scores_gemma":[0.99972695,0.000013493454,0.000017798946,0.000026014695,0.00014194191,0.000073858006],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005926987,0.0011035637,0.00047345678,0.00096271874,0.0022713223,0.005043306,0.00083184993,0.0014570624,0.25414947],"category_scores_gemma":[0.00053725333,0.00028889359,0.0002918299,0.0010224135,0.0006048832,0.0014968081,0.0016491337,0.0012490264,0.10105739],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033114591,0.00011396773,0.0012765953,0.0005018204,0.000018916922,0.000687853,0.00047615616,0.00031224822,0.0013242438,0.018793173,0.82857895,0.14758494],"study_design_scores_gemma":[0.00000873295,0.000016851014,0.0022446616,0.00011813107,0.000003714808,0.00015891681,0.00030207686,0.000060906867,0.00037163583,0.0005634585,0.9961449,0.0000060828643],"about_ca_topic_score_codex":0.008544108,"about_ca_topic_score_gemma":0.014112459,"teacher_disagreement_score":0.25414947,"about_ca_system_score_codex":0.0030395137,"about_ca_system_score_gemma":0.0023167764,"threshold_uncertainty_score":0.85021466},"labels":[],"label_agreement":null},{"id":"W4251780738","doi":"10.1525/9780520957411-101","title":"MANIFESTO FOR A NON-SEXIST CINEMA (Canada, 1974)","year":2019,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Manifesto; Movie theater; Art; Art history; Political science; Law","score_opus":0.03236546183171542,"score_gpt":0.2045534686244799,"score_spread":0.17218800679276447,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251780738","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005177469,0.017168175,0.0009683114,0.02468064,0.004126333,0.00014666376,0.0052683046,0.00023469591,0.9422294],"genre_scores_gemma":[0.045978744,0.00595792,0.0011443832,0.0026225399,0.00032787034,0.00008967204,0.0010928845,0.00018476594,0.9426013],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99809605,0.00012084587,0.000038285943,0.00014688628,0.0011056878,0.0004921752],"domain_scores_gemma":[0.99804974,0.00019025516,0.00005426736,0.000095643765,0.0012010216,0.00040909747],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012609024,0.0006323897,0.00032526214,0.002457632,0.010207556,0.011964085,0.0010288018,0.0029689048,0.044162426],"category_scores_gemma":[0.0033695898,0.00036434596,0.00024603034,0.0036486727,0.0035089767,0.0020408838,0.001787131,0.0030991973,0.0058916523],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028565555,0.000026174659,0.00037459066,0.000096135795,0.0000033677313,0.00009856456,0.0022068922,0.00011226494,0.00037455547,0.22020246,0.73093045,0.045545913],"study_design_scores_gemma":[0.0000025151699,0.0000025725697,0.0011953718,0.000081748105,0.0000020231805,0.000022541592,0.0006278191,0.000032789536,0.00014611153,0.002097599,0.9957806,0.00000828455],"about_ca_topic_score_codex":0.94526726,"about_ca_topic_score_gemma":0.96717817,"teacher_disagreement_score":0.05473274,"about_ca_system_score_codex":0.050011598,"about_ca_system_score_gemma":0.088676296,"threshold_uncertainty_score":0.36286122},"labels":[],"label_agreement":null},{"id":"W4251864458","doi":"10.3138/9781442686939","title":"Into the Past","year":2010,"lang":"en","type":"book","venue":"University of Toronto Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.01986019821007802,"score_gpt":0.18092707442902095,"score_spread":0.16106687621894294,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251864458","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003563152,0.042151958,0.0018178746,0.10016011,0.013224589,0.00002109415,0.00017699585,0.00013145992,0.83875275],"genre_scores_gemma":[0.2415489,0.025934659,0.001971774,0.046551466,0.0075661805,0.000077020406,0.00025098902,0.00038014876,0.67571896],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99817395,0.0008363012,0.000051512678,0.00028994915,0.00038749675,0.00026067405],"domain_scores_gemma":[0.9979868,0.0008519612,0.00012791202,0.00024826443,0.00050871324,0.00027633057],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016126551,0.0004993437,0.00032428154,0.0013608459,0.0060749706,0.009247649,0.0008313183,0.0021733234,0.023099128],"category_scores_gemma":[0.005763399,0.00019858389,0.00028301048,0.0010612023,0.008824821,0.007819291,0.0025662612,0.0050177756,0.0034693056],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036785088,0.000013528118,0.00022946087,0.00012663854,0.0000045003144,0.00015614794,0.016667705,0.00006441692,0.00012123966,0.5955025,0.35171893,0.03535803],"study_design_scores_gemma":[9.623745e-7,0.000004043075,0.0001182916,0.00013811566,0.0000014897207,0.000041773576,0.001596279,0.000023167895,0.0000306562,0.007974068,0.99006826,0.0000028338034],"about_ca_topic_score_codex":0.028336264,"about_ca_topic_score_gemma":0.04740289,"teacher_disagreement_score":0.028336264,"about_ca_system_score_codex":0.009684081,"about_ca_system_score_gemma":0.0048459363,"threshold_uncertainty_score":0.07727426},"labels":[],"label_agreement":null},{"id":"W4251865434","doi":"10.32920/ryerson.14653239.v1","title":"How she sees it: cataloguing and rehousing the Arleen Schloss Super 8mm film collection at Anthology Film Archives","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; York University","funders":"","keywords":"Downtown; Context (archaeology); Art; Visual arts; Art history; Performance art; Painting; History; Archaeology","score_opus":0.03978777691928499,"score_gpt":0.22592735187777319,"score_spread":0.1861395749584882,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4251865434","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53983766,0.009067756,0.0070488444,0.025889479,0.0013549394,0.0008696971,0.0027026278,0.00036550112,0.41286352],"genre_scores_gemma":[0.66361904,0.0153743,0.022474913,0.0026652834,0.00076490827,0.0006549509,0.0029520048,0.00092432054,0.29057026],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982583,0.0007849003,0.000088042216,0.00017718483,0.00053964835,0.00015185458],"domain_scores_gemma":[0.99642295,0.0017595474,0.00042562207,0.0002556168,0.00077348424,0.00036280265],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029352645,0.00032603083,0.00025935078,0.0040903357,0.006495072,0.0072111567,0.0008042679,0.0007238597,0.018218573],"category_scores_gemma":[0.011325623,0.0003210681,0.00014904015,0.0048355213,0.0023047645,0.004886013,0.0030111908,0.0015646785,0.0038098383],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008413921,0.00006065732,0.011287869,0.00059915753,0.000011253719,0.0015281204,0.49635282,0.00012405167,0.002491887,0.023360897,0.18308458,0.2810146],"study_design_scores_gemma":[0.0000040447444,0.000029274477,0.01396919,0.0006174703,0.000009311021,0.0003499457,0.29399106,0.00011734261,0.00080599234,0.0014417012,0.68864,0.000024721692],"about_ca_topic_score_codex":0.030296132,"about_ca_topic_score_gemma":0.12694359,"teacher_disagreement_score":0.030296132,"about_ca_system_score_codex":0.0038059112,"about_ca_system_score_gemma":0.003087375,"threshold_uncertainty_score":0.06094724},"labels":[],"label_agreement":null},{"id":"W4252021339","doi":"10.5749/movingimage.17.2.0144","title":"","year":2017,"lang":"","type":"article","venue":"The Moving Image The Journal of the Association of Moving Image Archivists","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art history; Exhibition; Visual arts; White (mutation); Humanities","score_opus":0.01712176256755465,"score_gpt":0.24363197128731812,"score_spread":0.22651020871976346,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252021339","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005234066,0.015753211,0.0008402533,0.016756885,0.067168795,0.00022198346,0.002371772,0.0008810836,0.8954826],"genre_scores_gemma":[0.0013027762,0.0040173917,0.0002478421,0.00397006,0.0042647966,0.000051495394,0.0008186831,0.00021858871,0.9851083],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99879277,0.00013839963,0.00009538701,0.00031756517,0.00053950073,0.00011639133],"domain_scores_gemma":[0.9970252,0.00029011388,0.0001883651,0.00023194218,0.0015552235,0.0007091054],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008770963,0.00108366,0.00087415066,0.001698019,0.0018057706,0.0066742213,0.0011595815,0.0025913208,0.75889647],"category_scores_gemma":[0.005563487,0.0003996767,0.0004470145,0.0014955229,0.0007675333,0.003410939,0.003043931,0.0025515142,0.7448581],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009973061,0.0000067946967,0.00006578581,0.00014102612,0.0000019877798,0.00004966162,0.00004906704,0.000011925416,0.00013430689,0.0012249219,0.9541414,0.044163205],"study_design_scores_gemma":[0.0000015642875,0.0000035478708,0.0000902838,0.00006858003,7.353852e-7,0.00004433285,0.00004201026,0.0000052854452,0.000027267235,0.00013388037,0.99958056,0.0000018171213],"about_ca_topic_score_codex":0.0015187104,"about_ca_topic_score_gemma":0.0038877304,"teacher_disagreement_score":0.24110353,"about_ca_system_score_codex":0.0011175813,"about_ca_system_score_gemma":0.0025858383,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4252100391","doi":"10.1386/jicms.4.3.463_5","title":"Film Reviews","year":2016,"lang":"en","type":"article","venue":"Journal of Italian Cinema and Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"The arts; Art; Media studies; Art history; Humanities; Sociology; Visual arts","score_opus":0.08051984191056172,"score_gpt":0.27589088671673784,"score_spread":0.19537104480617612,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252100391","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007692622,0.16351588,0.00073912897,0.05071662,0.09142708,0.00017851323,0.003866067,0.00034617976,0.68844134],"genre_scores_gemma":[0.008753692,0.13298433,0.0009940108,0.017888078,0.038714103,0.00015290584,0.0045377645,0.00041295562,0.79556227],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99854577,0.00022728102,0.00012075214,0.00019504798,0.0007859358,0.00012523563],"domain_scores_gemma":[0.99406683,0.0010020043,0.00033906594,0.0004973754,0.0035572627,0.0005374501],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009916697,0.00074080523,0.0007406302,0.004140113,0.0016514608,0.006152315,0.0014778444,0.0022935355,0.3837688],"category_scores_gemma":[0.008254264,0.00033650786,0.0005741064,0.004455508,0.0008224146,0.0038084881,0.0018158548,0.0024001878,0.16589212],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010206687,0.000008230772,0.000034022225,0.00028621883,0.0000030256774,0.00003167632,0.00005082289,0.000016691487,0.000065332795,0.0026705256,0.95156634,0.045256887],"study_design_scores_gemma":[0.0000013709067,0.0000028529403,0.00010643674,0.00028213245,0.000001755466,0.00003527609,0.00005591998,0.000005527848,0.000020041543,0.00027440462,0.9992126,0.0000016919013],"about_ca_topic_score_codex":0.008146795,"about_ca_topic_score_gemma":0.012082165,"teacher_disagreement_score":0.3837688,"about_ca_system_score_codex":0.002920367,"about_ca_system_score_gemma":0.002769411,"threshold_uncertainty_score":0.878979},"labels":[],"label_agreement":null},{"id":"W4252127886","doi":"10.22215/etd/2015-10630","title":"1984, 2001, 2015","year":2015,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"Advanced Research Projects Agency; Defense Advanced Research Projects Agency; U.S. Department of Transportation","keywords":"Drone; SWORD; Computer security; Oppression; Population; Engineering; Architectural engineering; Computer science; Political science; Sociology; Law; Mechanical engineering","score_opus":0.050865309238658125,"score_gpt":0.2804192053149509,"score_spread":0.22955389607629278,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252127886","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0153458025,0.027794715,0.0030938017,0.023458961,0.0070355833,0.00019912147,0.028045414,0.0002188211,0.89480776],"genre_scores_gemma":[0.040925957,0.009892346,0.0010788012,0.0034487746,0.00076976785,0.00022518879,0.006740342,0.00014175322,0.9367772],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9987754,0.00013557238,0.00008642723,0.00030608987,0.00051673973,0.00017970636],"domain_scores_gemma":[0.9983234,0.00027740642,0.00017641604,0.00015351648,0.0008810033,0.00018823444],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016804098,0.00046939313,0.00021121709,0.0034483317,0.0029115248,0.0036699693,0.0006670824,0.0017697167,0.07318091],"category_scores_gemma":[0.007850617,0.00031486063,0.00024411245,0.004694699,0.0013485472,0.00305572,0.0017675717,0.0021290854,0.04432496],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012787327,0.00004372886,0.003252177,0.0003542992,0.000011257973,0.0001408034,0.0017392348,0.00021310555,0.00017535704,0.13659921,0.6919674,0.1653756],"study_design_scores_gemma":[0.0000038997828,0.0000056945655,0.0041538374,0.00017063571,0.000002890195,0.000029972804,0.0003212515,0.000020245327,0.00009565828,0.0022544793,0.9929356,0.0000057076686],"about_ca_topic_score_codex":0.05116776,"about_ca_topic_score_gemma":0.1305857,"teacher_disagreement_score":0.07318091,"about_ca_system_score_codex":0.005553242,"about_ca_system_score_gemma":0.005053521,"threshold_uncertainty_score":0.24481457},"labels":[],"label_agreement":null},{"id":"W4252145098","doi":"10.32920/ryerson.14644209.v1","title":"Demand driven operations management in motion picture exhibition","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; York University","funders":"","keywords":"Exhibition; Ticket; Computer science; Attendance; Entertainment industry; Film industry; Scheduling (production processes); Entertainment; Loyalty business model; Operations research; Marketing; Engineering; Movie theater; Business; Operations management; Economics","score_opus":0.03019327263743085,"score_gpt":0.23308762282511397,"score_spread":0.20289435018768312,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252145098","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5381998,0.0029421018,0.42513382,0.0040953835,0.00015614607,0.0006590363,0.0015149583,0.0009957041,0.026303018],"genre_scores_gemma":[0.95420563,0.00115115,0.03896633,0.000095119896,0.00005871663,0.00016964284,0.0007186154,0.000047397327,0.004587393],"study_design_codex":"simulation_or_modeling","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993772,0.00024957908,0.000043306074,0.00011124577,0.00011823093,0.000100519814],"domain_scores_gemma":[0.99900347,0.0005542087,0.0001385041,0.000044255987,0.00016400106,0.0000955768],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012577454,0.0005543412,0.00054271054,0.0005050342,0.0004832342,0.0017925118,0.0007812369,0.000669148,0.0030377195],"category_scores_gemma":[0.0021236269,0.000368525,0.00038625448,0.0011171891,0.00028904152,0.0013229141,0.00067784544,0.000796438,0.0003638153],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00035282745,0.00025413668,0.004208666,0.0002809492,0.00006573864,0.00024343179,0.00040865474,0.8880684,0.0038776817,0.011194108,0.005324856,0.085720584],"study_design_scores_gemma":[0.000022045273,0.0001549063,0.003279767,0.000028447605,0.0000120399145,0.000031480606,0.0006143444,0.98408604,0.00095810177,0.006840939,0.0039421367,0.00002976278],"about_ca_topic_score_codex":0.008759421,"about_ca_topic_score_gemma":0.0073782126,"teacher_disagreement_score":0.008759421,"about_ca_system_score_codex":0.0016164267,"about_ca_system_score_gemma":0.0012554791,"threshold_uncertainty_score":0.017416835},"labels":[],"label_agreement":null},{"id":"W4252472321","doi":"10.1162/leon_a_01283","title":"Perceptual Cells: James Turrell’s Vision Machines Between Two Paracinemas","year":2016,"lang":"en","type":"article","venue":"Leonardo","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Emily Carr University of Art and Design","funders":"","keywords":"Perception; Movie theater; Architecture; Projection (relational algebra); Perceptual system; Cognitive science; Computer science; Visual arts; Psychology; Aesthetics; Cognitive psychology; Computer vision; Artificial intelligence; Art; Neuroscience","score_opus":0.028033829783957367,"score_gpt":0.25426864509160274,"score_spread":0.2262348153076454,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252472321","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.39883393,0.0064126556,0.03142126,0.043585494,0.00090933626,0.00005071609,0.000077086435,0.0002909983,0.5184186],"genre_scores_gemma":[0.9749312,0.0006997447,0.0027828838,0.0012370371,0.00012471793,0.0000144646,0.000008796699,0.000044798708,0.020156374],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967456,0.00014406393,0.0000058746164,0.00006658873,0.000063906344,0.000045127963],"domain_scores_gemma":[0.9992945,0.00041834006,0.000047019785,0.00008127196,0.0000767019,0.000082111175],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00049628236,0.00018596316,0.00012499403,0.00037240295,0.0016963546,0.0042778878,0.00034701417,0.0010292768,0.0038087072],"category_scores_gemma":[0.002536409,0.0001679457,0.000144701,0.00022163481,0.006729883,0.0044172835,0.0015048154,0.0015863306,0.00039432367],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009094612,0.000020550326,0.000570518,0.000044917597,0.0000037269208,0.000320165,0.0506813,0.00020513446,0.0026192735,0.913115,0.012867844,0.019460585],"study_design_scores_gemma":[0.000050005827,0.00012773905,0.0034616957,0.00015950717,0.000017109658,0.0011345333,0.03229483,0.002192888,0.0043369443,0.36527276,0.59087557,0.00007643478],"about_ca_topic_score_codex":0.002214856,"about_ca_topic_score_gemma":0.0020168014,"teacher_disagreement_score":0.0042778878,"about_ca_system_score_codex":0.0012636068,"about_ca_system_score_gemma":0.0003830255,"threshold_uncertainty_score":0.012741387},"labels":[],"label_agreement":null},{"id":"W4252766412","doi":"10.1215/9780822380948","title":"The Fruit Machine","year":2000,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Left-wing politics; Destiny (ISS module); Atmosphere (unit); Criticism; Feeling; Feminism; Tone (literature); History; Media studies; Gender studies; Political science; Art; Art history; Sociology; Literature; Politics; Law; Psychology; Engineering; Geography; Social psychology","score_opus":0.02359606705124477,"score_gpt":0.2015798533891682,"score_spread":0.17798378633792344,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252766412","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008735756,0.005841579,0.0028067068,0.022725487,0.0030184912,0.000029140578,0.00017713913,0.00034358757,0.96418434],"genre_scores_gemma":[0.02212979,0.004053855,0.0016019044,0.0057695853,0.0008688859,0.000041623276,0.00015409244,0.0003728413,0.9650073],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937695,0.00011684744,0.00001659669,0.00013818691,0.00027120835,0.000080308004],"domain_scores_gemma":[0.99911326,0.0002041342,0.000038265945,0.00021322808,0.00025484915,0.00017628977],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007949989,0.0005973157,0.00033246572,0.0012103003,0.0035852867,0.010873478,0.00094443915,0.0020884702,0.12574472],"category_scores_gemma":[0.0030557518,0.00035129776,0.0003306646,0.001187181,0.005196534,0.010832798,0.0040911054,0.004637301,0.049612723],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001420964,0.000016922177,0.00015633175,0.000059015107,0.000004402478,0.00006880194,0.0012680552,0.00007542225,0.00017117939,0.4761071,0.47089985,0.051158693],"study_design_scores_gemma":[0.0000016594697,0.000002941061,0.00008101513,0.00004949787,9.261046e-7,0.00003240817,0.00025877095,0.00003205615,0.000042061853,0.021321196,0.9781747,0.0000027995075],"about_ca_topic_score_codex":0.0047939224,"about_ca_topic_score_gemma":0.007877359,"teacher_disagreement_score":0.12574472,"about_ca_system_score_codex":0.0025773519,"about_ca_system_score_gemma":0.0023944026,"threshold_uncertainty_score":0.420658},"labels":[],"label_agreement":null},{"id":"W4252779462","doi":"10.32920/ryerson.14656071","title":"Never Grow Up: The Queerness Of Immaturity In American Film","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University; University of Toronto; Western University","funders":"","keywords":"Temporality; Queer; Subjectivity; Resistance (ecology); Agency (philosophy); Movie theater; Aesthetics; Power (physics); Sociology; Comedy; Gender studies; Psychoanalysis; Psychology; Epistemology; Literature; Art; Philosophy; Social science; Biology","score_opus":0.029115667017291222,"score_gpt":0.2346818004649825,"score_spread":0.20556613344769126,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4252779462","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6855875,0.0077123772,0.0022036585,0.03070346,0.0014360719,0.000034500466,0.00008884403,0.00008027982,0.27215335],"genre_scores_gemma":[0.981571,0.0023876526,0.00027193016,0.001747417,0.00018638349,0.00000908166,0.000022847498,0.000049623904,0.01375413],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9987501,0.00075853243,0.000018737699,0.000084904466,0.00020635454,0.00018144365],"domain_scores_gemma":[0.9990446,0.00052764587,0.00010373103,0.000049503375,0.00013890637,0.0001356855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016514166,0.0003447334,0.00024296978,0.0006954896,0.011785282,0.005369822,0.0005788405,0.0011214168,0.0024896886],"category_scores_gemma":[0.002676831,0.00028744296,0.00017088467,0.0007074768,0.010364972,0.0042750896,0.0026808695,0.0047212676,0.0002596675],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040616545,0.000030817184,0.0019539916,0.00007379486,0.000009922425,0.0006536241,0.923258,0.00003960482,0.0011735002,0.052083742,0.009674198,0.011008193],"study_design_scores_gemma":[0.000006335765,0.00004992846,0.006359183,0.0002602757,0.000023405395,0.0007503293,0.6865748,0.00017654998,0.0010538991,0.00468619,0.30002204,0.00003710676],"about_ca_topic_score_codex":0.0174392,"about_ca_topic_score_gemma":0.060557123,"teacher_disagreement_score":0.0174392,"about_ca_system_score_codex":0.0031667736,"about_ca_system_score_gemma":0.0011932219,"threshold_uncertainty_score":0.03467536},"labels":[],"label_agreement":null},{"id":"W4253064544","doi":"10.5749/movingimage.11.1.0056","title":"Useful Cinema, Film Genres, and Screen Networks: The Story of Canadian Films Limited (1919–1920)","year":2011,"lang":"en","type":"article","venue":"The Moving Image The Journal of the Association of Moving Image Archivists","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Visual arts; Computer science","score_opus":0.022267791674211918,"score_gpt":0.19823003082734858,"score_spread":0.17596223915313666,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253064544","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40851232,0.017214313,0.0004430816,0.06422646,0.00087530597,0.00006876953,0.0037420525,0.000056178018,0.5048615],"genre_scores_gemma":[0.93566465,0.00514432,0.00017177856,0.001330533,0.00020886488,0.000016536578,0.00032286087,0.000056194156,0.057084113],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99880934,0.00014994187,0.000017503577,0.00011143615,0.00040396565,0.0005077376],"domain_scores_gemma":[0.9974353,0.00061156007,0.00017443903,0.00008652207,0.0009336835,0.0007586303],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012058234,0.0004950056,0.0003349785,0.0040262165,0.023306051,0.00833717,0.0011974592,0.001549334,0.014797567],"category_scores_gemma":[0.0048155673,0.00037045527,0.0002464393,0.0069126515,0.0076754573,0.002867974,0.0022161377,0.0034642546,0.0004994848],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027225557,0.000053154563,0.010652384,0.0002513874,0.00004539021,0.0015138147,0.6069633,0.00033956283,0.00086778245,0.12753044,0.18914191,0.06236862],"study_design_scores_gemma":[0.000011283852,0.000017132774,0.062013667,0.0003226425,0.000041394607,0.00031282633,0.23164567,0.00010668415,0.00040061382,0.0018432261,0.7032093,0.00007568979],"about_ca_topic_score_codex":0.9860978,"about_ca_topic_score_gemma":0.99558973,"teacher_disagreement_score":0.08138891,"about_ca_system_score_codex":0.08138891,"about_ca_system_score_gemma":0.03381782,"threshold_uncertainty_score":0.5905206},"labels":[],"label_agreement":null},{"id":"W4253120573","doi":"10.32920/ryerson.14664588","title":"Fishnets &amp; desire: performing the neoburlesque","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Centre for Social Innovation; York University","funders":"","keywords":"Burlesque; Aesthetics; Kitsch; Liminality; Sociology; Femininity; Performing arts; Spectacle; Carnivalesque; Art; Performativity; Visual arts; Gender studies","score_opus":0.0851840636002294,"score_gpt":0.24416964753076675,"score_spread":0.15898558393053736,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253120573","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24015133,0.0013616019,0.009931499,0.008901282,0.00098351,0.00009269746,0.00008744371,0.00021113291,0.73827946],"genre_scores_gemma":[0.6472327,0.0008350078,0.006138491,0.0009127434,0.0001712238,0.000086651096,0.000058035315,0.00016507151,0.34440002],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9991774,0.00035214148,0.000012406715,0.00009413977,0.0002349396,0.00012897431],"domain_scores_gemma":[0.9996555,0.00007680955,0.000026962303,0.000041263793,0.000058642083,0.00014092076],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010554127,0.00047150144,0.00012156241,0.00044985436,0.0052755005,0.00414736,0.00054018147,0.00067754474,0.010993597],"category_scores_gemma":[0.0012259264,0.0001448077,0.00017115439,0.00029662545,0.005996767,0.0018816233,0.0037710578,0.0012056248,0.0012258902],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013248947,0.00009566559,0.0043254006,0.00031065583,0.00001327136,0.0016204978,0.36272293,0.0003505147,0.009919444,0.36283848,0.10961447,0.1480561],"study_design_scores_gemma":[0.000007215998,0.00007761333,0.0047307657,0.00016373397,0.0000053208755,0.0010322334,0.1006306,0.0002441482,0.0019487218,0.004577026,0.88655317,0.000029440975],"about_ca_topic_score_codex":0.005344376,"about_ca_topic_score_gemma":0.02526757,"teacher_disagreement_score":0.010993597,"about_ca_system_score_codex":0.0017505509,"about_ca_system_score_gemma":0.0010607914,"threshold_uncertainty_score":0.036777258},"labels":[],"label_agreement":null},{"id":"W4253140855","doi":"10.15353/kinema.vi.970","title":"Bangkok 2000","year":2001,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film festival; Competition (biology); Visual arts; Feature film; Advertising; Art; History; Media studies; Art history; Movie theater; Sociology; Business","score_opus":0.042398572073928734,"score_gpt":0.26673329493774905,"score_spread":0.22433472286382034,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253140855","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0049537052,0.02586342,0.0006279188,0.0054193907,0.0030240156,0.00009374576,0.016765611,0.00036078348,0.9428913],"genre_scores_gemma":[0.006389892,0.006071633,0.0003199469,0.00052146934,0.000072387455,0.00003682463,0.0031462382,0.00015148865,0.9832901],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972457,0.000021380614,0.000025294305,0.00008670006,0.000092801,0.000049233993],"domain_scores_gemma":[0.9995982,0.000039290157,0.000032445387,0.00006132147,0.00015266605,0.00011619173],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003733816,0.0008038465,0.00039503895,0.0011153707,0.0011959985,0.005205386,0.0006875058,0.00089778745,0.4202841],"category_scores_gemma":[0.0008171853,0.0005082563,0.00027390206,0.0019115336,0.00051994727,0.002029057,0.0012015852,0.0011533217,0.22985],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027339632,0.00006273093,0.0016963272,0.00095015194,0.000023196504,0.00023311301,0.00038370775,0.00033006555,0.0018788775,0.026015347,0.7866752,0.18147777],"study_design_scores_gemma":[0.0000050168915,0.0000057361567,0.0023282806,0.00011265729,0.000002836204,0.00004786693,0.000113367976,0.000028370227,0.00016878766,0.00037605473,0.9968053,0.0000056313606],"about_ca_topic_score_codex":0.030878644,"about_ca_topic_score_gemma":0.08042531,"teacher_disagreement_score":0.4202841,"about_ca_system_score_codex":0.0039017699,"about_ca_system_score_gemma":0.0032846453,"threshold_uncertainty_score":0.8268944},"labels":[],"label_agreement":null},{"id":"W4253174190","doi":"10.32920/ryerson.14645391","title":"Cataloguing a man’s love of mid to late 20th century posters: the Guy McKone collection at the TIFF Film Reference Library","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ephemera; Digitization; World Wide Web; Special collections; Digital collections; Library science; Cataloging; Collections management; Metadata; Computer science; Visual arts; Art; Telecommunications","score_opus":0.03675950736954254,"score_gpt":0.21802181473312,"score_spread":0.18126230736357746,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253174190","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30061147,0.03170875,0.013134485,0.07640925,0.0037879902,0.0008241062,0.0066196662,0.0014226716,0.56548166],"genre_scores_gemma":[0.47033423,0.020747336,0.025762074,0.0043043527,0.0019226972,0.00023788752,0.0044721453,0.00111402,0.47110522],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99765354,0.00081340683,0.00012464887,0.00024304217,0.00091376196,0.00025163373],"domain_scores_gemma":[0.99350846,0.0014524921,0.0008735776,0.0012914101,0.001516873,0.0013571187],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005463517,0.00026601003,0.00026705855,0.0038978187,0.00634676,0.009695058,0.000793088,0.0007047155,0.031575177],"category_scores_gemma":[0.011047772,0.00046279986,0.00020096583,0.0064866557,0.0031001419,0.0051676724,0.003569659,0.0011971337,0.0062218374],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012916524,0.00006724269,0.015230226,0.00057357573,0.00002515584,0.0013352098,0.05386597,0.0002647423,0.0019143049,0.06162747,0.5014143,0.3635526],"study_design_scores_gemma":[0.0000060991565,0.00003518173,0.018496348,0.0003606339,0.000009009483,0.00043685274,0.017715685,0.00008164061,0.0005803735,0.001299219,0.9609484,0.000030562278],"about_ca_topic_score_codex":0.058195226,"about_ca_topic_score_gemma":0.16100788,"teacher_disagreement_score":0.058195226,"about_ca_system_score_codex":0.0054216953,"about_ca_system_score_gemma":0.006293667,"threshold_uncertainty_score":0.115713},"labels":[],"label_agreement":null},{"id":"W4253279832","doi":"10.1386/fm.9.3.187_5","title":"Film","year":2018,"lang":"en","type":"article","venue":"Film Matters","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"George (robot); Miller; Crash; Kingdom; Art history; Art; Political science; Management; Law; Computer science; Operating system; Geology","score_opus":0.025500640263421914,"score_gpt":0.21611406508262618,"score_spread":0.19061342481920426,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253279832","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0020584967,0.002520953,0.00042360238,0.008575037,0.015525653,0.0001976987,0.0039224615,0.0011518096,0.9656243],"genre_scores_gemma":[0.0054660575,0.0006849835,0.00030553626,0.00096959114,0.001699313,0.000054396893,0.001523449,0.00043889266,0.98885775],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943227,0.000072136485,0.000012796365,0.000077994715,0.00022565204,0.00017911765],"domain_scores_gemma":[0.99901533,0.00009965031,0.000036686713,0.00006674859,0.0002896425,0.00049189007],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005846995,0.0015294607,0.00048274847,0.0010096037,0.005272568,0.0058525153,0.0009439542,0.0022271157,0.7100791],"category_scores_gemma":[0.0029211377,0.0006146485,0.0006604975,0.0005826498,0.00042467407,0.0027561057,0.0040448895,0.0030869788,0.28025487],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022458604,0.000010981333,0.000039249906,0.000016847463,0.0000016793252,0.000039430703,0.00006807125,0.000013840673,0.00007607725,0.00066328153,0.9923152,0.0067329155],"study_design_scores_gemma":[0.000007757222,0.000016031072,0.0005662668,0.00004083762,0.0000021853912,0.000039022936,0.00028172848,0.000025524936,0.000052057858,0.00019377362,0.99877113,0.000003707449],"about_ca_topic_score_codex":0.01681337,"about_ca_topic_score_gemma":0.08685492,"teacher_disagreement_score":0.7100791,"about_ca_system_score_codex":0.0018112195,"about_ca_system_score_gemma":0.0013733899,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4253385542","doi":"10.32803/rise.v1i1.1258","title":"The Clash of Society and Community: The Irish Police on Screen","year":2016,"lang":"en","type":"article","venue":"Review of Irish Studies in Europe","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Scrutiny; Irish; Construct (python library); Body politic; State (computer science); Sociology; Political science; Media studies; Criminology; Law; Politics","score_opus":0.10928897998376048,"score_gpt":0.3248869210458358,"score_spread":0.2155979410620753,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253385542","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09451294,0.2186537,0.0017174863,0.102140844,0.0024938842,0.000053621945,0.0004219837,0.000049141596,0.5799564],"genre_scores_gemma":[0.7316705,0.2090281,0.0007669357,0.013814632,0.0027059158,0.000079687146,0.00021973936,0.000090222304,0.04162432],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9978841,0.0011970166,0.000047679598,0.000121874,0.00045719577,0.00029219664],"domain_scores_gemma":[0.99787724,0.0011037958,0.00028573317,0.00011868269,0.00038680053,0.00022776202],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022860866,0.0003607343,0.00045049202,0.0034681598,0.0025249862,0.011243623,0.0007640215,0.001590751,0.007862634],"category_scores_gemma":[0.0038385305,0.00023935252,0.00028721365,0.0058421153,0.01101381,0.008066454,0.0033006854,0.0017412158,0.0009713568],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018953277,0.00012258998,0.008499208,0.002466537,0.000103271384,0.0013541183,0.08454176,0.0005481787,0.00033901384,0.39034238,0.160115,0.35137832],"study_design_scores_gemma":[0.000018280745,0.000054099684,0.014506064,0.004326046,0.00004314256,0.00038814757,0.14203185,0.00012044462,0.00014664323,0.022312112,0.816016,0.000037132133],"about_ca_topic_score_codex":0.04854673,"about_ca_topic_score_gemma":0.057533767,"teacher_disagreement_score":0.04854673,"about_ca_system_score_codex":0.0071532936,"about_ca_system_score_gemma":0.0055451924,"threshold_uncertainty_score":0.09652829},"labels":[],"label_agreement":null},{"id":"W4253517438","doi":"10.1017/cco9781139019651.018","title":"Circus","year":2012,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Style (visual arts); Subject (documents); Art history; History; Aesthetics","score_opus":0.043160917494978294,"score_gpt":0.18027060414842339,"score_spread":0.13710968665344508,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253517438","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00083873165,0.001946555,0.004437705,0.002840387,0.005843737,0.00015628939,0.0043508327,0.0067479066,0.9728378],"genre_scores_gemma":[0.0055800388,0.0015116195,0.002912528,0.0014139918,0.0010877268,0.0001303573,0.0051287855,0.0039830673,0.97825205],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980629,0.00025506484,0.00012320785,0.00045432991,0.0008443676,0.00025999214],"domain_scores_gemma":[0.9971976,0.00027445104,0.00014540137,0.0006796966,0.0009287552,0.0007740502],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013233697,0.0012484167,0.000672414,0.0025473454,0.0025227412,0.009374647,0.0016681253,0.0024894953,0.6276797],"category_scores_gemma":[0.005501776,0.0006466075,0.00064110715,0.00223993,0.0011867541,0.00682981,0.004710536,0.0027500533,0.59077185],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000929104,0.000024802192,0.00022011415,0.00022076206,0.0000056201093,0.00011411859,0.00026365728,0.00007653542,0.0006619588,0.037096158,0.8643025,0.096920915],"study_design_scores_gemma":[0.0000030594317,0.0000055466553,0.00009201583,0.00003249797,8.3909293e-7,0.00005282755,0.000036319238,0.000024093893,0.00008961672,0.00085543667,0.9988035,0.0000042288743],"about_ca_topic_score_codex":0.0040144096,"about_ca_topic_score_gemma":0.0054066,"teacher_disagreement_score":0.6276797,"about_ca_system_score_codex":0.0018864925,"about_ca_system_score_gemma":0.0027455639,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4253714927","doi":"10.15353/kinema.vi.914","title":"Toronto 2000","year":2000,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Genius; Comedy; Art; Art history; Fandom; Beauty; Performance art; AKA; Comics; Visual arts; Media studies; Literature; Sociology; Aesthetics","score_opus":0.028028342195651923,"score_gpt":0.25974898691634785,"score_spread":0.23172064472069592,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253714927","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00051331834,0.011043285,0.00047676972,0.00777902,0.0035302876,0.000043848213,0.008604178,0.00033567005,0.96767354],"genre_scores_gemma":[0.0020721157,0.004251385,0.00026451604,0.0004474788,0.00021678525,0.000018032553,0.002002364,0.000108777596,0.9906185],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995672,0.000025375339,0.000023334449,0.00011742281,0.0001831501,0.00008346726],"domain_scores_gemma":[0.9992036,0.000038088663,0.000037610647,0.00008551516,0.0003511227,0.0002840313],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00032468434,0.0011771937,0.000674553,0.0010381829,0.0027436998,0.00610833,0.0009915606,0.0019865173,0.7025471],"category_scores_gemma":[0.0008378441,0.00055842195,0.00043028648,0.0026127098,0.0008176535,0.0020396856,0.0017252325,0.0016668981,0.41320938],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027107646,0.000009778233,0.00021295683,0.000119711585,0.0000039785073,0.00008902847,0.00011609409,0.00006885566,0.00016462982,0.008305503,0.9491523,0.04173002],"study_design_scores_gemma":[0.000002040858,0.0000020092173,0.00033661397,0.00004164027,0.0000011456333,0.000018902474,0.00006801306,0.000015894999,0.000024116322,0.00024827803,0.99923944,0.0000019762458],"about_ca_topic_score_codex":0.27631634,"about_ca_topic_score_gemma":0.54009825,"teacher_disagreement_score":0.72368366,"about_ca_system_score_codex":0.009506165,"about_ca_system_score_gemma":0.008294238,"threshold_uncertainty_score":0.549416},"labels":[],"label_agreement":null},{"id":"W4253752481","doi":"10.3138/jrpc.24.2.230","title":"The Horror of (a) Playing God: Job’s Nightmare and Michael Haneke’s<i>Funny Games</i>","year":2012,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Nightmare; Depiction; Narrative; Entertainment; Adventure; Experiential learning; Sociology; Art; Aesthetics; Psychoanalysis; Literature; Art history; Psychology; Visual arts","score_opus":0.0170393730217915,"score_gpt":0.22890031210647013,"score_spread":0.21186093908467862,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253752481","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47024488,0.0064727888,0.0021683762,0.22004701,0.0035870762,0.000029103696,0.00017002081,0.000050532195,0.29723033],"genre_scores_gemma":[0.9666276,0.0013854573,0.00022753743,0.0046275025,0.0005909768,0.000011782144,0.000018279963,0.00004451023,0.026466383],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994342,0.0003583448,0.000006767628,0.000039928873,0.00006537704,0.00009532028],"domain_scores_gemma":[0.9984189,0.00091693475,0.00016137582,0.000061513136,0.00012348453,0.00031764983],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00095304806,0.0002588333,0.00018554763,0.00043145954,0.004822604,0.0046023335,0.0005199981,0.0016457794,0.0047192113],"category_scores_gemma":[0.003854298,0.00017451071,0.00012777733,0.000390859,0.00709312,0.002910329,0.0019121697,0.0030111321,0.000513041],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002627211,0.00018976927,0.004570074,0.00021934355,0.000032332646,0.002106636,0.40959165,0.0003069256,0.00087808067,0.29683766,0.26032764,0.024677195],"study_design_scores_gemma":[0.000038881117,0.00008996732,0.011534824,0.00042322688,0.000017414832,0.0010025832,0.40617204,0.00066107634,0.0008917121,0.026814556,0.5522903,0.00006339349],"about_ca_topic_score_codex":0.008501121,"about_ca_topic_score_gemma":0.020761244,"teacher_disagreement_score":0.008501121,"about_ca_system_score_codex":0.0015590481,"about_ca_system_score_gemma":0.0005305591,"threshold_uncertainty_score":0.016903281},"labels":[],"label_agreement":null},{"id":"W4253865306","doi":"10.1386/jams.1.1.181_4","title":"Film Reviews","year":2009,"lang":"en","type":"article","venue":"Journal of African Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Media studies; Art; Political science; Economic history; Art history; History; Sociology","score_opus":0.08241548135682372,"score_gpt":0.2824309052728678,"score_spread":0.20001542391604407,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253865306","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00046592223,0.1499871,0.0004786956,0.033685658,0.08704512,0.00016148253,0.0034672513,0.00039364526,0.724315],"genre_scores_gemma":[0.003218619,0.073447175,0.0003937651,0.007873057,0.025782056,0.00011072073,0.002602723,0.00023300193,0.8863389],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901414,0.00011554598,0.00006123044,0.000117187956,0.00057699543,0.000114943694],"domain_scores_gemma":[0.99674976,0.0004242798,0.00020975829,0.00023873821,0.0018116843,0.000565889],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006911746,0.0008355109,0.000676476,0.004193073,0.0012039171,0.005085277,0.0012642087,0.0019907893,0.5139312],"category_scores_gemma":[0.0049339123,0.0003316784,0.0004301319,0.0033996226,0.0005360234,0.0027539034,0.0016264971,0.0019167463,0.281097],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006412268,0.000006694221,0.000019281571,0.00017216433,0.0000019458623,0.00001705513,0.00001715717,0.000008727422,0.000058711306,0.00065982173,0.9640871,0.034944817],"study_design_scores_gemma":[0.0000015919912,0.000002974634,0.00009459631,0.00017296187,0.0000019196416,0.000020354744,0.000029454102,0.000003994045,0.000017504868,0.00015310147,0.9995004,0.0000012588907],"about_ca_topic_score_codex":0.0061712144,"about_ca_topic_score_gemma":0.013125867,"teacher_disagreement_score":0.5139312,"about_ca_system_score_codex":0.0017719935,"about_ca_system_score_gemma":0.0024172682,"threshold_uncertainty_score":0.6933181},"labels":[],"label_agreement":null},{"id":"W4253940419","doi":"10.32920/ryerson.14646147.v1","title":"Survival of the fittest: home exercise, moving image technology, and audiovisual preservation","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Survival of the fittest; Variety (cybernetics); Historiography; Aesthetics; Multimedia; History; Visual arts; Literature; Advertising; Sociology; Art; Law; Political science; Computer science; Business","score_opus":0.029085700033723558,"score_gpt":0.2352707546827379,"score_spread":0.20618505464901432,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4253940419","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.54087627,0.037131753,0.004542815,0.029536126,0.00061774976,0.000042291005,0.00012949591,0.00004225408,0.38708124],"genre_scores_gemma":[0.96781284,0.013934137,0.0009660993,0.0013010055,0.0004966126,0.000024809588,0.000044294055,0.000026996331,0.015393177],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942195,0.000328731,0.00001172108,0.0000674777,0.00009407592,0.00007604643],"domain_scores_gemma":[0.99788994,0.0014154187,0.00031538933,0.00009340191,0.00010294581,0.00018300675],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011006214,0.00019278422,0.000120127545,0.0012038918,0.0016532692,0.0058374144,0.00046043823,0.00099321,0.0059208837],"category_scores_gemma":[0.0029244353,0.00009835061,0.00010993148,0.0013387544,0.007319088,0.0044559967,0.002265448,0.0012918802,0.00039240802],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023566346,0.00025193702,0.021447815,0.00042448903,0.000019098272,0.0014514311,0.18046813,0.00022692383,0.0008930478,0.56291795,0.019161748,0.21250184],"study_design_scores_gemma":[0.000025909629,0.00034417104,0.04287273,0.0026975395,0.000038604685,0.0018693323,0.3043756,0.0005658836,0.0023987778,0.09067098,0.55409896,0.00004152586],"about_ca_topic_score_codex":0.0018029861,"about_ca_topic_score_gemma":0.003596062,"teacher_disagreement_score":0.0059208837,"about_ca_system_score_codex":0.0013066404,"about_ca_system_score_gemma":0.0006903237,"threshold_uncertainty_score":0.019807339},"labels":[],"label_agreement":null},{"id":"W4254037712","doi":"10.1353/nin.0.0007","title":"Journeymen (review)","year":2008,"lang":"en","type":"article","venue":"Nine","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.06082098852663592,"score_gpt":0.2308160433567055,"score_spread":0.16999505483006958,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254037712","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002038935,0.9863316,0.00005051293,0.0034447399,0.001503094,0.000016025404,0.0002796985,0.000010296429,0.008160191],"genre_scores_gemma":[0.0019423297,0.9826502,0.00012565649,0.0025596241,0.0011410331,0.00003946693,0.00049554557,0.000008510069,0.011037574],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99954444,0.0001270301,0.000060244918,0.00007726207,0.0001227902,0.00006806309],"domain_scores_gemma":[0.99850106,0.0005373722,0.00024774272,0.000055418386,0.0003921211,0.00026635884],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00083216117,0.00057692424,0.00124799,0.0036801207,0.0007498669,0.0030715228,0.0012810706,0.0017311301,0.08866322],"category_scores_gemma":[0.0037969332,0.00033343007,0.0005889048,0.006584508,0.00070058357,0.002642927,0.0018519881,0.001644091,0.017197965],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008826767,0.000041915446,0.00044087795,0.01876503,0.00009280194,0.00010132831,0.00018941816,0.00003171206,0.000082782484,0.0020458188,0.41621944,0.56190056],"study_design_scores_gemma":[0.000014492874,0.00001632011,0.0009261773,0.0076898695,0.000049933864,0.00016657454,0.00020650128,0.000002972229,0.000019333038,0.00027790488,0.9906256,0.000004311111],"about_ca_topic_score_codex":0.0052444083,"about_ca_topic_score_gemma":0.019214451,"teacher_disagreement_score":0.08866322,"about_ca_system_score_codex":0.0009976451,"about_ca_system_score_gemma":0.0041050687,"threshold_uncertainty_score":0.29660803},"labels":[],"label_agreement":null},{"id":"W4254098555","doi":"10.32920/ryerson.14637288.v2","title":"North of Empire: essays on the cultural technologies of space","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Surprise; Empire; Negotiation; Order (exchange); Relevance (law); Value (mathematics); Jury; Space (punctuation); History; Sociology; Law; Media studies; Political science; Philosophy","score_opus":0.05905766296765067,"score_gpt":0.2407144005085635,"score_spread":0.18165673754091283,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254098555","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013365496,0.15631403,0.0029743772,0.21939631,0.009802634,0.000023126551,0.00019921726,0.00006472395,0.59786004],"genre_scores_gemma":[0.40351415,0.07962587,0.0039148163,0.031098872,0.0052150846,0.00009609047,0.0001752737,0.00036422926,0.47599557],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99797386,0.0008453203,0.000046325713,0.00021020445,0.0006075157,0.00031682255],"domain_scores_gemma":[0.9953625,0.0029177435,0.00016139694,0.00017709003,0.0009341263,0.0004471139],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019092808,0.0006615102,0.0005928201,0.0022979097,0.010298284,0.008978642,0.0009230043,0.0021609312,0.005635925],"category_scores_gemma":[0.007771449,0.0003353108,0.00034283966,0.002762343,0.016267575,0.005366166,0.0017217,0.0043088966,0.00088314345],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016532493,0.000019600328,0.00043670478,0.00012639178,0.000006834056,0.00018389805,0.029943492,0.00016196755,0.00014195872,0.51327974,0.4382412,0.017441733],"study_design_scores_gemma":[0.0000021389903,0.000002384069,0.0009905983,0.00042899663,0.0000030733154,0.00005736337,0.008446856,0.00006670966,0.000061395185,0.018883234,0.97104776,0.000009492315],"about_ca_topic_score_codex":0.38832027,"about_ca_topic_score_gemma":0.5733568,"teacher_disagreement_score":0.38832027,"about_ca_system_score_codex":0.03331356,"about_ca_system_score_gemma":0.021149093,"threshold_uncertainty_score":0.77212},"labels":[],"label_agreement":null},{"id":"W4254306326","doi":"10.7228/manchester/9780719072369.003.0011","title":"Introduction: ‘You’ve gotta laugh’","year":2012,"lang":"en","type":"book-chapter","venue":"Manchester University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drama; Reputation; Quarter (Canadian coin); Art; Movie theater; Performance art; Ambivalence; Art history; History; Visual arts; Media studies; Literature; Sociology; Political science; Law; Psychology; Psychoanalysis","score_opus":0.03865159312178251,"score_gpt":0.1769668884745274,"score_spread":0.1383152953527449,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254306326","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0020785541,0.020273652,0.0035338216,0.036953602,0.021932155,0.00015288,0.0009986355,0.00066243706,0.9134143],"genre_scores_gemma":[0.017223874,0.008456655,0.0016505355,0.013898452,0.0038586387,0.00009996002,0.0006087406,0.00061694713,0.95358616],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999458,0.00014956239,0.00002297096,0.00010422225,0.00018978464,0.000075389515],"domain_scores_gemma":[0.9993618,0.00021682211,0.0000391081,0.000038626797,0.00023499149,0.000108609696],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00064721564,0.00081347313,0.00042839994,0.00062461075,0.0022917564,0.0039378344,0.0008333597,0.0020627081,0.14829083],"category_scores_gemma":[0.0022636112,0.00034310514,0.00030290984,0.0005814978,0.0014944146,0.004693418,0.0018076142,0.0041508437,0.093525305],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019258448,0.00001462612,0.00011807461,0.00015105502,0.0000012884896,0.00008348194,0.0026023577,0.0000237931,0.00021243277,0.029562343,0.929268,0.03794332],"study_design_scores_gemma":[8.1476327e-7,0.000004813776,0.0001621239,0.00008827058,3.6622654e-7,0.00009905834,0.0004535483,0.000012767828,0.000035162782,0.00078597246,0.99835473,0.0000024035792],"about_ca_topic_score_codex":0.0038982802,"about_ca_topic_score_gemma":0.006356311,"teacher_disagreement_score":0.14829083,"about_ca_system_score_codex":0.0011898879,"about_ca_system_score_gemma":0.0009232497,"threshold_uncertainty_score":0.49608225},"labels":[],"label_agreement":null},{"id":"W4254324745","doi":"10.1386/qsmpc.2.1.135_5","title":"Reviews","year":2017,"lang":"en","type":"article","venue":"Queer Studies in Media & Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Closet; Queer; Visibility; Art history; Media studies; Studio; Art; Sociology; Humanities; History; Visual arts; Gender studies; Geography; Archaeology","score_opus":0.1357813065154795,"score_gpt":0.33464960915249975,"score_spread":0.19886830263702024,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254324745","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00050082157,0.4890776,0.0018923641,0.043911345,0.065042935,0.00027723217,0.007696089,0.00094956515,0.39065215],"genre_scores_gemma":[0.0059005083,0.45761713,0.002269015,0.031411972,0.031295463,0.0003586082,0.009815003,0.0007436404,0.4605886],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979171,0.0002985746,0.00019388879,0.0004052525,0.00100241,0.00018281338],"domain_scores_gemma":[0.9960931,0.00088332803,0.00030238944,0.00040279832,0.0018731424,0.00044516328],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0014529134,0.001171568,0.0014663166,0.004521509,0.0010925137,0.00647359,0.0022860973,0.0029907438,0.32864532],"category_scores_gemma":[0.009008165,0.0004343416,0.0010194989,0.0045007123,0.00089946185,0.0043056593,0.0027877158,0.0024901396,0.21194713],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001927858,0.000014934656,0.000057951926,0.0014015342,0.000010010287,0.00005011205,0.00005224911,0.00005350112,0.00011532934,0.004409816,0.8851637,0.10865154],"study_design_scores_gemma":[0.0000027068938,0.0000039539373,0.00007703156,0.0007713776,0.000003835907,0.00005260676,0.0000291563,0.000006435335,0.000021635737,0.00079001294,0.9982383,0.0000028766522],"about_ca_topic_score_codex":0.004986692,"about_ca_topic_score_gemma":0.005932354,"teacher_disagreement_score":0.67135465,"about_ca_system_score_codex":0.0033410517,"about_ca_system_score_gemma":0.0061900527,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4254331204","doi":"10.1386/fiin.7.5.71","title":"Book Reviews","year":2009,"lang":"en","type":"article","venue":"Film International","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Movie theater; Hollywood; Art history; Art; Vision; Media studies; Sociology; Anthropology","score_opus":0.03554976452229392,"score_gpt":0.2533476283329642,"score_spread":0.2177978638106703,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254331204","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004197331,0.12666395,0.0014228119,0.011241755,0.030514367,0.0001895614,0.003455948,0.0009416543,0.82515025],"genre_scores_gemma":[0.0021001582,0.06440593,0.0013953914,0.0065052453,0.008556748,0.00012360442,0.003712802,0.0005883667,0.9126119],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99859315,0.00014699028,0.00009503203,0.00027939008,0.0007640405,0.00012141227],"domain_scores_gemma":[0.99816656,0.0003235478,0.00010557608,0.00018349741,0.0008869113,0.00033387815],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006674013,0.0012570914,0.0013352869,0.003711364,0.0015019601,0.0089875525,0.0026393887,0.002440519,0.5421616],"category_scores_gemma":[0.0040996294,0.0004983941,0.00093249476,0.0047281,0.0007954551,0.004583853,0.0026546435,0.002978565,0.48925588],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013439699,0.000023662544,0.000049157563,0.00047788012,0.000004550215,0.000057442572,0.00006395148,0.000041381947,0.00013208044,0.004187312,0.8976149,0.09733431],"study_design_scores_gemma":[0.0000018603325,0.000003391905,0.000050698276,0.00019238959,0.0000016552517,0.000069646674,0.00002735752,0.000006897198,0.000017387492,0.00048208234,0.9991443,0.0000023227938],"about_ca_topic_score_codex":0.0034169739,"about_ca_topic_score_gemma":0.005492556,"teacher_disagreement_score":0.5421616,"about_ca_system_score_codex":0.0021919946,"about_ca_system_score_gemma":0.00411607,"threshold_uncertainty_score":0.6530509},"labels":[],"label_agreement":null},{"id":"W4254457206","doi":"10.1093/fmls/cql128","title":"The Cinema of Canada. Ed. Jerry White. London &amp; New York: Wallflower Press (24 Frames Series), 2006. xv + 268 pp. £45 (hardback)/£18.99 (paperback). ISBN 1–904–76460–6/76461–4","year":2007,"lang":"en","type":"article","venue":"Forum for Modern Language Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; White (mutation); Movie theater; Media studies; Art; Series (stratigraphy); History; Sociology; Chemistry; Geology","score_opus":0.03220858955489927,"score_gpt":0.2516728529204646,"score_spread":0.21946426336556532,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254457206","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001754524,0.549372,0.002467425,0.03825135,0.008553366,0.0000793739,0.0035068581,0.0006070349,0.3954081],"genre_scores_gemma":[0.023029488,0.3379701,0.0038685726,0.0033769652,0.0024207975,0.00006819937,0.0017011795,0.0006202388,0.6269444],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994197,0.00006030142,0.000018378692,0.000086811524,0.00032358224,0.000091295195],"domain_scores_gemma":[0.99893624,0.00012910609,0.00006724805,0.00003223933,0.00053303444,0.00030210658],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000685139,0.001674566,0.0007673468,0.0039325505,0.0049643195,0.0076726275,0.0011257002,0.0016948493,0.14011608],"category_scores_gemma":[0.0028266609,0.00076424907,0.000449357,0.004714398,0.002400012,0.004415757,0.0013039383,0.0020353554,0.03146516],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013687839,0.000005567716,0.00016435789,0.00023389744,0.0000050438516,0.000054873515,0.0008587629,0.000058407204,0.00016925523,0.0056011705,0.9202347,0.072600305],"study_design_scores_gemma":[0.0000014806869,0.0000021347325,0.0006684315,0.00032608918,0.0000040070768,0.000085931046,0.0006608535,0.000023813811,0.000057968395,0.00073013565,0.99743015,0.000008969236],"about_ca_topic_score_codex":0.7243676,"about_ca_topic_score_gemma":0.882181,"teacher_disagreement_score":0.27563238,"about_ca_system_score_codex":0.015168862,"about_ca_system_score_gemma":0.026454266,"threshold_uncertainty_score":0.55451125},"labels":[],"label_agreement":null},{"id":"W4254467058","doi":"10.2307/4486607","title":"Inventing Entertainment: The Motion Pictures and Sound Recordings of the Edison Companies, http://memory.loc.gov/ammem/edhtml/. Created and maintained by the Motion Picture, Broadcasting, and Recorded Sound Division, Library of Congress, Washington, D.C. Reviewed June 15-18, 2006","year":2006,"lang":"en","type":"article","venue":"Journal of American History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Concordia University","funders":"","keywords":"Sound (geography); Division (mathematics); Motion picture; Entertainment; Broadcasting (networking); Motion (physics); Telecommunications; Computer science; Art; Computer graphics (images); Visual arts; Acoustics; Artificial intelligence; Physics; Mathematics","score_opus":0.015515322744569324,"score_gpt":0.20208562660546306,"score_spread":0.18657030386089374,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254467058","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011786206,0.035448223,0.00038937238,0.017318144,0.0058240886,0.000105183346,0.00686573,0.0007291604,0.9321414],"genre_scores_gemma":[0.0062623266,0.03186877,0.00042232344,0.0021010784,0.0029645895,0.000076079,0.002864085,0.0002956922,0.95314497],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995789,0.000057422876,0.000029498386,0.000044349945,0.00023812427,0.000051730858],"domain_scores_gemma":[0.9981589,0.00033357868,0.00018807873,0.000135715,0.0008875314,0.0002961669],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00058607676,0.0007538225,0.00041664718,0.003974642,0.00096780993,0.0038747631,0.0005566165,0.0011092076,0.5346353],"category_scores_gemma":[0.0035117555,0.00032119115,0.00022267818,0.004404483,0.0005598916,0.003754026,0.001346138,0.0012403759,0.23552476],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005796422,0.0000042811444,0.00007420715,0.00014180016,0.0000011419623,0.000021434138,0.00006662768,0.000008044558,0.000063266234,0.0010209178,0.9674388,0.031153614],"study_design_scores_gemma":[0.0000015926653,0.0000050724107,0.0009442154,0.00012244987,0.0000016638464,0.000024557468,0.00010085601,0.0000038745807,0.00006674349,0.00012154238,0.9986047,0.0000027352773],"about_ca_topic_score_codex":0.0076842797,"about_ca_topic_score_gemma":0.025703084,"teacher_disagreement_score":0.5346353,"about_ca_system_score_codex":0.0012700157,"about_ca_system_score_gemma":0.0012500397,"threshold_uncertainty_score":0.66378623},"labels":[],"label_agreement":null},{"id":"W4254488850","doi":"10.15353/kinema.vi.1174","title":"Leipzig 2007","year":2007,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"AKA; Attendance; Animation; Visual arts; Art; Political science; Library science; Law","score_opus":0.040690098715454245,"score_gpt":0.2806586026970815,"score_spread":0.23996850398162722,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254488850","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003029424,0.02800239,0.0038440991,0.009405043,0.008465128,0.00013028749,0.020104347,0.0014439112,0.9255754],"genre_scores_gemma":[0.008896453,0.011996298,0.0016089337,0.0007428588,0.00045372083,0.00012253434,0.0073676053,0.00067668036,0.968135],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995622,0.000043227596,0.00002768461,0.0001273464,0.00016656992,0.00007302777],"domain_scores_gemma":[0.99966073,0.000036598627,0.00002897195,0.00005749783,0.000114581475,0.00010156315],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00040805712,0.0010392258,0.00066594564,0.0013642359,0.0006972928,0.0032138524,0.0009078325,0.0009939636,0.57491684],"category_scores_gemma":[0.001051989,0.0004198798,0.00033020342,0.001448683,0.0005129307,0.0022074655,0.0021724373,0.0011882326,0.44111946],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009012754,0.000025447087,0.0002734552,0.0002251757,0.000008996289,0.00014316438,0.0000804407,0.00022154939,0.00064044324,0.012198148,0.85122585,0.13486715],"study_design_scores_gemma":[0.000005590684,0.000010076052,0.0008773939,0.00013406054,0.0000020250204,0.0001222955,0.00004999802,0.00006160892,0.00015880747,0.0010503349,0.9975228,0.000005013245],"about_ca_topic_score_codex":0.004127977,"about_ca_topic_score_gemma":0.007323035,"teacher_disagreement_score":0.57491684,"about_ca_system_score_codex":0.001355352,"about_ca_system_score_gemma":0.001235226,"threshold_uncertainty_score":0.60632956},"labels":[],"label_agreement":null},{"id":"W4254547501","doi":"10.4324/9781135000356-rem1684-1","title":"Reinhardt, Max (1873–1943)","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Drama; Naturalism; Reputation; Art; Performance art; Art history; Judaism; Literature; History; Philosophy; Law; Political science; Archaeology","score_opus":0.04713621678592396,"score_gpt":0.20977778348096887,"score_spread":0.16264156669504493,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254547501","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0030919919,0.26571974,0.0027968632,0.033046152,0.016250502,0.00005823501,0.0006659934,0.00024077829,0.67812973],"genre_scores_gemma":[0.039087147,0.075567275,0.0016654198,0.005416408,0.0019388164,0.00007498117,0.000270425,0.00030217037,0.8756772],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99963486,0.000067927744,0.000016233107,0.000109842425,0.00011218784,0.000058963993],"domain_scores_gemma":[0.9998653,0.000042996526,0.0000149441275,0.000009722383,0.000034498236,0.000032637057],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005096571,0.0010704992,0.00036559853,0.0014764618,0.0018680771,0.0031611747,0.0004986825,0.001133723,0.023917655],"category_scores_gemma":[0.0012089607,0.00035202422,0.00021432032,0.0011197212,0.0020871717,0.0042804335,0.0018379557,0.002029705,0.016067602],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032801978,0.000015431002,0.00019691572,0.00018560898,0.000005160256,0.0001726313,0.0027188016,0.00018249542,0.00026738681,0.24603564,0.65513724,0.09504997],"study_design_scores_gemma":[6.7927465e-7,0.0000023618002,0.0000891928,0.00010100634,8.008301e-7,0.0000673768,0.00013942303,0.000009835524,0.00006045681,0.0048108753,0.99471515,0.0000029075388],"about_ca_topic_score_codex":0.003578034,"about_ca_topic_score_gemma":0.007330589,"teacher_disagreement_score":0.023917655,"about_ca_system_score_codex":0.0021873314,"about_ca_system_score_gemma":0.0018546662,"threshold_uncertainty_score":0.0800125},"labels":[],"label_agreement":null},{"id":"W4254592000","doi":"10.3138/cras-s034-03-02","title":"Hollywood Intellect","year":2004,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Disenchantment; Hollywood; Intellect; Aesthetics; Sociology; Commodification; Media studies; Political science; Art; Law; Art history; Philosophy; Epistemology","score_opus":0.044702214389347746,"score_gpt":0.27045756043119207,"score_spread":0.22575534604184433,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254592000","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016856595,0.024871763,0.0023967088,0.02823837,0.0041128984,0.000036599053,0.00023870339,0.00017254031,0.9382467],"genre_scores_gemma":[0.049493533,0.019528726,0.0021178573,0.010938706,0.0027935465,0.00011543865,0.00023262209,0.00022132527,0.91455823],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985436,0.0002535275,0.0000582001,0.0003763667,0.0005679925,0.00020024584],"domain_scores_gemma":[0.99844825,0.00044211635,0.00012932874,0.00028343056,0.0004471726,0.00024956022],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017339612,0.0006402563,0.00036149958,0.001993775,0.0034821664,0.0077612526,0.0010609264,0.0026264864,0.07897918],"category_scores_gemma":[0.0048214435,0.0003042534,0.00029135673,0.0015517081,0.0053388784,0.0070444834,0.0030910508,0.0036959033,0.030493887],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002148604,0.000017678974,0.0002210989,0.00010772383,0.0000035250848,0.00007847044,0.0011733245,0.00004307969,0.00007961568,0.6471705,0.2870944,0.06398922],"study_design_scores_gemma":[0.0000018505224,0.0000044694984,0.00014637511,0.00009765109,0.000001015187,0.00005983797,0.00014031201,0.000018392086,0.000057012905,0.01892158,0.98054904,0.0000025715271],"about_ca_topic_score_codex":0.0065246713,"about_ca_topic_score_gemma":0.00938334,"teacher_disagreement_score":0.07897918,"about_ca_system_score_codex":0.0037739556,"about_ca_system_score_gemma":0.004819687,"threshold_uncertainty_score":0.26421165},"labels":[],"label_agreement":null},{"id":"W4254663234","doi":"10.32920/ryerson.14657226.v1","title":"A Narrative and Cinematic Analysis of Two Film Trailers: Jurassic Park (1993) and Jurassic World (2015)","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Narrative; Schema (genetic algorithms); Narrative inquiry; Aesthetics; Narrative structure; Trailer; Qualitative analysis; Narrative network; Sociology; Advertising; Visual arts; Psychology; Qualitative research; Computer science; Narrative criticism; Art; Business; Literature; Social science","score_opus":0.03920664770687715,"score_gpt":0.27172418161021955,"score_spread":0.2325175339033424,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254663234","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.92773306,0.0014608175,0.0045919493,0.0026914813,0.00022684645,0.0003393281,0.00060479686,0.00003494324,0.06231686],"genre_scores_gemma":[0.97698045,0.0014865926,0.0042280015,0.000380451,0.00006715424,0.00017728625,0.00036417926,0.00006328695,0.01625249],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99867684,0.0008248745,0.000048612514,0.00012765036,0.0001963199,0.00012567683],"domain_scores_gemma":[0.9973621,0.0015610905,0.00032581453,0.00010685559,0.00034676245,0.00029737188],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020663321,0.0005024677,0.0003264713,0.0022230716,0.0059982967,0.004732455,0.0007463703,0.00092959707,0.004000417],"category_scores_gemma":[0.0060719885,0.00034472678,0.00026784927,0.0017048976,0.004128273,0.0035135814,0.0022418695,0.0019598894,0.00041703638],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048936905,0.000042176558,0.002347197,0.00017382334,0.0000067222604,0.0010853934,0.97668755,0.000055231376,0.0010265592,0.00695294,0.0027629035,0.008810552],"study_design_scores_gemma":[0.000006222814,0.000056439258,0.00793706,0.00033974167,0.000016485648,0.000732238,0.88528645,0.00015747745,0.00091485673,0.0011425719,0.103384025,0.000026461203],"about_ca_topic_score_codex":0.010442888,"about_ca_topic_score_gemma":0.023511998,"teacher_disagreement_score":0.010442888,"about_ca_system_score_codex":0.003041063,"about_ca_system_score_gemma":0.0015500557,"threshold_uncertainty_score":0.022064507},"labels":[],"label_agreement":null},{"id":"W4254961340","doi":"10.4324/9781135000356-rem1699-1","title":"Meshes of the Afternoon (1943)","year":2018,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Athabasca University","funders":"","keywords":"Hollywood; Wife; Art history; Polygon mesh; Art; Visual arts; History; Computer graphics (images); Computer science; Political science; Law","score_opus":0.03762678102161409,"score_gpt":0.19745768794103893,"score_spread":0.15983090691942484,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4254961340","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011649303,0.01114489,0.00052689906,0.0033397065,0.0035657962,0.000016977912,0.00022953782,0.0000640013,0.9799473],"genre_scores_gemma":[0.01983394,0.004494095,0.00045113164,0.0011959648,0.0009350691,0.000022663155,0.0001358006,0.00013043448,0.972801],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998079,0.00004418775,0.0000042940933,0.000034550056,0.00007532212,0.00003375479],"domain_scores_gemma":[0.99985147,0.00004084804,0.000009032692,0.000015525919,0.00004152669,0.000041582334],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00024758765,0.00041924167,0.00013881299,0.00083468173,0.0025144825,0.0031674046,0.00030633595,0.0010840828,0.073754735],"category_scores_gemma":[0.0008182431,0.00017046317,0.00018430999,0.000610962,0.001206919,0.0022247422,0.0011841328,0.0018501801,0.015392944],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025703815,0.000013541305,0.0001261728,0.00004710931,0.0000015097683,0.000083832034,0.0024853349,0.000044518187,0.0002406784,0.1856082,0.7688358,0.04248756],"study_design_scores_gemma":[7.226273e-7,0.0000023498396,0.00014718389,0.000052621017,3.8676131e-7,0.000032120686,0.00019392457,0.00001115815,0.000042912685,0.0024718542,0.9970433,0.0000014357269],"about_ca_topic_score_codex":0.009198751,"about_ca_topic_score_gemma":0.026560806,"teacher_disagreement_score":0.073754735,"about_ca_system_score_codex":0.0021782531,"about_ca_system_score_gemma":0.0009784703,"threshold_uncertainty_score":0.24673414},"labels":[],"label_agreement":null},{"id":"W4255036589","doi":"10.1515/9780822385844-007","title":"Homosociality in the Classical American Stag Film: Off-Screen, On-Screen","year":2020,"lang":"en","type":"book-chapter","venue":"Porn Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Concordia University","keywords":"Materials science; Computer science","score_opus":0.10942877225619732,"score_gpt":0.28129403667083697,"score_spread":0.17186526441463965,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255036589","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.123014085,0.007231128,0.00080480136,0.005504151,0.00019895911,0.000017237477,0.00009902422,0.00001700252,0.8631136],"genre_scores_gemma":[0.8778636,0.005943443,0.00046700425,0.0007710264,0.00024594428,0.000020698668,0.00008007526,0.000056930596,0.114551365],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996339,0.00019799941,0.0000051346265,0.000041822103,0.00005913513,0.000062063395],"domain_scores_gemma":[0.99932706,0.00040012892,0.000043113894,0.000040674156,0.00007965398,0.000109379245],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057671696,0.00031690244,0.00016249095,0.0009013243,0.0040716575,0.004810118,0.00035505675,0.0008624791,0.016545936],"category_scores_gemma":[0.0014308862,0.0001971367,0.00007533415,0.0013198653,0.004896929,0.0043744273,0.0015697993,0.0019250748,0.0007451476],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008130703,0.00017149386,0.0029982345,0.00023407191,0.000010157057,0.00044561332,0.12847404,0.00011388862,0.00069502095,0.7418413,0.051008143,0.07392672],"study_design_scores_gemma":[0.0000121856865,0.000081154634,0.037560567,0.00078720576,0.000024983003,0.0007556523,0.20811097,0.00051026774,0.0011787256,0.08987323,0.66107506,0.000030051107],"about_ca_topic_score_codex":0.010535353,"about_ca_topic_score_gemma":0.027112478,"teacher_disagreement_score":0.016545936,"about_ca_system_score_codex":0.0023165408,"about_ca_system_score_gemma":0.00086817297,"threshold_uncertainty_score":0.055351615},"labels":[],"label_agreement":null},{"id":"W4255263719","doi":"10.1386/host_00024_5","title":"Theatricality in the Horror Film: A Brief Study on the Dark Pleasures of Screen Artifice, André Loiselle (2020)","year":2020,"lang":"en","type":"article","venue":"Horror Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Anthem; Art; Art history","score_opus":0.1305269419595403,"score_gpt":0.28691474881125256,"score_spread":0.15638780685171227,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255263719","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0029636505,0.90048087,0.0003048339,0.021603975,0.0039800717,0.000019884887,0.000055577515,0.000014087983,0.07057704],"genre_scores_gemma":[0.062279627,0.85152596,0.00059220224,0.0078022643,0.0071414257,0.000054165364,0.00011085504,0.000046452904,0.070446976],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999143,0.00044269368,0.00004010241,0.000076474964,0.00019168023,0.00010605211],"domain_scores_gemma":[0.9988059,0.0007707473,0.00010146004,0.0000306859,0.00016709021,0.00012423345],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012438981,0.00059895957,0.000436793,0.0016530731,0.0017432858,0.005633838,0.0005870274,0.0017925305,0.013474207],"category_scores_gemma":[0.0023072448,0.00023659217,0.0002637176,0.0022668864,0.003000917,0.0052047884,0.0019215908,0.0024353722,0.002363135],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015991942,0.00009245141,0.00073498493,0.005329634,0.00002748208,0.00056510157,0.027948866,0.00014479987,0.0012557112,0.10806244,0.51240766,0.343271],"study_design_scores_gemma":[0.0000036208028,0.000038676226,0.0019381068,0.001975669,0.0000053469757,0.0004526876,0.0060933586,0.000017686085,0.00011666674,0.0016069018,0.9877406,0.0000106689085],"about_ca_topic_score_codex":0.007086403,"about_ca_topic_score_gemma":0.011515631,"teacher_disagreement_score":0.013474207,"about_ca_system_score_codex":0.0021290884,"about_ca_system_score_gemma":0.0013005493,"threshold_uncertainty_score":0.045075655},"labels":[],"label_agreement":null},{"id":"W4255361398","doi":"10.22215/etd/2008-07919","title":"Images of uncertainty: war, cinema and visual culture","year":2008,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Library and Archives Canada","funders":"","keywords":"Movie theater; Art; Humanities; Visual culture; Art history; Cartography; Visual arts; Geography","score_opus":0.01600926244293691,"score_gpt":0.25002431566181926,"score_spread":0.23401505321888236,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255361398","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.605355,0.015669195,0.0032948428,0.026281334,0.00026313405,0.000026143949,0.00016218085,0.000021042984,0.34892714],"genre_scores_gemma":[0.9941877,0.0018119458,0.00021160257,0.00030768357,0.00010426331,0.000007221981,0.00001860506,0.000009279046,0.003341666],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99826956,0.0011093178,0.000041219006,0.0001326462,0.00028734107,0.00015990013],"domain_scores_gemma":[0.9912497,0.005634928,0.0015966924,0.00028610195,0.0006846226,0.00054800604],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022198786,0.0002494674,0.00020319008,0.0015579752,0.0016523816,0.009924595,0.00042806088,0.0010398562,0.008807271],"category_scores_gemma":[0.01655684,0.00022604695,0.00017927036,0.0014705214,0.006857585,0.005430692,0.002028582,0.0014617472,0.00027949698],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000507251,0.00022138303,0.045517065,0.00040375194,0.00011965565,0.0006324112,0.17562237,0.001423158,0.0013219019,0.5634766,0.021093952,0.18966046],"study_design_scores_gemma":[0.000058790938,0.00021485583,0.15382628,0.0013032653,0.00013774924,0.0009836218,0.32138565,0.0041896435,0.0016099473,0.33681083,0.1793112,0.00016807165],"about_ca_topic_score_codex":0.0074002435,"about_ca_topic_score_gemma":0.006466865,"teacher_disagreement_score":0.009924595,"about_ca_system_score_codex":0.0025619527,"about_ca_system_score_gemma":0.0010022502,"threshold_uncertainty_score":0.029463232},"labels":[],"label_agreement":null},{"id":"W4255390952","doi":"10.1057/9781137324504_10","title":"Unanswerable Situations","year":2013,"lang":"en","type":"book-chapter","venue":"Palgrave Macmillan UK eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Movie theater; Neorealism (international relations); Context (archaeology); Aesthetics; Fantasy; Hollywood; Narrative; Realism; Art; Literature; Media studies; Epistemology; Sociology; Art history; Philosophy; History; Politics; Political science; International relations; Law","score_opus":0.03467962975591615,"score_gpt":0.21228901375827472,"score_spread":0.17760938400235857,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255390952","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017146377,0.0022844172,0.025566984,0.01760356,0.0010510865,0.00018804189,0.00022888767,0.00021285191,0.9357179],"genre_scores_gemma":[0.859133,0.002241729,0.010870663,0.0037959246,0.00078584475,0.0005784595,0.0005667341,0.00027381856,0.12175383],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.987405,0.006293349,0.00068173144,0.0019228368,0.0020568266,0.0016402003],"domain_scores_gemma":[0.9968629,0.0015244278,0.00030165556,0.0005821654,0.00038486306,0.00034400733],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0039893384,0.0013659456,0.00077413814,0.0018225427,0.009852372,0.01562952,0.003316796,0.0068932343,0.053165685],"category_scores_gemma":[0.0118518425,0.00072695955,0.0008874371,0.0012750208,0.023231925,0.018649427,0.015763115,0.0055195168,0.0071776398],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010540328,0.000013805566,0.000090133464,0.000049634455,0.0000034239608,0.0005755683,0.008655483,0.00008947955,0.00008672077,0.97909445,0.006433209,0.0048975423],"study_design_scores_gemma":[0.000019046845,0.0000143435145,0.0001264507,0.00018753081,0.0000074928744,0.0010179474,0.014918019,0.000420121,0.0001956821,0.692336,0.29073766,0.00001970173],"about_ca_topic_score_codex":0.00236848,"about_ca_topic_score_gemma":0.0022407551,"teacher_disagreement_score":0.053165685,"about_ca_system_score_codex":0.005836886,"about_ca_system_score_gemma":0.0028506687,"threshold_uncertainty_score":0.17785692},"labels":[],"label_agreement":null},{"id":"W4255472877","doi":"10.15353/kinema.vi.1094","title":"Istanbul 2005","year":2005,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Turkish; Art history; Visual arts; Humanities; Philosophy","score_opus":0.03536116225562893,"score_gpt":0.2679565769873402,"score_spread":0.23259541473171128,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255472877","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011622294,0.02248157,0.0008608933,0.009023212,0.010588508,0.00016906885,0.009558082,0.00060581806,0.9350906],"genre_scores_gemma":[0.043108992,0.009084632,0.0011901094,0.0015489229,0.00063650165,0.00012363047,0.008024066,0.00022886149,0.9360544],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949944,0.00005747759,0.000029541872,0.000113601884,0.00015577253,0.0001442427],"domain_scores_gemma":[0.99964225,0.00001655078,0.000025671658,0.000029306771,0.00018111315,0.00010514754],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00085272064,0.0012653478,0.00051919324,0.0010768381,0.0021347904,0.004823901,0.00097092235,0.0015277067,0.28648242],"category_scores_gemma":[0.00065216265,0.00033310312,0.0003277886,0.0009124412,0.00055590156,0.0014117829,0.0017979695,0.0013077516,0.13798918],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003868419,0.00011565602,0.0014322374,0.00050404156,0.000019564997,0.00057929766,0.00031184274,0.00028309406,0.0008786203,0.016017279,0.86144894,0.118022546],"study_design_scores_gemma":[0.000015385353,0.000022162727,0.003218065,0.00012665892,0.000004034797,0.00015927257,0.00026864142,0.00007728118,0.00035631316,0.00063896406,0.9951041,0.000009091211],"about_ca_topic_score_codex":0.011919929,"about_ca_topic_score_gemma":0.018570092,"teacher_disagreement_score":0.28648242,"about_ca_system_score_codex":0.0038009428,"about_ca_system_score_gemma":0.003137045,"threshold_uncertainty_score":0.9583792},"labels":[],"label_agreement":null},{"id":"W4255860382","doi":"10.1177/026119291304100618","title":"2012 Lush Public Awareness Prize Winner: Decipher Films, Canada","year":2013,"lang":"en","type":"article","venue":"Alternatives to Laboratory Animals","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"DECIPHER; Biology; Bioinformatics","score_opus":0.030927673559204335,"score_gpt":0.23244794479559572,"score_spread":0.20152027123639138,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255860382","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02042627,0.013713162,0.0009260906,0.18398619,0.03742164,0.0003166032,0.007460213,0.0003629261,0.73538685],"genre_scores_gemma":[0.050890703,0.0036842304,0.0005510618,0.0034591733,0.0023069151,0.000037525344,0.0013499825,0.00011128352,0.93760914],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989766,0.00004953358,0.00001807563,0.00010798646,0.0005651173,0.00028270404],"domain_scores_gemma":[0.9966714,0.00023863977,0.000090533744,0.000095099036,0.0016118949,0.0012924197],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014237203,0.0006757717,0.00043424225,0.0015997491,0.0067209806,0.009211846,0.00092360465,0.0033136022,0.1453371],"category_scores_gemma":[0.0036147954,0.00029107794,0.0002997818,0.0014333117,0.0010525038,0.001648038,0.0016823659,0.0027439687,0.010741165],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006461788,0.00003095655,0.00061055564,0.000054609645,0.0000062328686,0.00007823022,0.00017380848,0.00006392703,0.00031069102,0.004361874,0.9769469,0.0172976],"study_design_scores_gemma":[0.000010500759,0.0000146839175,0.0051039197,0.00007770347,0.000007769915,0.00003134936,0.0009157057,0.0001230599,0.00025418334,0.0005164302,0.9929334,0.0000113513115],"about_ca_topic_score_codex":0.684578,"about_ca_topic_score_gemma":0.92427766,"teacher_disagreement_score":0.315422,"about_ca_system_score_codex":0.01646165,"about_ca_system_score_gemma":0.025429629,"threshold_uncertainty_score":0.63455915},"labels":[],"label_agreement":null},{"id":"W4255892562","doi":"10.15353/kinema.vi.1190","title":"Berlinale 2008","year":2008,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Box office; Accreditation; Advertising; Geography; Political science; History; Business; Law","score_opus":0.05787702359690753,"score_gpt":0.2606921105852649,"score_spread":0.2028150869883574,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255892562","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0032497605,0.0039170953,0.0005613005,0.0063800947,0.008333183,0.00014650417,0.017213175,0.0011063984,0.95909244],"genre_scores_gemma":[0.0049021253,0.0008851382,0.00022645893,0.0006955955,0.0004899702,0.00006853101,0.0048176916,0.00026740698,0.98764706],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994504,0.000037872567,0.000019546977,0.00010674989,0.00025483037,0.00013064983],"domain_scores_gemma":[0.99930394,0.000058235084,0.00005033025,0.00009008382,0.00024783486,0.0002497077],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00061961095,0.00075429317,0.00038861344,0.0017076535,0.0013306235,0.005421287,0.00087978813,0.0013528392,0.6332095],"category_scores_gemma":[0.0016379271,0.00035154985,0.0003797542,0.0009538666,0.00039892585,0.0016309719,0.0020496694,0.0016185613,0.38170105],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006945554,0.00002344582,0.00030128766,0.00006067995,0.0000030928109,0.00006398832,0.000028660526,0.000030006713,0.00023406201,0.0033335597,0.95754844,0.038303386],"study_design_scores_gemma":[0.0000041310477,0.0000076216224,0.0013781571,0.000033555418,6.421297e-7,0.000028447446,0.000025644007,0.000017063363,0.000063927204,0.00014354968,0.99829334,0.000003925891],"about_ca_topic_score_codex":0.0076464023,"about_ca_topic_score_gemma":0.021026416,"teacher_disagreement_score":0.6332095,"about_ca_system_score_codex":0.0017966965,"about_ca_system_score_gemma":0.0012722737,"threshold_uncertainty_score":0.52318203},"labels":[],"label_agreement":null},{"id":"W4255903787","doi":"10.15353/kinema.vi.1081","title":"Toronto 2003","year":2004,"lang":"en","type":"article","venue":"Kinema A Journal for Film and Audiovisual Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Marketing buzz; Hollywood; Vitality; Media studies; Quarter (Canadian coin); Box office; Indigenous; History; Film festival; Art history; Visual arts; Art; Advertising; Sociology; Archaeology","score_opus":0.03246459682054387,"score_gpt":0.26639278327754334,"score_spread":0.23392818645699948,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4255903787","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010220761,0.0093358345,0.00035018832,0.011137105,0.0033641313,0.000047140315,0.009839345,0.00028413333,0.9646202],"genre_scores_gemma":[0.0035833567,0.0036150003,0.00021224166,0.00062099524,0.000205087,0.000014040918,0.002261161,0.00010704657,0.9893811],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993943,0.000028176733,0.000022442866,0.00012150423,0.00030942383,0.00012420947],"domain_scores_gemma":[0.9989666,0.000033830987,0.00003676752,0.000068718815,0.0005532536,0.00034079762],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00035747263,0.00092607865,0.00045911458,0.0013134693,0.0048534106,0.0059353863,0.00094691827,0.0018323445,0.578295],"category_scores_gemma":[0.001175182,0.00046696758,0.0003740154,0.002828589,0.00077964837,0.0015435581,0.0015477688,0.0014877298,0.22627354],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025243578,0.000007952295,0.00026918473,0.00007517405,0.000003541773,0.000119927005,0.00017393686,0.000053490778,0.00019425055,0.006865818,0.966658,0.025553528],"study_design_scores_gemma":[0.0000016247261,0.0000016209947,0.0004994506,0.000034653534,0.0000010232292,0.00002062173,0.00009546546,0.000012336612,0.000031041196,0.00015328357,0.9991462,0.000002622054],"about_ca_topic_score_codex":0.65903854,"about_ca_topic_score_gemma":0.8759875,"teacher_disagreement_score":0.578295,"about_ca_system_score_codex":0.016674232,"about_ca_system_score_gemma":0.015043654,"threshold_uncertainty_score":0.68593884},"labels":[],"label_agreement":null},{"id":"W4256061748","doi":"10.22215/etd/2014-10515","title":"Attaining the Text: Direct Cinematic Quotation in Video-Essays, Essay Films, and Found-Footage Cinema","year":2014,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Movie theater; Criticism; Narrative; Scholarship; Order (exchange); Rework; Art; USable; Film studies; Multimedia; Value (mathematics); Literature; Visual arts; Computer science; Aesthetics; Political science","score_opus":0.019605565221974274,"score_gpt":0.24265876461877411,"score_spread":0.22305319939679985,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4256061748","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52662027,0.011004199,0.034223985,0.014406149,0.0029014165,0.00041443418,0.0003095877,0.0002875949,0.40983236],"genre_scores_gemma":[0.9606761,0.0021294367,0.013037199,0.00085052865,0.0006708598,0.00021340413,0.00014207838,0.00023079506,0.022049652],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9905331,0.007026979,0.00028780926,0.0007676186,0.0010560214,0.00032852392],"domain_scores_gemma":[0.97404045,0.019522976,0.0016932385,0.0019921053,0.0018816624,0.0008695688],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008322636,0.00046528806,0.00030886737,0.002686645,0.004678777,0.0098449,0.0009025175,0.0014420027,0.0048655076],"category_scores_gemma":[0.039837245,0.00027180818,0.00024800678,0.002282435,0.013697689,0.008163411,0.0058561782,0.0021005503,0.0007135348],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002220346,0.00008868405,0.0051508434,0.0009807759,0.000021711146,0.00089422625,0.75151,0.00010718323,0.0048091584,0.1039465,0.007355434,0.12491347],"study_design_scores_gemma":[0.000057605248,0.00026334284,0.02232831,0.0030640066,0.00006069236,0.0017616845,0.43754178,0.0007701597,0.010042643,0.03721927,0.48680985,0.00008060946],"about_ca_topic_score_codex":0.0020956625,"about_ca_topic_score_gemma":0.004617552,"teacher_disagreement_score":0.0098449,"about_ca_system_score_codex":0.00282406,"about_ca_system_score_gemma":0.0014724636,"threshold_uncertainty_score":0.04401487},"labels":[],"label_agreement":null},{"id":"W4256384513","doi":"10.1386/fiin.3.6.48","title":"DVD reviews","year":2005,"lang":"en","type":"article","venue":"Film International","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Media studies; Art history; Sociology","score_opus":0.04850949608451662,"score_gpt":0.2576509922983875,"score_spread":0.20914149621387088,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4256384513","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00039511255,0.023092672,0.00037246745,0.005254968,0.02203309,0.00025196472,0.005061547,0.00067044306,0.9428678],"genre_scores_gemma":[0.0012602145,0.007011217,0.00022256817,0.0019952662,0.0051140375,0.00006665625,0.0028346688,0.00021090002,0.98128444],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99933594,0.000047533562,0.000020858306,0.00006745143,0.00045007802,0.00007811746],"domain_scores_gemma":[0.99812025,0.00020695911,0.00010722121,0.00009837924,0.0010508157,0.0004163774],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00048015875,0.0010669657,0.0007099302,0.0029662212,0.00092414423,0.0032606267,0.0011046366,0.0016541337,0.66904074],"category_scores_gemma":[0.0028740647,0.00033474324,0.00048141906,0.0025701798,0.0002763971,0.0012551879,0.0010867903,0.0013833612,0.44350585],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010492532,0.000009433347,0.00001497412,0.00009513978,0.000001353526,0.000016181466,0.0000032779787,0.000017231801,0.000087003784,0.00027324905,0.973917,0.025554698],"study_design_scores_gemma":[0.0000054940315,0.0000058543988,0.00011657167,0.000053355896,0.0000011160303,0.000018676084,0.0000057936195,0.00000776102,0.000029443201,0.00010823045,0.99964607,0.0000015480573],"about_ca_topic_score_codex":0.009649219,"about_ca_topic_score_gemma":0.025866363,"teacher_disagreement_score":0.66904074,"about_ca_system_score_codex":0.0018361589,"about_ca_system_score_gemma":0.0021979108,"threshold_uncertainty_score":0.4720732},"labels":[],"label_agreement":null},{"id":"W4256658324","doi":"10.3138/cras.39.2.221","title":"Neo-liberalism and the Western: HBO’s <i>Deadwood</i> as National Allegory","year":2009,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Liberalism; Allegory; Meditation; Aesthetics; Politics; Sociology; Philosophy; Art; Literature; Political science; Law; Theology","score_opus":0.03107885852617333,"score_gpt":0.2727889886403236,"score_spread":0.24171013011415024,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4256658324","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13710737,0.03095876,0.001768052,0.09745193,0.0009953936,0.0000085523325,0.00006165948,0.000025463103,0.7316229],"genre_scores_gemma":[0.9390538,0.008207962,0.00046522074,0.009476099,0.00048829534,0.0000136336475,0.000028766663,0.000032230997,0.04223393],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994655,0.0003069599,0.0000074034815,0.000042170876,0.00009779985,0.000080150145],"domain_scores_gemma":[0.9991059,0.0004826326,0.00011070129,0.00006430282,0.000101908234,0.00013453054],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009521968,0.0001357321,0.00011018105,0.0010449801,0.0025322312,0.005300007,0.00023824758,0.0008181148,0.002358368],"category_scores_gemma":[0.0011805524,0.000083715604,0.00006806507,0.0014223672,0.010181891,0.0029636263,0.0011554984,0.0018013039,0.00023264514],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025978661,0.000027640957,0.0016037963,0.000057832633,0.000003781086,0.00008122758,0.03428381,0.000036543137,0.00015587285,0.91363406,0.03112143,0.018968036],"study_design_scores_gemma":[0.000010899881,0.000016121521,0.011206594,0.0004386682,0.00000828906,0.00018818681,0.032613836,0.00023762854,0.0003704207,0.14940563,0.8054845,0.000019154111],"about_ca_topic_score_codex":0.019531563,"about_ca_topic_score_gemma":0.034741588,"teacher_disagreement_score":0.98046845,"about_ca_system_score_codex":0.0027472512,"about_ca_system_score_gemma":0.0012082579,"threshold_uncertainty_score":0.038835704},"labels":[],"label_agreement":null},{"id":"W4280526261","doi":"10.3138/cras-2021-013","title":"The Mainstreaming of American Queer Cinema","year":2022,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Mainstream; Movie theater; Mainstreaming; Politics; Viewpoints; Sociology; Aesthetics; Gender studies; Media studies; History; Political science; Art history; Art; Visual arts; Law","score_opus":0.028370995694838017,"score_gpt":0.2598954752887185,"score_spread":0.23152447959388045,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4280526261","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2537244,0.14635246,0.0018075287,0.07183221,0.0010557852,0.00004970337,0.00046234223,0.000056518005,0.524659],"genre_scores_gemma":[0.92605406,0.058586497,0.00031408618,0.002558839,0.001104635,0.000016797438,0.00008292231,0.000031936488,0.0112503115],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9976787,0.0012175536,0.00005712937,0.00024480696,0.00052570476,0.0002762508],"domain_scores_gemma":[0.9932679,0.003761228,0.0008163322,0.00025085796,0.0014207679,0.00048301433],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033317015,0.00021919802,0.00025983911,0.0038886042,0.0035310222,0.0073929154,0.00046801817,0.0007497725,0.006482257],"category_scores_gemma":[0.008466649,0.00014384503,0.00016385545,0.0036423544,0.0067424313,0.005461038,0.0015672536,0.0017078277,0.00028267852],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016097854,0.000061611085,0.0067797927,0.0009241147,0.000034618282,0.00036325573,0.14676373,0.000094458475,0.0010651691,0.6047581,0.026831215,0.21216287],"study_design_scores_gemma":[0.000019890718,0.00008943491,0.059606683,0.003100326,0.000056920973,0.0004768522,0.11744657,0.00022429577,0.0008619901,0.035120167,0.7829436,0.000053288742],"about_ca_topic_score_codex":0.058976408,"about_ca_topic_score_gemma":0.072137766,"teacher_disagreement_score":0.058976408,"about_ca_system_score_codex":0.0067953304,"about_ca_system_score_gemma":0.0025406012,"threshold_uncertainty_score":0.11726624},"labels":[],"label_agreement":null},{"id":"W4280627917","doi":"10.3138/cras-2021-009","title":"Films at the Fairs: Cinema at the San Francisco and San Diego International Expositions of 1915","year":2022,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Hollywood; Exposition (narrative); Entertainment; Studio; Exhibition; Historiography; Art; Art history; Adventure; History; Visual arts; Media studies; Sociology; Archaeology; Literature","score_opus":0.028075830068244066,"score_gpt":0.2573095322765096,"score_spread":0.22923370220826553,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4280627917","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16846198,0.10860832,0.00091856276,0.040889926,0.004358787,0.00007262636,0.0012845559,0.00014942148,0.67525584],"genre_scores_gemma":[0.76606625,0.044210948,0.00076811196,0.0024790876,0.002243593,0.000053116048,0.0005534555,0.000092577306,0.18353291],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996984,0.00011813343,0.0000062449444,0.000048623457,0.00006409696,0.00006459617],"domain_scores_gemma":[0.9993339,0.00028792408,0.00006927565,0.0000340745,0.00012245143,0.0001522486],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010240064,0.00043952544,0.00012967164,0.001998422,0.0034724409,0.0032702272,0.000370433,0.0007781979,0.013790566],"category_scores_gemma":[0.0018592009,0.00017546612,0.000178026,0.0016700426,0.002497931,0.0014497491,0.00095061766,0.0015049451,0.0007199308],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015758224,0.00009391215,0.009661703,0.00061137055,0.000051356856,0.00089263014,0.1561643,0.00026304225,0.0010759122,0.07958791,0.6503171,0.10112314],"study_design_scores_gemma":[0.0000057538045,0.000020528281,0.016445937,0.00037013544,0.000010099436,0.00013290551,0.018774465,0.000018930772,0.00014856066,0.0007175061,0.9633464,0.000008640186],"about_ca_topic_score_codex":0.060870223,"about_ca_topic_score_gemma":0.1439731,"teacher_disagreement_score":0.060870223,"about_ca_system_score_codex":0.0042853155,"about_ca_system_score_gemma":0.0010412942,"threshold_uncertainty_score":0.12103188},"labels":[],"label_agreement":null},{"id":"W4280648326","doi":"10.1353/itx.2022.0006","title":"Robin Campillo's 120 Battements Par Minute, or When the Dust Unsettles","year":2022,"lang":"fr","type":"article","venue":"Intertexts","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scrutiny; Politics; Scapegoating; Denial; Psychology; Psychoanalysis; Criminology; Sociology; History; Media studies; Aesthetics; Law; Political science; Art","score_opus":0.03801251618865139,"score_gpt":0.23365942353058988,"score_spread":0.1956469073419385,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4280648326","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00406625,0.032205302,0.00088807277,0.31425107,0.032839272,0.00007559481,0.00043221068,0.0005422129,0.6147],"genre_scores_gemma":[0.021925993,0.0049787266,0.00043909147,0.0375141,0.0027793138,0.000031023446,0.00012577782,0.00022635798,0.93197966],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992318,0.00021136149,0.000013250077,0.00012070231,0.00027330907,0.00014966463],"domain_scores_gemma":[0.9991973,0.00014378905,0.00004616041,0.000038207752,0.0001960212,0.0003783964],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000734667,0.0006385165,0.0003055382,0.0004152356,0.005030012,0.0038755252,0.00075718504,0.0031508205,0.18380977],"category_scores_gemma":[0.0034369654,0.00028510884,0.00022984087,0.00023526141,0.001624128,0.0027523194,0.0022190677,0.005642307,0.045579545],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023884637,0.000009513854,0.00012564762,0.000031588337,0.0000012241833,0.00013190634,0.0004394325,0.000008835016,0.0002044668,0.0031197448,0.9837352,0.01216855],"study_design_scores_gemma":[0.0000028640547,0.00000683844,0.00035781166,0.00007632816,9.3853004e-7,0.00015045216,0.00085200294,0.000016671831,0.00010142019,0.00054148986,0.99788624,0.0000069504636],"about_ca_topic_score_codex":0.02762226,"about_ca_topic_score_gemma":0.06421254,"teacher_disagreement_score":0.18380977,"about_ca_system_score_codex":0.0018551084,"about_ca_system_score_gemma":0.0013722086,"threshold_uncertainty_score":0.61490494},"labels":[],"label_agreement":null},{"id":"W4281477734","doi":"10.32920/ifmj.v2i2.1560","title":"Understanding First Person Media with India’s ElseVR Platform","year":2022,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Witness; Narrative; Filmmaking; Media studies; Sociology; Social media; Interpretation (philosophy); Space (punctuation); Visual arts; Aesthetics; Art; Political science; Computer science; Movie theater; Literature; Law","score_opus":0.09748666787339863,"score_gpt":0.22838406097565028,"score_spread":0.13089739310225165,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281477734","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7000579,0.0016379846,0.0033371798,0.0073589073,0.0002523817,0.00007406816,0.00020800503,0.00010831463,0.2869652],"genre_scores_gemma":[0.9875037,0.0008233882,0.0006394932,0.0006707308,0.000040948275,0.0000376561,0.00006324327,0.00006139805,0.0101593565],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99781126,0.0010744844,0.000041221694,0.00019518036,0.00031155214,0.00056634634],"domain_scores_gemma":[0.9965197,0.0021999625,0.00039508846,0.00025396008,0.00020443741,0.00042684737],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018211164,0.0006142872,0.0002678751,0.0021127458,0.012501073,0.024802472,0.0018519916,0.0020356898,0.007522808],"category_scores_gemma":[0.0041523124,0.00054841494,0.00044283734,0.0019919653,0.01287793,0.010822149,0.00990178,0.003959674,0.0011719788],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019515135,0.00002742884,0.0026926883,0.00008323358,0.000005930126,0.00090590137,0.968971,0.000045088324,0.0006662863,0.020429613,0.0013791522,0.0047741267],"study_design_scores_gemma":[0.0000020761079,0.000019449893,0.0026658415,0.00018974756,0.000010481988,0.00052530895,0.93998367,0.00007759869,0.00032435876,0.0010970793,0.055089314,0.000015015929],"about_ca_topic_score_codex":0.028372163,"about_ca_topic_score_gemma":0.03814209,"teacher_disagreement_score":0.028372163,"about_ca_system_score_codex":0.006964567,"about_ca_system_score_gemma":0.003001976,"threshold_uncertainty_score":0.056414068},"labels":[],"label_agreement":null},{"id":"W4281482927","doi":"10.32920/ifmj.v2i2.1599","title":"Aural Authenticity of Virtual Reality Documentary Made in 3D Virtual Environment","year":2022,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Virtual reality; Dialectic; Perspective (graphical); Movie theater; Virtuality (gaming); Immersion (mathematics); Visual arts; Aesthetics; Computer science; Multimedia; Sociology; Human–computer interaction; Art; Epistemology; Philosophy","score_opus":0.02207258848558741,"score_gpt":0.23493485025998279,"score_spread":0.21286226177439538,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281482927","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19868088,0.01040567,0.06442423,0.010708725,0.0019026723,0.00016978149,0.0003674716,0.0006944808,0.7126461],"genre_scores_gemma":[0.95260954,0.002121556,0.008461411,0.0007539862,0.00040945376,0.00006756197,0.00011143059,0.0003131921,0.035151806],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969541,0.0014864036,0.00009968093,0.0003347687,0.0008594161,0.0002656169],"domain_scores_gemma":[0.9965519,0.0016190879,0.0002899076,0.0007703109,0.00049643783,0.00027233857],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021495037,0.00038792664,0.00040736533,0.0010914443,0.0024609799,0.008536668,0.00078755675,0.0013600327,0.009561124],"category_scores_gemma":[0.010171098,0.00025790557,0.0004093036,0.0005519113,0.006910986,0.0058258977,0.0058729528,0.0024355808,0.001265034],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003961178,0.00004203308,0.0024609477,0.0013896679,0.00005701907,0.002621673,0.29454845,0.0009539995,0.022965284,0.5444749,0.016850438,0.113239355],"study_design_scores_gemma":[0.00006325309,0.0002940315,0.009232998,0.0019508136,0.000109146036,0.010695986,0.10280105,0.001702412,0.010161075,0.07982057,0.7829741,0.0001945154],"about_ca_topic_score_codex":0.0006499221,"about_ca_topic_score_gemma":0.00063846656,"teacher_disagreement_score":0.009561124,"about_ca_system_score_codex":0.00088875456,"about_ca_system_score_gemma":0.00054410176,"threshold_uncertainty_score":0.031985164},"labels":[],"label_agreement":null},{"id":"W4281486120","doi":"10.32920/ifmj.v2i2.1582","title":"Counter/Public","year":2022,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Performative utterance; Praxis; Sociology; Politics; Narrative; Visual arts; Citizen journalism; Reflexivity; Argument (complex analysis); Film director; Media studies; Exhibition; Democratization; Aesthetics; Movie theater; Art; Social science; Political science; Literature; Law","score_opus":0.03460588912331835,"score_gpt":0.232030317632081,"score_spread":0.19742442850876266,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281486120","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0310605,0.0013225832,0.0041483846,0.01738226,0.0020294623,0.00024464162,0.00043052554,0.00030280856,0.94307876],"genre_scores_gemma":[0.5797244,0.0014879751,0.0025114168,0.011406962,0.0015683261,0.00046689095,0.00048554857,0.0008153158,0.4015332],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99486405,0.0018757387,0.0001573532,0.00095892523,0.0011951678,0.0009486637],"domain_scores_gemma":[0.99520564,0.0014904668,0.0006635636,0.001160558,0.0008654402,0.0006143226],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00401144,0.00094736175,0.00045791944,0.002315234,0.00940982,0.014085271,0.0017265691,0.003601025,0.11484503],"category_scores_gemma":[0.009734895,0.000435005,0.0005596701,0.0019812493,0.008453249,0.013465812,0.008775724,0.004975296,0.013756139],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000100600955,0.00008565606,0.002135578,0.0003175784,0.000016974924,0.0009824735,0.054143082,0.00008352339,0.0008214548,0.77913874,0.104107305,0.058067042],"study_design_scores_gemma":[0.000016389276,0.000045804136,0.0009709362,0.00023359744,0.00001532445,0.00043523434,0.032514837,0.00014005284,0.0009620963,0.023855466,0.94078887,0.000021492016],"about_ca_topic_score_codex":0.0034397857,"about_ca_topic_score_gemma":0.004698506,"teacher_disagreement_score":0.11484503,"about_ca_system_score_codex":0.004390054,"about_ca_system_score_gemma":0.0024672353,"threshold_uncertainty_score":0.3841949},"labels":[],"label_agreement":null},{"id":"W4281486340","doi":"10.32920/ifmj.v2i2.1601","title":"Polyvocality in Interactive Documentary","year":2022,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Active listening; Memoir; Exposition (narrative); Reading (process); Media studies; Reading aloud; Sociology; Visual arts; Art; Literature; Linguistics; Philosophy; Communication","score_opus":0.0203779425488901,"score_gpt":0.24859577105921032,"score_spread":0.22821782851032021,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281486340","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09712659,0.009143767,0.09432533,0.014876336,0.001661677,0.0003449954,0.00030825517,0.0010785714,0.7811344],"genre_scores_gemma":[0.90327644,0.0022938976,0.022417903,0.002172065,0.0010752676,0.00064714573,0.00028855592,0.0013397161,0.066488914],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9739378,0.017770465,0.0011728425,0.0022990375,0.003913108,0.0009067173],"domain_scores_gemma":[0.922876,0.052334853,0.0050933007,0.014234546,0.0039012344,0.0015600079],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0142894415,0.00047514838,0.0004243384,0.0038655591,0.008358545,0.02238783,0.0024201344,0.0023474824,0.01905252],"category_scores_gemma":[0.052431908,0.00068050117,0.0003687703,0.0040168106,0.027887082,0.01673068,0.01260986,0.0033002053,0.002392497],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007203928,0.00004158132,0.0016162647,0.0003206846,0.000011025457,0.0004833941,0.14906502,0.00018092772,0.0011293379,0.7834885,0.008078788,0.055512358],"study_design_scores_gemma":[0.000040596417,0.00008255434,0.0017489492,0.0012041877,0.000019775644,0.0012795476,0.05105732,0.00082286116,0.002060527,0.14108256,0.800548,0.000053072275],"about_ca_topic_score_codex":0.0034234228,"about_ca_topic_score_gemma":0.0034426127,"teacher_disagreement_score":0.02238783,"about_ca_system_score_codex":0.0041958615,"about_ca_system_score_gemma":0.0029805566,"threshold_uncertainty_score":0.0755707},"labels":[],"label_agreement":null},{"id":"W4281487948","doi":"10.32920/ifmj.v2i2.1602","title":"The Drama-Driven Model of Interaction and Optional Thinking","year":2022,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Drama; Narrative; Computer science; Surprise; Multimedia; Human–computer interaction; Cognitive science; Aesthetics; Visual arts; Art; Communication; Psychology; Literature","score_opus":0.0325738815347172,"score_gpt":0.24228326340707912,"score_spread":0.20970938187236193,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281487948","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.059284102,0.0007861287,0.35118914,0.004995004,0.00020513886,0.00024765127,0.00026993657,0.00038417385,0.58263874],"genre_scores_gemma":[0.91749877,0.00038233557,0.041817114,0.00036339858,0.000105668616,0.00029883801,0.00013356352,0.00011437113,0.039285976],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9979387,0.0010157838,0.0000690938,0.0003840198,0.00032413047,0.00026812532],"domain_scores_gemma":[0.9982811,0.0009049077,0.0001984925,0.0002507283,0.00018522791,0.00017956227],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012036121,0.00059705816,0.00027757857,0.0011972893,0.0019110579,0.0056155804,0.0015862725,0.0013255512,0.009784966],"category_scores_gemma":[0.003641922,0.00031497382,0.0008905564,0.0006390239,0.0087371785,0.0065543065,0.00280913,0.0019238555,0.00146775],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014484472,0.00001047968,0.000269804,0.000024608504,0.0000033226106,0.00007081517,0.0020783162,0.0006236131,0.0002962008,0.9938239,0.00035491833,0.0024296285],"study_design_scores_gemma":[0.00004060906,0.000061165476,0.00090424693,0.00007080448,0.000017499618,0.0004826575,0.0025530534,0.019025605,0.0010649796,0.926874,0.048871253,0.00003418902],"about_ca_topic_score_codex":0.0025275454,"about_ca_topic_score_gemma":0.0015265552,"teacher_disagreement_score":0.009784966,"about_ca_system_score_codex":0.003430781,"about_ca_system_score_gemma":0.0016710168,"threshold_uncertainty_score":0.032733977},"labels":[],"label_agreement":null},{"id":"W4281488509","doi":"10.32920/ifmj.v2i2.1588","title":"Mimesis Through Violent Movement","year":2022,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Scholarship; Politics; Cult; Action (physics); Film director; Aesthetics; Literature; Art; Visual arts; Sociology; History; Law","score_opus":0.026812241307737045,"score_gpt":0.23705768809590252,"score_spread":0.21024544678816548,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281488509","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.105834246,0.0052845757,0.029061642,0.022567421,0.0011689716,0.000080593876,0.0000676645,0.0002678223,0.83566713],"genre_scores_gemma":[0.958499,0.0011385767,0.0033192209,0.0013114271,0.00025528978,0.000098207616,0.00002389932,0.00011216443,0.03524224],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966989,0.0022233098,0.00005985267,0.00040943344,0.00035919275,0.00024925228],"domain_scores_gemma":[0.9984982,0.00089035183,0.00016380184,0.00021499561,0.00011709303,0.000115549105],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020651715,0.00061575643,0.00032732176,0.0012594896,0.0057579693,0.007231911,0.0010956529,0.00236087,0.005658336],"category_scores_gemma":[0.0056580356,0.00028035286,0.00035887773,0.0005925473,0.033770043,0.007811497,0.007644137,0.0036846027,0.00071028643],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016204154,0.0000064492074,0.00013003782,0.000034319277,0.000002893852,0.00023727502,0.057401977,0.00006443733,0.00039030882,0.9361899,0.0018969806,0.0036292558],"study_design_scores_gemma":[0.0000428273,0.00007858164,0.0008223054,0.00028498366,0.00001864044,0.0014222839,0.061253455,0.0013013063,0.0022438094,0.48830628,0.44418368,0.0000418392],"about_ca_topic_score_codex":0.0016615506,"about_ca_topic_score_gemma":0.0015553011,"teacher_disagreement_score":0.007231911,"about_ca_system_score_codex":0.0037333001,"about_ca_system_score_gemma":0.0010643769,"threshold_uncertainty_score":0.027087152},"labels":[],"label_agreement":null},{"id":"W4281488767","doi":"10.32920/ifmj.v2i2.1598","title":"Extended Reality Interactive Documentary","year":2022,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Virtual reality; Augmented reality; Interactive media; Computer science; Mixed reality; Human–computer interaction; Multimedia","score_opus":0.0277216250794285,"score_gpt":0.2650974864850342,"score_spread":0.23737586140560568,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281488767","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08509273,0.0015914002,0.23053458,0.0022552835,0.0008803386,0.00091796345,0.0040777354,0.0063078436,0.6683422],"genre_scores_gemma":[0.5069308,0.0015579908,0.21294357,0.00067832787,0.00027821827,0.00080574286,0.0037633113,0.0013055463,0.27173644],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993518,0.00021110925,0.000033310527,0.00011761188,0.00020831455,0.0000777373],"domain_scores_gemma":[0.99809235,0.00078754686,0.0000943875,0.00050832867,0.00033512086,0.00018225741],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00093107024,0.0004796144,0.00028893407,0.0007315905,0.0011737959,0.003249696,0.0012590884,0.0010530686,0.07301211],"category_scores_gemma":[0.0035771602,0.00024699938,0.00044714918,0.0008357256,0.0010118604,0.002551314,0.0030880165,0.001064199,0.008683884],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0012089767,0.00042480862,0.0028626905,0.0022570714,0.00008053126,0.0031592604,0.026307384,0.0061936835,0.061188933,0.22366048,0.14404544,0.52861065],"study_design_scores_gemma":[0.000083831874,0.00033572142,0.004035892,0.00035839799,0.000039760504,0.0023145154,0.0038731336,0.005710038,0.01132031,0.010937075,0.9608716,0.00011977685],"about_ca_topic_score_codex":0.0016816164,"about_ca_topic_score_gemma":0.0027394409,"teacher_disagreement_score":0.07301211,"about_ca_system_score_codex":0.00057566725,"about_ca_system_score_gemma":0.0005869122,"threshold_uncertainty_score":0.24424988},"labels":[],"label_agreement":null},{"id":"W4281491313","doi":"10.32920/ifmj.v2i2.1608","title":"Open, Complex, Messy…","year":2022,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Software; Computer science; Production (economics); Epistemology; Sociology; World Wide Web; Aesthetics; Literature; Art; Programming language","score_opus":0.06950642401138178,"score_gpt":0.2784755347714656,"score_spread":0.2089691107600838,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281491313","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0814031,0.010095747,0.13848394,0.047419522,0.0020780968,0.00042572265,0.0011945416,0.0016825659,0.7172167],"genre_scores_gemma":[0.6934041,0.005982748,0.041079625,0.0070150527,0.0012767883,0.00040788917,0.0010353264,0.001186177,0.24861236],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99561226,0.0012573893,0.0001636463,0.0007449476,0.0018939201,0.000327821],"domain_scores_gemma":[0.99430025,0.0022212996,0.00067020045,0.0013184533,0.00089042756,0.000599399],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034249707,0.00066414056,0.0005133638,0.0018905055,0.006063948,0.011784215,0.0017974678,0.0018668576,0.021680137],"category_scores_gemma":[0.010856362,0.0006885346,0.00050192483,0.0021594707,0.01909389,0.014512714,0.007880571,0.003617969,0.006277001],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010807911,0.000042516956,0.002718524,0.00063600176,0.000073933545,0.0015495186,0.12785982,0.00091633096,0.005542413,0.68655396,0.09184896,0.08214997],"study_design_scores_gemma":[0.000011045226,0.000026760448,0.0020072435,0.00042475047,0.000017343878,0.0009437618,0.0366989,0.0004996648,0.0005370512,0.13799432,0.8207956,0.000043621723],"about_ca_topic_score_codex":0.0038281893,"about_ca_topic_score_gemma":0.0041053123,"teacher_disagreement_score":0.021680137,"about_ca_system_score_codex":0.0028419609,"about_ca_system_score_gemma":0.0021584088,"threshold_uncertainty_score":0.07252729},"labels":[],"label_agreement":null},{"id":"W4281491474","doi":"10.32920/ifmj.v2i2.1579","title":"Abstract Machine","year":2022,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Filmmaking; Assemblage (archaeology); Transformative learning; Interactivity; Meaning (existential); Computer science; Process (computing); Social media; The Internet; Digital media; Sociology; Multimedia; Aesthetics; World Wide Web; Visual arts; Movie theater; Art; Epistemology; History; Archaeology","score_opus":0.02401035874673533,"score_gpt":0.23361392448627036,"score_spread":0.20960356573953504,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281491474","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008577781,0.0025506567,0.4467938,0.006863632,0.0027060583,0.00053066236,0.004423564,0.01643529,0.51111853],"genre_scores_gemma":[0.31796035,0.0048417198,0.25858864,0.004692418,0.0018287958,0.001190737,0.014196148,0.004082263,0.3926189],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99709404,0.00048883725,0.00023253495,0.0011045721,0.00078024354,0.00029986378],"domain_scores_gemma":[0.99792093,0.00045833903,0.00013179364,0.0008516118,0.00047360564,0.00016370916],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012138677,0.0012765317,0.0009896641,0.001657766,0.0019665218,0.0076337415,0.00276009,0.0023881192,0.11403193],"category_scores_gemma":[0.006512326,0.0005315895,0.0014756866,0.001680196,0.0032194178,0.009829689,0.0046693226,0.00185633,0.059331752],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002448293,0.00006842642,0.0013896403,0.00073526864,0.000061227816,0.0004971635,0.0010714703,0.005976672,0.003233478,0.5509451,0.13744824,0.29832846],"study_design_scores_gemma":[0.000037134658,0.00006207697,0.00052681105,0.00021816156,0.000039238923,0.0005519911,0.00043506682,0.01406588,0.0029264698,0.23271337,0.7483673,0.00005644572],"about_ca_topic_score_codex":0.0029098005,"about_ca_topic_score_gemma":0.0015922299,"teacher_disagreement_score":0.11403193,"about_ca_system_score_codex":0.0014840616,"about_ca_system_score_gemma":0.0016683468,"threshold_uncertainty_score":0.38147485},"labels":[],"label_agreement":null},{"id":"W4281866326","doi":"10.1163/23644583-bja10025","title":"Shimmering Practices in a Kaleidoscope World: Affective, Embodied and Sensorial Modes of Filmmaking","year":2021,"lang":"en","type":"article","venue":"Video Journal of Education and Pedagogy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Filmmaking; Kaleidoscope; Embodied cognition; Aesthetics; Visual arts; The arts; Art; Sociology; Epistemology; Movie theater; Philosophy","score_opus":0.07325637687336604,"score_gpt":0.3614272281021856,"score_spread":0.2881708512288195,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4281866326","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84412134,0.0013029388,0.010676107,0.0020652334,0.00014898764,0.000070168695,0.00007006678,0.00005681198,0.14148825],"genre_scores_gemma":[0.9943949,0.0003536096,0.0012180372,0.00008227932,0.000020468073,0.000011891198,0.000012954042,0.000015209131,0.0038905183],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993845,0.0003356754,0.000017585608,0.00008243619,0.0001086076,0.00007108031],"domain_scores_gemma":[0.99884415,0.00073858054,0.00012989642,0.00009887759,0.000079242054,0.00010931534],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010223648,0.00025418936,0.00016002495,0.00068297493,0.0021237896,0.004972245,0.00035604314,0.000516195,0.0037266838],"category_scores_gemma":[0.002828328,0.00015479968,0.00015593447,0.0005184984,0.006303525,0.0034501904,0.0024834801,0.001145408,0.00027703342],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013433474,0.00007227056,0.0064093363,0.00029940635,0.000023371991,0.0015087351,0.83487236,0.000311336,0.009367128,0.107815295,0.0027885009,0.03639791],"study_design_scores_gemma":[0.000028978939,0.00017894155,0.03165092,0.00055209367,0.000046878933,0.0018881243,0.7545324,0.0012121812,0.0044263233,0.033159915,0.17225793,0.0000652733],"about_ca_topic_score_codex":0.000969636,"about_ca_topic_score_gemma":0.0018658104,"teacher_disagreement_score":0.004972245,"about_ca_system_score_codex":0.0010704247,"about_ca_system_score_gemma":0.00033219485,"threshold_uncertainty_score":0.012467027},"labels":[],"label_agreement":null},{"id":"W4282557114","doi":"10.1177/17506980221096794","title":"Book Review: Carnivalizing Reconciliation: Contemporary Australian and Canadian Literature and Film beyond the Victim Paradigm TeichlerHannaCarnivalizing Reconciliation: Contemporary Australian and Canadian Literature and Film beyond the Victim Paradigm. Oxford: Berghahn Books, 2021. 274 pp. $135.00/£99.00. ISBN 9781800731721.","year":2022,"lang":"en","type":"article","venue":"Memory Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Okanagan University College; University of British Columbia, Okanagan Campus; University of British Columbia","funders":"","keywords":"History; Media studies; Sociology; Criminology; Political science","score_opus":0.03675750100763826,"score_gpt":0.2471229320803398,"score_spread":0.21036543107270156,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4282557114","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00009248833,0.97620296,0.00009750853,0.01033601,0.004917943,0.000018613644,0.00018712685,0.000019220335,0.008128051],"genre_scores_gemma":[0.0023635572,0.96219385,0.00028598448,0.0045591183,0.0032228346,0.000044253415,0.00038078387,0.000039722072,0.026909858],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99828136,0.0002983997,0.00012097879,0.0001513942,0.00095023157,0.00019763403],"domain_scores_gemma":[0.9920398,0.0018641402,0.00043810596,0.00018331429,0.004848039,0.00062656874],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002282978,0.0012364349,0.002091985,0.005687762,0.0021001026,0.0055050305,0.0026185676,0.0023945246,0.0342414],"category_scores_gemma":[0.0095858965,0.00058291806,0.00057196844,0.014380402,0.0026953546,0.003820647,0.00161289,0.0030298536,0.0069969874],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015278198,0.0000056633426,0.00005245271,0.0026366329,0.000016631651,0.000023407822,0.0003012834,0.00004491591,0.00003799649,0.0022428536,0.9188627,0.0757602],"study_design_scores_gemma":[0.000004938337,0.0000062466684,0.00064088125,0.003795226,0.00002145566,0.000083867104,0.00032090457,0.000017482047,0.00002738955,0.0008012159,0.9942689,0.000011565368],"about_ca_topic_score_codex":0.38084498,"about_ca_topic_score_gemma":0.5826593,"teacher_disagreement_score":0.61915505,"about_ca_system_score_codex":0.011683326,"about_ca_system_score_gemma":0.03667747,"threshold_uncertainty_score":0.75725645},"labels":[],"label_agreement":null},{"id":"W4282833929","doi":"10.14324/fej.05.1.05","title":"A decolonising approach to genre cinema studies","year":2022,"lang":"en","type":"article","venue":"Film Education Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Emily Carr University of Art and Design; University of British Columbia","funders":"","keywords":"Movie theater; Hollywood; Conversation; Sociology; Film genre; Film studies; Film theory; Carr; Media studies; Visual arts; Art; Literature; Art history","score_opus":0.0715934016183874,"score_gpt":0.2948112459291808,"score_spread":0.2232178443107934,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4282833929","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10755811,0.014864939,0.25272048,0.032400936,0.0013900152,0.00051328406,0.0001276525,0.00022251488,0.59020215],"genre_scores_gemma":[0.81217515,0.010876097,0.094004385,0.0040527256,0.0008790215,0.0009405904,0.000105412626,0.00036296516,0.07660366],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99532026,0.0035472075,0.000107443375,0.00043631418,0.00039893147,0.0001898353],"domain_scores_gemma":[0.99128765,0.005931414,0.00048308776,0.0009980989,0.0008160624,0.00048371125],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007222233,0.0004460714,0.00040723037,0.003788496,0.0039709513,0.0067258524,0.0016382344,0.001134812,0.0066218446],"category_scores_gemma":[0.009471329,0.00026511654,0.00035369548,0.0017060903,0.016283609,0.0048473184,0.0049221627,0.0033357844,0.00066502346],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012387078,0.000063335065,0.0013201012,0.000201956,0.0000070767887,0.00010282238,0.08349006,0.0002343372,0.0007738975,0.85956323,0.003226077,0.051004883],"study_design_scores_gemma":[0.000028433695,0.00007606444,0.0028165942,0.00089141005,0.000013521501,0.00039459474,0.042678222,0.0019246341,0.0010387732,0.28795666,0.6621571,0.000024058108],"about_ca_topic_score_codex":0.004607645,"about_ca_topic_score_gemma":0.0093060555,"teacher_disagreement_score":0.007222233,"about_ca_system_score_codex":0.006891942,"about_ca_system_score_gemma":0.0039268853,"threshold_uncertainty_score":0.05000472},"labels":[],"label_agreement":null},{"id":"W4283069969","doi":"10.1057/s41272-022-00392-9","title":"Revenue implications of celebrities on Broadway theatre","year":2022,"lang":"en","type":"article","venue":"Journal of Revenue and Pricing Management","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Revenue management; Yield management; Revenue; Revenue model; Salient; Entertainment; Advertising; Dynamic pricing; Revenue assurance; Business; Business process management; Demand management; Marketing; Economics; Art; Computer science; Finance","score_opus":0.022585486263199693,"score_gpt":0.2210996681748182,"score_spread":0.1985141819116185,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4283069969","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.81571704,0.0004737668,0.00028364293,0.004566167,0.00015898459,0.000020294558,0.00025397743,0.00001606781,0.17851001],"genre_scores_gemma":[0.9958055,0.0001236819,0.00002304873,0.0000982126,0.000082035214,0.000001906041,0.000048341728,0.000008711885,0.0038085685],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.99900657,0.00035089333,0.000022150874,0.000061044804,0.00018432281,0.0003749995],"domain_scores_gemma":[0.9923143,0.0031121715,0.0011257144,0.00032459985,0.0014631693,0.0016600695],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012980934,0.00019795266,0.000285887,0.00078086404,0.0020621773,0.006355245,0.000814627,0.0010200712,0.033903006],"category_scores_gemma":[0.013235882,0.00017200004,0.0002938322,0.0008581239,0.0015818208,0.0026311884,0.0022071283,0.0020402933,0.001663431],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0065197987,0.004947739,0.24107996,0.0004073654,0.00030069126,0.005792826,0.023481272,0.008230341,0.006109779,0.49286032,0.08446677,0.12580313],"study_design_scores_gemma":[0.00034566116,0.0010596293,0.5742705,0.0006467995,0.00039514765,0.0016057356,0.16038358,0.0145390695,0.0043112054,0.1075457,0.13465363,0.00024332156],"about_ca_topic_score_codex":0.01006147,"about_ca_topic_score_gemma":0.015335554,"teacher_disagreement_score":0.033903006,"about_ca_system_score_codex":0.0022729111,"about_ca_system_score_gemma":0.0006741911,"threshold_uncertainty_score":0.11341685},"labels":[],"label_agreement":null},{"id":"W4283326837","doi":"10.32920/ifmj.v2i3.1505","title":"\"Walk in your own shoes!\"","year":2022,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Narrative; Gaze; Aesthetics; Empathy; Sociology; Transformative learning; Storytelling; Social psychology; Psychology; Epistemology; Art","score_opus":0.03406019889493109,"score_gpt":0.24706957313995928,"score_spread":0.2130093742450282,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4283326837","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17516239,0.008446268,0.0594934,0.06947705,0.01112073,0.00021216049,0.00056172215,0.0008136457,0.6747127],"genre_scores_gemma":[0.6684412,0.0059235683,0.014217197,0.009588116,0.0011993898,0.00021477866,0.00036130653,0.00058272475,0.29947177],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99881065,0.0007824933,0.000024955214,0.00010202893,0.00016571008,0.00011412203],"domain_scores_gemma":[0.99843293,0.00089114864,0.00014619085,0.00015189707,0.00013386422,0.00024398827],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011487171,0.0006928711,0.00020897533,0.0005107336,0.0042213406,0.0055760345,0.0008121236,0.0016371764,0.019812938],"category_scores_gemma":[0.004331615,0.00015689497,0.00035308496,0.00041014398,0.005924172,0.0072096586,0.0046509183,0.0029563284,0.0040731872],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000086300664,0.00007194575,0.0019265078,0.0004958026,0.000013782134,0.0010292538,0.48562053,0.00022840276,0.002415318,0.31799027,0.10721597,0.0829059],"study_design_scores_gemma":[0.0000036743795,0.000041916435,0.00055500586,0.0002461262,0.000005883666,0.00079089124,0.12291141,0.00016042445,0.00071028044,0.008103241,0.86644995,0.000021254476],"about_ca_topic_score_codex":0.0014655594,"about_ca_topic_score_gemma":0.0032484916,"teacher_disagreement_score":0.019812938,"about_ca_system_score_codex":0.00086731015,"about_ca_system_score_gemma":0.00071506784,"threshold_uncertainty_score":0.0662809},"labels":[],"label_agreement":null},{"id":"W4283326892","doi":"10.32920/ifmj.v2i3.1635","title":"Political Engagement in Carne y Arena by Alejandro González Iñárritu","year":2022,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Film director; Refugee; Visitor pattern; Humanity; Reality television; Nothing; Clothing; Politics; Entertainment; Immigration; Aesthetics; Consciousness; Sociology; Visual arts; Media studies; Art; Psychology; Political science; Movie theater; Computer science; Law","score_opus":0.026658996115271432,"score_gpt":0.24772472775551146,"score_spread":0.22106573164024004,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4283326892","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3475343,0.031079348,0.0012806026,0.08716367,0.0053304024,0.00013745052,0.00022470915,0.00027394254,0.52697545],"genre_scores_gemma":[0.7965103,0.011061165,0.0011253647,0.0062157875,0.00090745697,0.000149428,0.0001661381,0.00027355124,0.1835909],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992329,0.00040321072,0.0000075178673,0.000070665774,0.00008933382,0.00019639549],"domain_scores_gemma":[0.9996152,0.00010788725,0.000047911395,0.000025627032,0.000036884525,0.00016640425],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008991786,0.00048892485,0.00025413436,0.0004039006,0.009063264,0.004857556,0.0006543339,0.0014647563,0.010773265],"category_scores_gemma":[0.001232425,0.00025974898,0.00033648944,0.00044968308,0.0047192043,0.0018866586,0.005550267,0.0034756998,0.0007796948],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00043966618,0.00034199416,0.0039069722,0.0007452879,0.00003655559,0.009505919,0.41006288,0.00041595567,0.0034886117,0.112517305,0.3973391,0.061199717],"study_design_scores_gemma":[0.000011072722,0.00005572301,0.0023647018,0.00025134673,0.000007810347,0.0006622335,0.09707411,0.00005622039,0.0002771242,0.000659714,0.89855975,0.000020261705],"about_ca_topic_score_codex":0.017777551,"about_ca_topic_score_gemma":0.052504107,"teacher_disagreement_score":0.017777551,"about_ca_system_score_codex":0.0022827878,"about_ca_system_score_gemma":0.0020574322,"threshold_uncertainty_score":0.036040187},"labels":[],"label_agreement":null},{"id":"W4283332494","doi":"10.1093/oso/9780197514511.003.0015","title":"Requiem for a Two-Act","year":2022,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Possession (linguistics); Demise; Entertainment; Performance art; Law; Art; History; Media studies; Political science; Sociology; Art history","score_opus":0.05260562590136236,"score_gpt":0.20966446224059887,"score_spread":0.1570588363392365,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4283332494","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008690574,0.0011655359,0.0028523027,0.011306306,0.0024595351,0.000074846226,0.000114632785,0.00026243535,0.98089546],"genre_scores_gemma":[0.011426552,0.00043518023,0.0012969997,0.004195948,0.0003348948,0.00006670116,0.00006335444,0.00018222159,0.98199815],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980888,0.0003841838,0.00007247723,0.00040339754,0.00073375955,0.00031743397],"domain_scores_gemma":[0.998825,0.000245313,0.000060278075,0.00026806624,0.00028954484,0.00031174143],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015038255,0.00086342514,0.00048613327,0.0008815558,0.006099377,0.0067225727,0.0010622623,0.0050849537,0.18248725],"category_scores_gemma":[0.004750806,0.0005305533,0.00064038346,0.0005226563,0.00496059,0.008554403,0.005640791,0.0066776713,0.10206804],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024196168,0.00004420493,0.00018228494,0.000054334276,0.0000035009705,0.000152344,0.0016671881,0.00005528479,0.00017743072,0.5988725,0.35799548,0.040771265],"study_design_scores_gemma":[0.0000027457604,0.0000081698545,0.00009793038,0.000044513574,0.0000011538566,0.00009760805,0.0002798509,0.00004149454,0.00006787956,0.012463692,0.9868897,0.000005241368],"about_ca_topic_score_codex":0.00610025,"about_ca_topic_score_gemma":0.011425478,"teacher_disagreement_score":0.18248725,"about_ca_system_score_codex":0.0024580588,"about_ca_system_score_gemma":0.0031835216,"threshold_uncertainty_score":0.61048067},"labels":[],"label_agreement":null},{"id":"W4283400055","doi":"10.32920/ifmj.v2i3.1528","title":"Origins of the Twenty-First Century","year":2022,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Craft; Parallels; Digitization; Filmmaking; Reflexivity; Construct (python library); Aesthetics; Mode (computer interface); Sociology; Expression (computer science); Visual arts; Movie theater; Art; Computer science; Social science; Engineering; Human–computer interaction","score_opus":0.018315680618568767,"score_gpt":0.22391917634637432,"score_spread":0.20560349572780556,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4283400055","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07559349,0.028443448,0.010642978,0.021390418,0.0018742604,0.000087223445,0.00017966297,0.00014726813,0.8616413],"genre_scores_gemma":[0.86103743,0.00878707,0.003176994,0.0013778902,0.0009851056,0.000105116465,0.000098351455,0.00013028903,0.12430177],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976793,0.00093730923,0.00013337402,0.00053830555,0.00045176258,0.00026013222],"domain_scores_gemma":[0.99623054,0.0017985943,0.00033068657,0.00037025727,0.0007387511,0.00053117686],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029373653,0.00054113485,0.000341277,0.0030448574,0.0044536726,0.010503746,0.0008662971,0.0016802481,0.007865715],"category_scores_gemma":[0.008717052,0.00027863946,0.00022023478,0.0014500873,0.022869276,0.0052799964,0.0032163404,0.0024820145,0.0010117857],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028015334,0.000016409305,0.00038696316,0.000074320415,0.00000272563,0.00013373235,0.032287028,0.000078492834,0.00015732463,0.9502873,0.0028742938,0.013673294],"study_design_scores_gemma":[0.000016323354,0.000039974206,0.0013919636,0.00034120562,0.0000043370387,0.0002973316,0.0056899856,0.00019611268,0.00043195498,0.122841135,0.86873,0.000019667841],"about_ca_topic_score_codex":0.0051636486,"about_ca_topic_score_gemma":0.0039306777,"teacher_disagreement_score":0.010503746,"about_ca_system_score_codex":0.00857262,"about_ca_system_score_gemma":0.0026522987,"threshold_uncertainty_score":0.062198997},"labels":[],"label_agreement":null},{"id":"W4283580176","doi":"10.54103/2036-461x/16883","title":"Points of Anchorage: Exo-Centric Images and the Perceptual Relativity of Camera Movement","year":2022,"lang":"en","type":"article","venue":"Cinema & cie/Cinéma & Cie","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Movement (music); Illusion; Filmmaking; Artificial intelligence; Computer vision; Perception; Computer science; Communication; Art; Psychology; Aesthetics; Visual arts; Cognitive psychology; Movie theater","score_opus":0.01737800108732731,"score_gpt":0.21003122857844528,"score_spread":0.19265322749111796,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4283580176","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3648702,0.0059538963,0.14774561,0.010227181,0.0010975027,0.00008508927,0.00014337803,0.00019085928,0.46968633],"genre_scores_gemma":[0.9895298,0.0007609526,0.006688836,0.00014030024,0.00020273296,0.00002095724,0.000025597667,0.000044626187,0.0025862148],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9985398,0.0008132246,0.000047574984,0.00026009648,0.00023117717,0.000108063046],"domain_scores_gemma":[0.99603254,0.0017703831,0.0009648253,0.00070790807,0.0003739161,0.00015045506],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017177705,0.00043924694,0.0002477787,0.0014505942,0.0013512856,0.0056298277,0.00073812,0.0013698492,0.0038701629],"category_scores_gemma":[0.012824485,0.00032782488,0.00029076205,0.0009785434,0.010409179,0.010392669,0.003865188,0.0022980976,0.00026976244],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000096502794,0.000014647105,0.001636996,0.00012850246,0.000016852156,0.0002782658,0.036210768,0.0004136636,0.0025954458,0.93517774,0.0012567434,0.022173883],"study_design_scores_gemma":[0.0000802405,0.00031207578,0.017748032,0.0005825169,0.00011293127,0.001512343,0.06293985,0.003805104,0.0045617744,0.78677565,0.1214597,0.00010976135],"about_ca_topic_score_codex":0.0009381848,"about_ca_topic_score_gemma":0.00049214106,"teacher_disagreement_score":0.0056298277,"about_ca_system_score_codex":0.00095822517,"about_ca_system_score_gemma":0.00024838492,"threshold_uncertainty_score":0.012946963},"labels":[],"label_agreement":null},{"id":"W4283753763","doi":"10.1515/9781474485241-fm","title":"Frontmatter","year":2022,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Queen's University; Queen's University Belfast; University of Glasgow; Falmouth University","keywords":"Medicine","score_opus":0.03685992031088596,"score_gpt":0.18363260605700937,"score_spread":0.1467726857461234,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4283753763","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00024782697,0.0009583341,0.0006325427,0.0013568522,0.002172724,0.00003065973,0.0009045142,0.00090458366,0.992792],"genre_scores_gemma":[0.0006424802,0.00023949465,0.00015129363,0.00030882593,0.00016440351,0.000008175634,0.00028367963,0.00021048714,0.9979912],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996551,0.000033129538,0.000013145048,0.00008563445,0.00016952904,0.000043479366],"domain_scores_gemma":[0.9994118,0.00011511542,0.000029304041,0.00009591323,0.00020010729,0.00014771798],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003397603,0.0006030972,0.00058259896,0.0014920529,0.0014256136,0.005026749,0.001112495,0.0018748018,0.88206524],"category_scores_gemma":[0.001677514,0.00035031568,0.00040971136,0.0011639905,0.000465206,0.003325883,0.0023382695,0.0017179822,0.79748183],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017401386,0.000015698566,0.00006143383,0.00007521842,0.0000012512937,0.000059347785,0.00007423462,0.000024739506,0.00022577484,0.008193565,0.87055176,0.120699644],"study_design_scores_gemma":[0.0000017157578,0.000004570679,0.00007248187,0.00002745202,4.4584402e-7,0.00004027919,0.000027707147,0.000021913518,0.000055906814,0.00063587754,0.9991098,0.0000016830472],"about_ca_topic_score_codex":0.001546647,"about_ca_topic_score_gemma":0.0050222506,"teacher_disagreement_score":0.11793476,"about_ca_system_score_codex":0.00095538923,"about_ca_system_score_gemma":0.00055005454,"threshold_uncertainty_score":0.16821963},"labels":[],"label_agreement":null},{"id":"W4283761672","doi":"10.22409/poiesis.v23i40.50393","title":"“Belinografização”, Telecinema e Videocinema","year":2022,"lang":"pt","type":"article","venue":"Revista Poiésis","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Humanities; Art; Movie theater; Art history","score_opus":0.03222641002452268,"score_gpt":0.23722796720879263,"score_spread":0.20500155718426996,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4283761672","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06871007,0.02748669,0.0050604204,0.013169866,0.00073590415,0.000037324924,0.000052949636,0.000054446,0.8846922],"genre_scores_gemma":[0.91286016,0.010415763,0.0009907357,0.001064059,0.00054259785,0.00003557697,0.000029259178,0.000042467236,0.07401941],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99898,0.00055966474,0.000025107152,0.00015970747,0.00013956448,0.00013596131],"domain_scores_gemma":[0.9988386,0.00069171714,0.00014306254,0.00008966415,0.000108805,0.00012820422],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010781654,0.0003972252,0.00019904776,0.0013987202,0.003495321,0.009089124,0.0005702614,0.0014949327,0.007862039],"category_scores_gemma":[0.0024390973,0.00020712316,0.00014050235,0.0014853496,0.017728874,0.0055004614,0.0027517958,0.0021566644,0.0008704786],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002537243,0.0000115115545,0.0005267319,0.00012490927,0.0000025815048,0.00012268245,0.034663215,0.00006717759,0.00037650813,0.945918,0.0044701304,0.013691212],"study_design_scores_gemma":[0.000018495186,0.000072611154,0.0050358726,0.0006476979,0.000016668264,0.000468456,0.02651123,0.00038332,0.00068980426,0.09158792,0.8745433,0.000024619536],"about_ca_topic_score_codex":0.0072511393,"about_ca_topic_score_gemma":0.008192791,"teacher_disagreement_score":0.009089124,"about_ca_system_score_codex":0.0044524865,"about_ca_system_score_gemma":0.0019230162,"threshold_uncertainty_score":0.03230518},"labels":[],"label_agreement":null},{"id":"W4283768910","doi":"10.1515/9781474460828-fm","title":"Frontmatter","year":2022,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Queen's University; Queen's University Belfast; University of Glasgow; Falmouth University","keywords":"Computer science","score_opus":0.03685992031088596,"score_gpt":0.18363260605700937,"score_spread":0.1467726857461234,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4283768910","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00024782697,0.0009583341,0.0006325427,0.0013568522,0.002172724,0.00003065973,0.0009045142,0.00090458366,0.992792],"genre_scores_gemma":[0.0006424802,0.00023949465,0.00015129363,0.00030882593,0.00016440351,0.000008175634,0.00028367963,0.00021048714,0.9979912],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996551,0.000033129538,0.000013145048,0.00008563445,0.00016952904,0.000043479366],"domain_scores_gemma":[0.9994118,0.00011511542,0.000029304041,0.00009591323,0.00020010729,0.00014771798],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003397603,0.0006030972,0.00058259896,0.0014920529,0.0014256136,0.005026749,0.001112495,0.0018748018,0.88206524],"category_scores_gemma":[0.001677514,0.00035031568,0.00040971136,0.0011639905,0.000465206,0.003325883,0.0023382695,0.0017179822,0.79748183],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017401386,0.000015698566,0.00006143383,0.00007521842,0.0000012512937,0.000059347785,0.00007423462,0.000024739506,0.00022577484,0.008193565,0.87055176,0.120699644],"study_design_scores_gemma":[0.0000017157578,0.000004570679,0.00007248187,0.00002745202,4.4584402e-7,0.00004027919,0.000027707147,0.000021913518,0.000055906814,0.00063587754,0.9991098,0.0000016830472],"about_ca_topic_score_codex":0.001546647,"about_ca_topic_score_gemma":0.0050222506,"teacher_disagreement_score":0.11793476,"about_ca_system_score_codex":0.00095538923,"about_ca_system_score_gemma":0.00055005454,"threshold_uncertainty_score":0.16821963},"labels":[],"label_agreement":null},{"id":"W4285023115","doi":"10.22215/etd/2022-14985","title":"Don't Just Look, Listen: How Bernard Herrmann Composed a Sonic Gaze in Hitchcock's Vertigo (1958) and Psycho (1960)","year":2022,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"University of Victoria","keywords":"Gaze; Criticism; Active listening; Narrative; Representation (politics); Art; Male gaze; Perspective (graphical); Psychology; Aesthetics; Visual arts; Psychoanalysis; Literature; Communication","score_opus":0.03531099665027356,"score_gpt":0.25659998386613303,"score_spread":0.22128898721585946,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4285023115","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07172184,0.06070364,0.011401404,0.27456698,0.005388476,0.000065348315,0.00012867889,0.000098832825,0.57592475],"genre_scores_gemma":[0.7910519,0.014687972,0.0025048323,0.027290616,0.001680569,0.00007696088,0.00004237875,0.0003224096,0.16234231],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9971163,0.0022002836,0.000029818068,0.00022397532,0.00026506366,0.00016455917],"domain_scores_gemma":[0.9977702,0.0017132574,0.0000881517,0.000058590907,0.0002233745,0.00014644256],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030353768,0.0005039282,0.00027212503,0.0010763839,0.008835142,0.007944771,0.0006989128,0.0035674516,0.004850236],"category_scores_gemma":[0.0078124655,0.00033612005,0.00020064037,0.00076135487,0.017902674,0.006280029,0.0030977996,0.004895177,0.0010114628],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000060658378,0.00002107308,0.0007408459,0.00010267844,0.000010159893,0.00057602464,0.3821571,0.00013818302,0.0004972514,0.4863726,0.10276122,0.026562333],"study_design_scores_gemma":[0.000014730202,0.000030533185,0.0013388608,0.00056761666,0.000008855479,0.0004994189,0.12699644,0.00021969034,0.0003875345,0.07825181,0.79164904,0.00003543263],"about_ca_topic_score_codex":0.026593892,"about_ca_topic_score_gemma":0.032292385,"teacher_disagreement_score":0.026593892,"about_ca_system_score_codex":0.005053298,"about_ca_system_score_gemma":0.0014901579,"threshold_uncertainty_score":0.0528782},"labels":[],"label_agreement":null},{"id":"W4285057206","doi":"10.1515/9781474449441-002","title":"Notes on Contributors","year":2019,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Saskatchewan","funders":"","keywords":"History","score_opus":0.03701061054520018,"score_gpt":0.19058592930531226,"score_spread":0.15357531876011207,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4285057206","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00033850412,0.004435578,0.0005523191,0.017688451,0.07227468,0.00018070624,0.0028559396,0.00029790183,0.9013759],"genre_scores_gemma":[0.0008216824,0.00087552215,0.00011172823,0.0012417048,0.002475584,0.000035398334,0.00035175847,0.00008017285,0.9940065],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991098,0.00016293857,0.00004969421,0.00012332815,0.00042977298,0.00012452703],"domain_scores_gemma":[0.9969909,0.0006443186,0.000095042284,0.0002501217,0.0016227444,0.0003966998],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0011286079,0.00064476224,0.00074993586,0.0024420135,0.0033019863,0.003763409,0.0014302684,0.0019891227,0.49640763],"category_scores_gemma":[0.0065233214,0.00023482105,0.0003532503,0.0026797913,0.000499021,0.0023028387,0.0017831296,0.0018722543,0.34762576],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005357825,0.0000062515787,0.000019209703,0.00002641639,3.690854e-7,0.000011575253,0.00004465095,0.000009497791,0.000024862973,0.0035149357,0.9837954,0.012541386],"study_design_scores_gemma":[8.789504e-7,0.0000014841253,0.000058299436,0.00004179666,4.6650135e-7,0.00000657596,0.000052866722,0.0000075766475,0.00001931568,0.00039879608,0.99941075,0.0000012646485],"about_ca_topic_score_codex":0.0098721245,"about_ca_topic_score_gemma":0.019902468,"teacher_disagreement_score":0.5035924,"about_ca_system_score_codex":0.0023186489,"about_ca_system_score_gemma":0.0022396233,"threshold_uncertainty_score":0.7183134},"labels":[],"label_agreement":null},{"id":"W4285099072","doi":"10.1177/17468477221102498","title":"Virtual Production and the Transformation of Cameras Mechanical, Virtual, and Actual","year":2022,"lang":"en","type":"article","venue":"Animation","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Computer science; Computer graphics (images); Virtual reality; Virtualization; Production (economics); Shot (pellet); Transformation (genetics); Digital transformation; Point (geometry); Human–computer interaction; Multimedia; World Wide Web; Mathematics; Cloud computing","score_opus":0.021743843041413555,"score_gpt":0.21339666106547217,"score_spread":0.19165281802405862,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4285099072","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11922295,0.013524811,0.06874908,0.015659563,0.00060436846,0.00005164635,0.00009860127,0.00007004758,0.78201896],"genre_scores_gemma":[0.98574334,0.0022753796,0.0034939034,0.00036648157,0.00022109467,0.000019781608,0.000021829503,0.000024627272,0.007833435],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9975151,0.0016094154,0.000051711217,0.00022587867,0.0003645871,0.00023332615],"domain_scores_gemma":[0.9970402,0.0017238917,0.0005488466,0.00030594648,0.00020235215,0.0001788018],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0019312745,0.00035850963,0.00018676795,0.0011606606,0.0014184201,0.0071131024,0.00053282676,0.001068264,0.007986536],"category_scores_gemma":[0.007963939,0.0002040416,0.00019754916,0.0011391942,0.013544134,0.0065476964,0.0032147358,0.0017487761,0.00038267806],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012490119,0.000006706219,0.0005187255,0.000019001815,0.0000024856972,0.00006275645,0.0019483223,0.00036613722,0.00009864006,0.9877593,0.0006357225,0.008569729],"study_design_scores_gemma":[0.000022400245,0.000074871925,0.0073166373,0.00034814776,0.000013648524,0.0005914235,0.008255863,0.0029576789,0.00075799914,0.8360729,0.14354733,0.00004109441],"about_ca_topic_score_codex":0.0034231239,"about_ca_topic_score_gemma":0.0018579033,"teacher_disagreement_score":0.9985816,"about_ca_system_score_codex":0.0026667274,"about_ca_system_score_gemma":0.0008555684,"threshold_uncertainty_score":0.026717663},"labels":[],"label_agreement":null},{"id":"W4285448864","doi":"10.1515/9781474480437-fm","title":"Frontmatter","year":2021,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Queen's University; Queen's University Belfast; University of Glasgow; Falmouth University","keywords":"Computer science","score_opus":0.03778598686902492,"score_gpt":0.185507752889268,"score_spread":0.14772176602024306,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4285448864","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00048993615,0.0014677108,0.00078327116,0.0017429224,0.0022231597,0.000034939632,0.0009632673,0.00091694406,0.99137795],"genre_scores_gemma":[0.0014731187,0.00045953746,0.00022001441,0.00035711576,0.00018343348,0.000010159915,0.00030515197,0.00023969408,0.99675167],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967253,0.00003506507,0.000015271055,0.00008622614,0.00014666986,0.000044235145],"domain_scores_gemma":[0.99946326,0.000110839785,0.000032187323,0.00008966274,0.00015385938,0.00015021973],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032696401,0.00057919254,0.0005579213,0.0014689673,0.0012178876,0.005168533,0.0009819391,0.001606449,0.8456866],"category_scores_gemma":[0.0017420995,0.00032837008,0.00035033337,0.0011988619,0.00049579085,0.0034773087,0.0025513165,0.001591854,0.6884954],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002883758,0.000020730358,0.00012169613,0.00012297726,0.0000018409894,0.00011836752,0.00017540947,0.000036593578,0.0003725802,0.0117052505,0.84103906,0.14625655],"study_design_scores_gemma":[0.0000022848349,0.0000058587066,0.000108147426,0.00003219509,5.723435e-7,0.000061568964,0.000049427395,0.000026344287,0.00006291925,0.0006065338,0.9990421,0.0000020480988],"about_ca_topic_score_codex":0.0013535918,"about_ca_topic_score_gemma":0.003990968,"teacher_disagreement_score":0.15431339,"about_ca_system_score_codex":0.0009435581,"about_ca_system_score_gemma":0.0005162457,"threshold_uncertainty_score":0.22010934},"labels":[],"label_agreement":null},{"id":"W4285486717","doi":"10.1515/9781474437257-fm","title":"Frontmatter","year":2021,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Queen's University; Queen's University Belfast; University of Glasgow; Falmouth University","keywords":"Political science","score_opus":0.03778598686902492,"score_gpt":0.185507752889268,"score_spread":0.14772176602024306,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4285486717","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004762482,0.0013744821,0.00077934045,0.0016799242,0.0021994084,0.00003564545,0.0009239557,0.00094016275,0.99159086],"genre_scores_gemma":[0.0014059489,0.00042977417,0.00021507496,0.0003584137,0.00017857585,0.0000100403195,0.0002908316,0.00023923408,0.9968721],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99966013,0.000035712772,0.000015732221,0.000089784895,0.00015286957,0.000045789682],"domain_scores_gemma":[0.99945194,0.00011118218,0.000032764558,0.000090994516,0.000160035,0.00015313523],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00033364468,0.0005928992,0.0005682189,0.001488673,0.001235389,0.0052327747,0.0009969743,0.0016220903,0.8502511],"category_scores_gemma":[0.001752089,0.00033343068,0.0003631851,0.0011854961,0.0004939479,0.0034964918,0.0025501943,0.0016199858,0.7000339],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028981765,0.000021840979,0.00012415531,0.00012034233,0.0000018516558,0.00011718188,0.00016932868,0.000036701007,0.00037403678,0.011492498,0.83732873,0.1501844],"study_design_scores_gemma":[0.0000023024327,0.000006037418,0.00010737074,0.000031389252,5.792361e-7,0.00006106684,0.000048387337,0.000026872627,0.00006400489,0.0005951356,0.99905473,0.000002090033],"about_ca_topic_score_codex":0.0013645029,"about_ca_topic_score_gemma":0.0040357905,"teacher_disagreement_score":0.14974892,"about_ca_system_score_codex":0.0009621823,"about_ca_system_score_gemma":0.00052532414,"threshold_uncertainty_score":0.21359861},"labels":[],"label_agreement":null},{"id":"W4285676488","doi":"10.29173/crossings76","title":"An Affinity for Wagner, Michelangelo, and Sadistic Torture: The Implicit Homosexuality of Captain Munsey in Jules Dassin's Brute Force","year":2022,"lang":"en","type":"article","venue":"Crossings An Undergraduate Arts Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Homosexuality; Movie theater; Torture; Film studies; Narrative; Sociology; Literature; Art; History; Aesthetics; Gender studies; Law; Human rights; Political science","score_opus":0.045223635804343625,"score_gpt":0.2842383178948785,"score_spread":0.2390146820905349,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4285676488","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6546829,0.006656511,0.000965845,0.068500675,0.0007864709,0.000023564959,0.00003081674,0.000032267588,0.26832107],"genre_scores_gemma":[0.9823747,0.00156422,0.00015050043,0.0030707873,0.00016340082,0.000009948672,0.00000896213,0.000026745032,0.012630737],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983594,0.0011061715,0.000022303102,0.00012707761,0.00019139497,0.00019366789],"domain_scores_gemma":[0.9984498,0.0008341615,0.0002495718,0.000075262644,0.00019105193,0.00020017622],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001610927,0.00035619215,0.00023832118,0.0008631784,0.012714499,0.008227646,0.0007522319,0.0016704617,0.0029213072],"category_scores_gemma":[0.0038935205,0.00032970106,0.00014656497,0.00047582528,0.025071798,0.0058154915,0.0042947074,0.0045953225,0.00022320557],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022735496,0.000020174388,0.000998131,0.000047412916,0.0000031686975,0.00047122905,0.92849123,0.000013085526,0.00038049454,0.061505977,0.004245758,0.0038005903],"study_design_scores_gemma":[0.000004582477,0.000024085823,0.0034203879,0.00021476552,0.000010047687,0.0005775021,0.8930266,0.000095618794,0.00033535328,0.004988862,0.09728433,0.000017782058],"about_ca_topic_score_codex":0.03515904,"about_ca_topic_score_gemma":0.08792713,"teacher_disagreement_score":0.03515904,"about_ca_system_score_codex":0.004846794,"about_ca_system_score_gemma":0.0016379872,"threshold_uncertainty_score":0.0699088},"labels":[],"label_agreement":null},{"id":"W4287333262","doi":"10.5281/zenodo.4489866","title":"ENG Sub!! — The Little Things (2021) FuLL Movie Online wATCH","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Full color; Advertising; Internet privacy; Media studies; Computer science; Sociology; Business; Physics; Optics","score_opus":0.04383027180477142,"score_gpt":0.2220935574287422,"score_spread":0.17826328562397079,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287333262","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000601873,0.00015353448,0.00074845465,0.00042018865,0.0009873827,0.00018778867,0.007422683,0.0064345878,0.9830435],"genre_scores_gemma":[0.0032103518,0.00027831216,0.0008433045,0.0005545565,0.0003280657,0.00010943552,0.00671736,0.005051079,0.9829076],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998517,0.000009846294,0.0000053068275,0.00002496553,0.00006457577,0.00004344845],"domain_scores_gemma":[0.9992828,0.000052798434,0.000016534843,0.00008198494,0.00026571885,0.0003001185],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021234971,0.00083325297,0.00041522353,0.000927184,0.0012471516,0.003320775,0.00085423206,0.00095824804,0.9100555],"category_scores_gemma":[0.0013315686,0.0004273914,0.0005336102,0.00062990776,0.0002472503,0.0034914115,0.0026879266,0.0012093753,0.8222403],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025530033,0.000011311233,0.0000448838,0.000058769132,0.0000012769241,0.000024480052,0.000036399175,0.000012423267,0.00025804865,0.00050901086,0.9834155,0.01560244],"study_design_scores_gemma":[0.000012956123,0.000013912635,0.00057760254,0.000054080465,0.0000022235645,0.00004728643,0.00009032699,0.000062410225,0.00022146107,0.00021856476,0.998691,0.000008081804],"about_ca_topic_score_codex":0.004240387,"about_ca_topic_score_gemma":0.011537667,"teacher_disagreement_score":0.08994448,"about_ca_system_score_codex":0.00045969003,"about_ca_system_score_gemma":0.00036190992,"threshold_uncertainty_score":0.12829483},"labels":[],"label_agreement":null},{"id":"W4287367365","doi":"10.5281/zenodo.4465788","title":"!Regarder~4kHD Crash (1996) Film-complet ligena mp4 grauits [1080p] cdh","year":2021,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Crash; Art; Computer science; Operating system","score_opus":0.05916345999063655,"score_gpt":0.2351599818803401,"score_spread":0.17599652188970355,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287367365","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014144976,0.0005116592,0.0013938826,0.00168042,0.002088803,0.00025363025,0.014528254,0.010880604,0.96724844],"genre_scores_gemma":[0.00359947,0.0003664351,0.0006995218,0.00038348636,0.0002086497,0.00008886515,0.006181632,0.003089104,0.9853829],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99975854,0.000015300227,0.0000076108863,0.000029974964,0.000126718,0.00006185026],"domain_scores_gemma":[0.9991959,0.0000608467,0.000020741392,0.00010044418,0.0004110942,0.00021103889],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027315778,0.0008611948,0.00035433332,0.0010605807,0.0023487636,0.003495274,0.0011669908,0.0011951477,0.8823715],"category_scores_gemma":[0.0015376419,0.0005799403,0.00040488792,0.0008874502,0.00029534262,0.0033014338,0.0021589787,0.0016802154,0.71277124],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028036313,0.000007858394,0.000076890705,0.00004303272,0.0000010868857,0.0000379665,0.000052477077,0.0000123791415,0.00027699338,0.0005965577,0.9851003,0.013766367],"study_design_scores_gemma":[0.000009662012,0.000009964622,0.00056901755,0.00003436744,0.0000019174358,0.00006181787,0.00012320653,0.000047353213,0.00037757904,0.00012641212,0.99863094,0.000007693412],"about_ca_topic_score_codex":0.019921232,"about_ca_topic_score_gemma":0.049392983,"teacher_disagreement_score":0.117628515,"about_ca_system_score_codex":0.0011705591,"about_ca_system_score_gemma":0.0007024542,"threshold_uncertainty_score":0.16778278},"labels":[],"label_agreement":null},{"id":"W4287602169","doi":"10.5281/zenodo.4262021","title":"REGARDER''-USS Christmas (2020)]EN STREAMING FILM FR COMPLET que","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.04523514466748648,"score_gpt":0.2245737037908047,"score_spread":0.17933855912331823,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287602169","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010915464,0.0004854182,0.0007619034,0.0017890617,0.0034327894,0.00017111808,0.0098436875,0.0035582318,0.9788663],"genre_scores_gemma":[0.0056571173,0.00060497754,0.0009794493,0.0008242868,0.00053101016,0.00007551816,0.0047223214,0.0021715544,0.98443377],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99984837,0.000012573076,0.0000051629777,0.000021388769,0.00006703375,0.00004552405],"domain_scores_gemma":[0.9995153,0.00005122126,0.000018088276,0.000039205308,0.00017658186,0.00019959395],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00028522653,0.00045014368,0.00023019352,0.00053679873,0.0015056776,0.0027449538,0.0005170812,0.00074243813,0.8020786],"category_scores_gemma":[0.0012652436,0.00028578538,0.00032360584,0.00053606834,0.00021519343,0.002433665,0.0014171373,0.0014797272,0.56768394],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020233421,0.0000063402626,0.00006586625,0.00003972415,6.97011e-7,0.000034700864,0.00010216839,0.000006228622,0.00023068355,0.0006750375,0.983293,0.0155252265],"study_design_scores_gemma":[0.0000063477723,0.000005673439,0.0005675038,0.00003843909,9.698347e-7,0.000038590566,0.00012788287,0.000015018408,0.00016435728,0.000082753344,0.9989484,0.000004022564],"about_ca_topic_score_codex":0.012309427,"about_ca_topic_score_gemma":0.04506148,"teacher_disagreement_score":0.1979214,"about_ca_system_score_codex":0.00072187954,"about_ca_system_score_gemma":0.00048253246,"threshold_uncertainty_score":0.28231078},"labels":[],"label_agreement":null},{"id":"W4287602618","doi":"10.5281/zenodo.4261289","title":"[@123MOVIES]!! .HD!! Falling (2020) FULL MOVIE FREE ONLINE STREAMING zgy","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Computer science; Psychology","score_opus":0.061002699338089265,"score_gpt":0.22630458081501464,"score_spread":0.16530188147692537,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287602618","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00037218886,0.00012413721,0.0005415776,0.0003160473,0.00069304334,0.00010400985,0.003909298,0.0049059237,0.9890337],"genre_scores_gemma":[0.0015336897,0.00017640542,0.0005416668,0.00033166294,0.00012590054,0.0000571417,0.003105593,0.0030643344,0.9910636],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998253,0.000011166345,0.00000564003,0.00003070251,0.0000821725,0.000045140234],"domain_scores_gemma":[0.99928564,0.000041083087,0.000014992505,0.000085575935,0.0003329929,0.00023972115],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020355657,0.0008621875,0.00045081336,0.0009834691,0.0020841735,0.0034837953,0.0009847874,0.0011397857,0.9483561],"category_scores_gemma":[0.0012288521,0.00047469133,0.00062137865,0.00089681835,0.00029936022,0.0031113606,0.0028387061,0.001362568,0.89293176],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016762026,0.000011159954,0.00003932393,0.000048556212,0.0000010263559,0.00002094396,0.000037438553,0.00000820182,0.00020728415,0.0005282117,0.9790552,0.020025807],"study_design_scores_gemma":[0.00000682142,0.000008553823,0.00037320363,0.00003867274,0.0000013413483,0.00004482255,0.00006745476,0.00003073642,0.00015807766,0.00016021397,0.9991041,0.0000060427974],"about_ca_topic_score_codex":0.006696615,"about_ca_topic_score_gemma":0.017366182,"teacher_disagreement_score":0.051643908,"about_ca_system_score_codex":0.00066974165,"about_ca_system_score_gemma":0.00042646637,"threshold_uncertainty_score":0.07366377},"labels":[],"label_agreement":null},{"id":"W4287603123","doi":"10.5281/zenodo.4257696","title":"Watch*Ça - Chapitre 2 (2019) Movie Online F U L L Free HD hzz","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Psychology; Art","score_opus":0.065075431973317,"score_gpt":0.22709712813433147,"score_spread":0.16202169616101447,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287603123","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00050404103,0.00033782882,0.0008076093,0.0006666791,0.001750604,0.00013779616,0.00582837,0.0050768675,0.98489016],"genre_scores_gemma":[0.0025242332,0.00035241843,0.0010545622,0.00041997095,0.00028430426,0.00007876186,0.0041549876,0.004146131,0.9869847],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998099,0.000010100368,0.000005268273,0.000034564793,0.0000921421,0.00004805042],"domain_scores_gemma":[0.999236,0.000050622388,0.000017064709,0.00010385009,0.00032170996,0.00027081472],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002166025,0.00075472344,0.00038647823,0.00092880154,0.0020364192,0.0042055952,0.0009740517,0.0011526934,0.9187038],"category_scores_gemma":[0.0013741906,0.0004385785,0.0004892992,0.00078849803,0.00031712037,0.0027204936,0.0026754236,0.0017901261,0.77991414],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012329393,0.0000066775588,0.000030521885,0.000046338188,0.0000010219549,0.000021684455,0.000039851195,0.000014196676,0.00025062897,0.0007220091,0.989749,0.009105707],"study_design_scores_gemma":[0.0000052258897,0.0000048927513,0.00032426667,0.000034063727,0.0000012216234,0.000033484645,0.00008286234,0.0000298441,0.00019878116,0.00017142545,0.9991086,0.0000052797213],"about_ca_topic_score_codex":0.012200349,"about_ca_topic_score_gemma":0.039446052,"teacher_disagreement_score":0.081296206,"about_ca_system_score_codex":0.0011249064,"about_ca_system_score_gemma":0.0007217577,"threshold_uncertainty_score":0.11595911},"labels":[],"label_agreement":null},{"id":"W4287604391","doi":"10.5281/zenodo.4253920","title":"RegardeR*]] Nadia (2020) — Film Complet Streaming VF pqh","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science; Psychology","score_opus":0.05473752066288021,"score_gpt":0.22425908850436546,"score_spread":0.16952156784148525,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287604391","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010970436,0.00044348414,0.0006918855,0.0015052462,0.00339625,0.00020537667,0.013134251,0.0041374005,0.975389],"genre_scores_gemma":[0.00635048,0.00058373704,0.0014163952,0.0007187189,0.00053883874,0.00009645186,0.009687929,0.0029947865,0.97761256],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999796,0.00001548971,0.0000065316904,0.000031293956,0.000095719144,0.00005495844],"domain_scores_gemma":[0.99928916,0.000048291495,0.00001769997,0.00008124875,0.00030822447,0.00025533684],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027276794,0.0005394511,0.00025450412,0.00071656145,0.00175229,0.003817175,0.0007545297,0.00076059374,0.79126173],"category_scores_gemma":[0.0014169755,0.00033398042,0.00040460392,0.0007379952,0.00024489526,0.0023724625,0.0018881075,0.0013383139,0.5296868],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000293482,0.000007135021,0.00010230447,0.00006433632,0.0000014303055,0.00003761741,0.0000996161,0.000011722281,0.00036977828,0.00078553153,0.9816558,0.0168354],"study_design_scores_gemma":[0.0000050987605,0.0000048967663,0.00054919795,0.00003438657,0.000001105309,0.00003483935,0.00012922249,0.00001774377,0.00016151286,0.00008624788,0.99897146,0.0000042841384],"about_ca_topic_score_codex":0.017056625,"about_ca_topic_score_gemma":0.0740138,"teacher_disagreement_score":0.20873827,"about_ca_system_score_codex":0.0010279425,"about_ca_system_score_gemma":0.00075458287,"threshold_uncertainty_score":0.2977398},"labels":[],"label_agreement":null},{"id":"W4287610963","doi":"10.5281/zenodo.4210285","title":"@FILM]-WaTCH.! Falling (2020) Online HD Full Movie | Free On Putlockers xdc","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Art; Computer graphics (images); Computer science; Psychology","score_opus":0.061885018733823016,"score_gpt":0.2241463784737936,"score_spread":0.16226135973997058,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287610963","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00044051916,0.00023545136,0.0009178218,0.00048435392,0.0009545697,0.00013954475,0.0076996614,0.008175578,0.98095256],"genre_scores_gemma":[0.003060191,0.00037212324,0.0012000417,0.0005412404,0.00026488694,0.000085641084,0.00568395,0.0074718143,0.98132026],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998242,0.000011135111,0.0000056652043,0.000029377314,0.00008671806,0.000042776934],"domain_scores_gemma":[0.9993191,0.000058491336,0.000017295117,0.00009856468,0.00029671763,0.00020989226],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020753889,0.000948422,0.0004071545,0.0009541447,0.0016360647,0.0036513952,0.0010748253,0.001087536,0.9347229],"category_scores_gemma":[0.0014254309,0.0005798513,0.00056392414,0.00083883427,0.00028678105,0.003353611,0.002552734,0.0014132721,0.84224313],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019806723,0.0000089420155,0.00003635587,0.00006789962,0.000001335908,0.00002393756,0.00004122088,0.000010232378,0.00026089593,0.0006413759,0.98157585,0.017312223],"study_design_scores_gemma":[0.00001233683,0.000009902274,0.00043131097,0.00005413105,0.000002407696,0.00008051277,0.00007745372,0.000044121865,0.00030365938,0.00028044934,0.99869615,0.0000075541084],"about_ca_topic_score_codex":0.0051132757,"about_ca_topic_score_gemma":0.013032574,"teacher_disagreement_score":0.0652771,"about_ca_system_score_codex":0.0006516131,"about_ca_system_score_gemma":0.00035503527,"threshold_uncertainty_score":0.09310979},"labels":[],"label_agreement":null},{"id":"W4287614968","doi":"10.5281/zenodo.4209352","title":"©Ver {HD} Les vieux chums (2020) Película completa tzg","year":2020,"lang":"es","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.07273528153606273,"score_gpt":0.23533263361294085,"score_spread":0.16259735207687812,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287614968","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006140057,0.00037907696,0.0003141699,0.0005401429,0.0016377999,0.00006433644,0.005590015,0.002776378,0.988084],"genre_scores_gemma":[0.0026366476,0.0002951403,0.00024081185,0.00021255382,0.000164672,0.000035340938,0.0029304342,0.0016554204,0.99182886],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99984,0.000009045364,0.000003750628,0.000022899389,0.00007360139,0.00005059491],"domain_scores_gemma":[0.99963963,0.000021074184,0.000007731767,0.000047892056,0.00012857481,0.0001550772],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00017989143,0.0005839518,0.00034734316,0.0006236144,0.0018266106,0.0039536306,0.00058037764,0.0008370497,0.8940596],"category_scores_gemma":[0.00066303887,0.0003203108,0.0004118565,0.0007000166,0.00025395074,0.0019248748,0.0023048676,0.0014361959,0.76483035],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021671838,0.000007759915,0.000054768425,0.000036066976,0.0000010228283,0.00002244926,0.000046358156,0.000015951826,0.00020022188,0.0008761352,0.9826124,0.016105153],"study_design_scores_gemma":[0.0000037280704,0.0000033355354,0.0002790061,0.000018392711,6.427533e-7,0.000017643804,0.00004507055,0.000009241681,0.00008851153,0.00008035467,0.9994516,0.000002410595],"about_ca_topic_score_codex":0.010203486,"about_ca_topic_score_gemma":0.03580756,"teacher_disagreement_score":0.1059404,"about_ca_system_score_codex":0.00095447706,"about_ca_system_score_gemma":0.0006311917,"threshold_uncertainty_score":0.15111113},"labels":[],"label_agreement":null},{"id":"W4287615507","doi":"10.5281/zenodo.4204855","title":"[HD]~ Streaming vf Guerrières (2020) Film COmplet VOSTFR En Gratuit cot","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science; Computer graphics (images)","score_opus":0.04685259398955618,"score_gpt":0.22790312050726827,"score_spread":0.18105052651771208,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287615507","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010432091,0.00061140466,0.0041335933,0.00145649,0.0024411515,0.00031646527,0.046940163,0.019387953,0.92366964],"genre_scores_gemma":[0.007098544,0.0008529872,0.004906583,0.0007323502,0.00043808014,0.00021169834,0.032541126,0.010635922,0.94258267],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99975294,0.000019349178,0.000007780697,0.000037534373,0.00011954752,0.000062867126],"domain_scores_gemma":[0.99914896,0.00006780698,0.000018943514,0.0001240961,0.0004491329,0.00019097542],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003626627,0.0009151537,0.0003299092,0.0010084838,0.0019378804,0.0038305854,0.0011972191,0.0010858931,0.780176],"category_scores_gemma":[0.0017479106,0.000547437,0.00043996936,0.0012175408,0.0003727409,0.002767704,0.002171467,0.0012818921,0.53168064],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027247095,0.0000042934616,0.00006385478,0.000060384296,0.0000016466565,0.000032310225,0.00007602878,0.000024704903,0.00032721268,0.000800873,0.98230875,0.016272817],"study_design_scores_gemma":[0.000009469881,0.0000050672766,0.0004984089,0.00006251564,0.0000021083983,0.000061069855,0.00011809068,0.0000654311,0.00029311547,0.00025478046,0.99862015,0.000009823978],"about_ca_topic_score_codex":0.056386724,"about_ca_topic_score_gemma":0.12676372,"teacher_disagreement_score":0.21982402,"about_ca_system_score_codex":0.0013884532,"about_ca_system_score_gemma":0.0011491337,"threshold_uncertainty_score":0.31355226},"labels":[],"label_agreement":null},{"id":"W4287627890","doi":"10.5281/zenodo.4150221","title":"Regarder The Silencing (2020) Film Complet en HD Streaming VF Entier Français jjr","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.03979541952450559,"score_gpt":0.2176435173148657,"score_spread":0.1778480977903601,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287627890","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003992576,0.0006296915,0.0033135468,0.002038314,0.002874925,0.00036295646,0.021871747,0.009694608,0.9552217],"genre_scores_gemma":[0.015894381,0.0006945712,0.003747526,0.0010470513,0.00044113753,0.00021868829,0.011988457,0.0066344654,0.9593337],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99981433,0.000016553993,0.0000073715023,0.000030331697,0.0000746111,0.000056819837],"domain_scores_gemma":[0.9993481,0.00007091278,0.000017331104,0.00008322746,0.00028652407,0.00019399544],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003213281,0.00069405837,0.00024591002,0.00061142014,0.0015911653,0.0025480422,0.0006252454,0.0008779031,0.7249043],"category_scores_gemma":[0.0011813325,0.00033272384,0.00047684961,0.00047677918,0.0002888459,0.0020246096,0.0013219399,0.0010880708,0.39515352],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006233682,0.000018112369,0.00021420224,0.00011562255,0.000003231117,0.00008453643,0.00032558286,0.00003203092,0.0022186292,0.0013393548,0.9681112,0.027475262],"study_design_scores_gemma":[0.000014476236,0.000016917722,0.0016511836,0.00006987302,0.000003922683,0.00008831707,0.00032915885,0.00006991081,0.0010727819,0.0002040123,0.9964658,0.000013662995],"about_ca_topic_score_codex":0.021941304,"about_ca_topic_score_gemma":0.07589535,"teacher_disagreement_score":0.2750957,"about_ca_system_score_codex":0.0010494936,"about_ca_system_score_gemma":0.0007500949,"threshold_uncertainty_score":0.3923906},"labels":[],"label_agreement":null},{"id":"W4287628817","doi":"10.5281/zenodo.4149548","title":"[HD]~ Streaming vf Lost Girls &amp; Love Hotels (2020) Film COmplet VOSTFR En Gratuit dzb","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Psychology","score_opus":0.05589177816031819,"score_gpt":0.2352443879592338,"score_spread":0.1793526097989156,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287628817","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00034316326,0.00025091725,0.0004101603,0.00047733707,0.0011618998,0.00008510423,0.008257533,0.0033123163,0.98570156],"genre_scores_gemma":[0.0022122401,0.00034216515,0.00042391653,0.00038951103,0.000285694,0.000055501903,0.005749155,0.0021741968,0.9883676],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99989057,0.0000075636403,0.0000028638472,0.000017258959,0.000047842765,0.000033903576],"domain_scores_gemma":[0.999597,0.00002730698,0.000010024078,0.000039134356,0.00014686046,0.00017970345],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016060936,0.0007970245,0.00029233837,0.00079422997,0.0015201616,0.0036721025,0.00079091254,0.0008797115,0.9039151],"category_scores_gemma":[0.0008270091,0.00039935566,0.00039228422,0.00090679683,0.0002095068,0.0025885985,0.0022075274,0.0012977999,0.799685],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012293465,0.0000043371224,0.00003774284,0.00003084099,9.086283e-7,0.000017586635,0.00003039721,0.000009354186,0.00011073155,0.00044551125,0.9888122,0.010488204],"study_design_scores_gemma":[0.000006465215,0.000004920123,0.0003557994,0.000034912548,0.000001246447,0.00004093377,0.00007481618,0.000025938221,0.00008897487,0.000116626135,0.9992446,0.0000047476733],"about_ca_topic_score_codex":0.009559688,"about_ca_topic_score_gemma":0.02913593,"teacher_disagreement_score":0.09608489,"about_ca_system_score_codex":0.0005898783,"about_ca_system_score_gemma":0.0003921324,"threshold_uncertainty_score":0.13705343},"labels":[],"label_agreement":null},{"id":"W4287630796","doi":"10.5281/zenodo.4142670","title":"~#ReGarDer~1917 (2019) FILM Complet HD En Francais Streaming vf kjz","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"French; Humanities; Art","score_opus":0.05022101582282693,"score_gpt":0.2262157277377401,"score_spread":0.17599471191491317,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287630796","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010330259,0.0003217091,0.00024234808,0.0009744541,0.0017186562,0.00011387141,0.016809158,0.0025218762,0.9762649],"genre_scores_gemma":[0.0027771995,0.00024891234,0.00022529818,0.0002248039,0.00011582601,0.000031310756,0.00688532,0.001165285,0.988326],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99977833,0.00001184725,0.0000063353673,0.000027690703,0.00009815661,0.00007766508],"domain_scores_gemma":[0.99935,0.000026512782,0.000015508427,0.000053973636,0.0003014838,0.00025254017],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00026819913,0.00065260223,0.00027309294,0.00094721233,0.0024467632,0.0032565347,0.0006325961,0.00087821565,0.9131702],"category_scores_gemma":[0.0009957867,0.00036326598,0.0004042427,0.0009609259,0.00023412064,0.0023036343,0.0020514023,0.0012310558,0.7546637],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015477468,0.0000065501117,0.000084325766,0.000029425495,8.9804456e-7,0.000024276647,0.000053680928,0.000008668339,0.00015992942,0.00045702345,0.9874255,0.011734278],"study_design_scores_gemma":[0.0000047495273,0.000006199421,0.00076013926,0.000033058266,8.2868655e-7,0.000027568003,0.00012951774,0.000012477077,0.000102433805,0.000052674477,0.9988657,0.000004577003],"about_ca_topic_score_codex":0.054160602,"about_ca_topic_score_gemma":0.15570265,"teacher_disagreement_score":0.08682978,"about_ca_system_score_codex":0.0017397453,"about_ca_system_score_gemma":0.00089266413,"threshold_uncertainty_score":0.123852074},"labels":[],"label_agreement":null},{"id":"W4287630895","doi":"10.5281/zenodo.4140457","title":"1080p@full#HD Watch CINEMAX online Antrum (2020) hpp","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Antrum; Art; Art history; Medicine; Internal medicine","score_opus":0.058236097531249566,"score_gpt":0.22669742735132525,"score_spread":0.1684613298200757,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287630895","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00041715385,0.00019737563,0.0013009338,0.00026446412,0.0005236549,0.00013571083,0.006093433,0.008531594,0.9825356],"genre_scores_gemma":[0.0021874753,0.0002441973,0.0009403795,0.00028185235,0.00017999386,0.00008685476,0.0042278133,0.0055840597,0.9862673],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99979407,0.0000148615445,0.0000058824503,0.00004618084,0.00008971672,0.000049323284],"domain_scores_gemma":[0.9991708,0.000073055926,0.000019758094,0.00010451962,0.00029729304,0.0003345636],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025407452,0.0011126853,0.00054918363,0.0010033814,0.001292684,0.0037890412,0.0012073071,0.0012736346,0.94802725],"category_scores_gemma":[0.001342551,0.00068565895,0.0006022275,0.0007536102,0.00028817478,0.0030129636,0.0030115256,0.0012718659,0.89933354],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039253184,0.00001560723,0.000042442814,0.0000833878,0.0000019676575,0.00002204644,0.00004363044,0.0000205071,0.0004690788,0.0005643787,0.9779418,0.020755952],"study_design_scores_gemma":[0.000019841784,0.000016228112,0.00056049967,0.000058998256,0.0000041495196,0.00007383451,0.00006721023,0.00009587382,0.00042388562,0.00022836392,0.9984421,0.0000090095655],"about_ca_topic_score_codex":0.0048269974,"about_ca_topic_score_gemma":0.01190731,"teacher_disagreement_score":0.051972747,"about_ca_system_score_codex":0.00065039925,"about_ca_system_score_gemma":0.00046599197,"threshold_uncertainty_score":0.07413274},"labels":[],"label_agreement":null},{"id":"W4287632694","doi":"10.5281/zenodo.4129142","title":"WATCH Falling (2020) FULL MOVIE ONLINE FREE 123MOVIES fri","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Media studies; Political science; Internet privacy; Computer science; Sociology; Psychology","score_opus":0.0651126949142454,"score_gpt":0.22583270136786668,"score_spread":0.16072000645362128,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287632694","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006100189,0.00022422195,0.0010692363,0.00041676094,0.0010705577,0.000172723,0.006976541,0.007051448,0.9824086],"genre_scores_gemma":[0.0025305394,0.00033112086,0.0012673505,0.00045298584,0.00024856324,0.00009581167,0.0059546935,0.0051160315,0.9840029],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998324,0.000008773758,0.000005882126,0.000029782412,0.00008159544,0.000041502703],"domain_scores_gemma":[0.99936837,0.000046598714,0.00001399338,0.000071081595,0.00026939358,0.00023061933],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002137151,0.0009592062,0.00041164868,0.000915742,0.0014535547,0.0028864022,0.00085748266,0.0010050217,0.9259951],"category_scores_gemma":[0.0014409778,0.00042833114,0.00064804463,0.000773099,0.00023608877,0.0028455455,0.0026329348,0.0012637242,0.80476],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022985563,0.000010959468,0.000046973622,0.00006239311,0.0000013167205,0.000023499368,0.00003882887,0.000011190439,0.00035551834,0.0004648593,0.97907054,0.019891016],"study_design_scores_gemma":[0.000012027137,0.000013771281,0.0005564486,0.000047778525,0.0000028934417,0.000054952325,0.00006127522,0.00004285295,0.00026782072,0.00022794338,0.99870515,0.0000069558223],"about_ca_topic_score_codex":0.005213447,"about_ca_topic_score_gemma":0.018979004,"teacher_disagreement_score":0.07400489,"about_ca_system_score_codex":0.0005688743,"about_ca_system_score_gemma":0.00042913298,"threshold_uncertainty_score":0.10555893},"labels":[],"label_agreement":null},{"id":"W4287638306","doi":"10.5281/zenodo.4100116","title":"!Regarder~4kHD Scandale (2019) Film-complet ligena mp4 grauits [1080p] eiw","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.06474646864169249,"score_gpt":0.22707641181781807,"score_spread":0.1623299431761256,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287638306","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006530239,0.0002649919,0.0003628679,0.0011194078,0.0014207991,0.00009401907,0.0070295627,0.004752366,0.984303],"genre_scores_gemma":[0.0021881089,0.00022712386,0.00030479408,0.00036585057,0.00015143772,0.00004317444,0.003745545,0.001814487,0.9911594],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99977773,0.00001580189,0.000007326491,0.000030023948,0.000108802866,0.000060322567],"domain_scores_gemma":[0.9993425,0.000042017484,0.000021045971,0.000063006635,0.00023814949,0.00029323492],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002938308,0.0007187469,0.00031509847,0.0009707897,0.001985677,0.004704343,0.0006884158,0.0012334924,0.9146507],"category_scores_gemma":[0.0013982874,0.00048034784,0.0004186941,0.0008477726,0.00022942096,0.0037497855,0.0027125117,0.001383858,0.84990376],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015866577,0.0000071229633,0.000053440217,0.00003073315,7.6699814e-7,0.00002462963,0.00003921099,0.0000061529995,0.00013613928,0.00053729943,0.98612356,0.013024969],"study_design_scores_gemma":[0.000004630332,0.0000057988495,0.00032226648,0.000028503551,8.743998e-7,0.000029775783,0.0000812381,0.000018215811,0.000119027856,0.0000997489,0.9992859,0.0000041151816],"about_ca_topic_score_codex":0.007735081,"about_ca_topic_score_gemma":0.025127295,"teacher_disagreement_score":0.08534932,"about_ca_system_score_codex":0.0007853684,"about_ca_system_score_gemma":0.0005057756,"threshold_uncertainty_score":0.12174034},"labels":[],"label_agreement":null},{"id":"W4287638378","doi":"10.5281/zenodo.4100001","title":"REGARDER''-L'appel de la forêt (2020)]EN STREAMING FILM FR COMPLET tef","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Computer science; Art","score_opus":0.03621625903848783,"score_gpt":0.23259666825117062,"score_spread":0.1963804092126828,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287638378","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00050697697,0.0003161665,0.0014294386,0.0015131279,0.0032868844,0.00016253577,0.004280371,0.0058215377,0.98268306],"genre_scores_gemma":[0.0021341674,0.00025078014,0.0008509664,0.0005512085,0.0003191483,0.000058071524,0.0018195686,0.0022893478,0.99172664],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997471,0.00001994382,0.000009165128,0.000047540423,0.00011275909,0.00006355263],"domain_scores_gemma":[0.9990784,0.00008691258,0.000025498965,0.00009393028,0.00039961908,0.00031569178],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00037308753,0.0009082599,0.00040021085,0.0006907495,0.0018551032,0.004355433,0.000984754,0.0014684757,0.90726995],"category_scores_gemma":[0.002122134,0.0004341905,0.0005879382,0.00056913355,0.0003579289,0.0034704974,0.0020274653,0.0018956971,0.8034047],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018422123,0.000007954138,0.000036623253,0.000039047907,7.970004e-7,0.000036728354,0.000051958694,0.000011021827,0.00027087153,0.00078109145,0.9837356,0.015009862],"study_design_scores_gemma":[0.000008249688,0.00000901537,0.00024957355,0.00003860282,0.0000015440183,0.000059947994,0.00009553341,0.000041765958,0.00023953598,0.00020138334,0.9990491,0.000005640948],"about_ca_topic_score_codex":0.006989325,"about_ca_topic_score_gemma":0.018966889,"teacher_disagreement_score":0.092730045,"about_ca_system_score_codex":0.0008437511,"about_ca_system_score_gemma":0.00065922935,"threshold_uncertainty_score":0.13226807},"labels":[],"label_agreement":null},{"id":"W4287638400","doi":"10.5281/zenodo.4099308","title":"[@123MOVIES]!! .HD!! Falling (2020) FULL MOVIE FREE ONLINE STREAMING qww","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Advertising; Psychology; Business","score_opus":0.06107906841809175,"score_gpt":0.22606048469378012,"score_spread":0.16498141627568838,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287638400","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00037663485,0.00014505952,0.00075334194,0.00037264137,0.00077018753,0.00011842519,0.0054740533,0.0071682953,0.9848215],"genre_scores_gemma":[0.001789893,0.00020844098,0.0008104858,0.0004672275,0.00017724742,0.000076373166,0.0044577634,0.0054434743,0.98656917],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99979824,0.000013648811,0.0000069320226,0.000036743,0.00009402198,0.00005046457],"domain_scores_gemma":[0.9990657,0.000055934106,0.00001938865,0.00011464156,0.00044062783,0.00030368372],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023361827,0.00090671045,0.00047305346,0.0010786724,0.0022109267,0.003781121,0.0011157857,0.0012969268,0.9485743],"category_scores_gemma":[0.0015735314,0.00050573127,0.00064792414,0.0009906216,0.00033218725,0.0035819495,0.0031749576,0.0013766126,0.8990162],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016684371,0.000009909402,0.000035972247,0.000049459253,0.0000010044008,0.00001932942,0.000039479957,0.0000081387,0.00018629343,0.00048228668,0.9815562,0.017595336],"study_design_scores_gemma":[0.0000074381696,0.000008375283,0.0003187803,0.000041962205,0.0000015153438,0.000048301335,0.00006704773,0.000032745334,0.00016255933,0.00019290505,0.9991115,0.000006802345],"about_ca_topic_score_codex":0.0065213772,"about_ca_topic_score_gemma":0.016693365,"teacher_disagreement_score":0.051425695,"about_ca_system_score_codex":0.0006963876,"about_ca_system_score_gemma":0.00045619087,"threshold_uncertainty_score":0.073352456},"labels":[],"label_agreement":null},{"id":"W4287640109","doi":"10.5281/zenodo.4091285","title":"@Online Streaming Falling (2020) Full WATCH Movie !! tjm","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Computer science; Computer graphics (images); Psychology","score_opus":0.06048230759058949,"score_gpt":0.2293417204782661,"score_spread":0.16885941288767659,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287640109","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00045120847,0.00016901047,0.0009849925,0.0003969654,0.0008737501,0.00016135583,0.007953875,0.010248267,0.97876054],"genre_scores_gemma":[0.0019806412,0.00023538368,0.0010553255,0.00043586307,0.00022327971,0.00009670173,0.0061314525,0.006784893,0.9830565],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99979883,0.000010080011,0.000006773998,0.000034807774,0.00010278473,0.000046789195],"domain_scores_gemma":[0.9991468,0.00006060061,0.000019588353,0.000110236266,0.00035816152,0.0003046657],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023006123,0.000981703,0.00048897584,0.0010634703,0.0016811882,0.0034910187,0.0012556805,0.0012701416,0.9511951],"category_scores_gemma":[0.0018326646,0.0005124891,0.0006959447,0.00088934705,0.00029464345,0.0034726022,0.003622806,0.0013086885,0.889602],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000209269,0.000011699932,0.000036477813,0.00006063501,0.000001143206,0.00002012628,0.00003212602,0.00001038693,0.00026515799,0.00044936506,0.9807649,0.018327013],"study_design_scores_gemma":[0.000013846801,0.000012180027,0.00043407033,0.00005378151,0.0000024890737,0.000052947606,0.000058638965,0.000057532976,0.00031377794,0.0003180379,0.9986743,0.000008365512],"about_ca_topic_score_codex":0.004774683,"about_ca_topic_score_gemma":0.01315842,"teacher_disagreement_score":0.04880488,"about_ca_system_score_codex":0.0007053854,"about_ca_system_score_gemma":0.000515923,"threshold_uncertainty_score":0.06961417},"labels":[],"label_agreement":null},{"id":"W4287660334","doi":"10.5281/zenodo.4053133","title":"123Movies~Watch-}} 1917 (2019) Full Online Free [DvdRip] Streaming fwf","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.06255919725567628,"score_gpt":0.22525880226247766,"score_spread":0.16269960500680136,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287660334","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00032475093,0.00012556578,0.00028294258,0.00025834524,0.0006568243,0.00006644175,0.0053387145,0.0020044835,0.99094194],"genre_scores_gemma":[0.0012935979,0.00016220896,0.00024318657,0.00016023144,0.00010192772,0.000031249143,0.0037727128,0.0012802212,0.9929548],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998215,0.000012228956,0.0000058352853,0.000025136786,0.000090648035,0.000044659922],"domain_scores_gemma":[0.9993734,0.000040833802,0.000013337511,0.00007428396,0.00028012428,0.00021813875],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002169487,0.00073799276,0.00039756126,0.0009633156,0.0018968913,0.003511076,0.00078939716,0.00096647016,0.94980097],"category_scores_gemma":[0.001061897,0.00040335482,0.00052914623,0.00082105526,0.00026629653,0.0024085622,0.0025856798,0.0013553642,0.8878196],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016612168,0.000010377799,0.000048928938,0.0000467158,0.0000011409479,0.000022113307,0.000029632785,0.000012128099,0.00021267166,0.00075755455,0.9801804,0.018661719],"study_design_scores_gemma":[0.0000044982835,0.0000062946865,0.00036886206,0.000039334776,0.0000011228915,0.000029836352,0.000056505734,0.000023718003,0.00012548667,0.000115237075,0.99922466,0.0000044046747],"about_ca_topic_score_codex":0.011352993,"about_ca_topic_score_gemma":0.03094961,"teacher_disagreement_score":0.05019903,"about_ca_system_score_codex":0.0010294375,"about_ca_system_score_gemma":0.0005568274,"threshold_uncertainty_score":0.07160276},"labels":[],"label_agreement":null},{"id":"W4287660892","doi":"10.5281/zenodo.4051513","title":"FuLL[FREE-HD]! After 2 (2020) Watch Online [Streaming Full Movie","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.041162727015058555,"score_gpt":0.2176922490879895,"score_spread":0.17652952207293096,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287660892","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001121749,0.000369441,0.0023313144,0.0010325835,0.0025730594,0.00023678636,0.017263003,0.01959771,0.95547444],"genre_scores_gemma":[0.005574308,0.00044502356,0.0015185712,0.0011600828,0.00065501814,0.00011396129,0.012504001,0.00971677,0.96831226],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999796,0.000014881258,0.0000069194643,0.000035259578,0.00008832537,0.000058638016],"domain_scores_gemma":[0.9987858,0.0000718211,0.000027362888,0.00014205248,0.00049431616,0.000478598],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00035214375,0.00085568207,0.00048396367,0.00089322944,0.0018401037,0.0036637834,0.0008900851,0.0012157648,0.86167717],"category_scores_gemma":[0.001916668,0.00045227684,0.0005630165,0.0007555013,0.00030918053,0.004468019,0.0034458598,0.0013278219,0.80461496],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024931214,0.000007892464,0.00005733247,0.000039355735,0.0000014237677,0.000019851512,0.000037257778,0.000011444535,0.0002467447,0.0003915623,0.98569816,0.013464045],"study_design_scores_gemma":[0.000013155015,0.000013900933,0.0007201246,0.00005788284,0.0000029475868,0.000046904286,0.000111435016,0.00007844733,0.00027346652,0.00026328352,0.9984059,0.000012631548],"about_ca_topic_score_codex":0.006209655,"about_ca_topic_score_gemma":0.01615063,"teacher_disagreement_score":0.13832283,"about_ca_system_score_codex":0.0005033418,"about_ca_system_score_gemma":0.00042191197,"threshold_uncertainty_score":0.19730067},"labels":[],"label_agreement":null},{"id":"W4287661058","doi":"10.5281/zenodo.4051516","title":"Watch After We Collided 'After 2' [2020 4K] Full Movie Online For Free Streaming","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Advertising; Computer science; Multimedia; Business","score_opus":0.049849916104395174,"score_gpt":0.22440402413281516,"score_spread":0.17455410802841997,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287661058","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018570811,0.00046075086,0.003433504,0.0020694972,0.005064986,0.0003204047,0.012489434,0.019998,0.9543063],"genre_scores_gemma":[0.007961977,0.0004952481,0.0024310523,0.0018163834,0.0011901744,0.00016948591,0.011863719,0.008725387,0.96534646],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997633,0.00001882836,0.000008862052,0.00003694731,0.00010290387,0.000069272304],"domain_scores_gemma":[0.99877924,0.00008110148,0.00003350692,0.00013218896,0.0004942799,0.00047980295],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000356415,0.0009193259,0.00042851473,0.0008321774,0.0019583642,0.0031125483,0.0008655685,0.0012293081,0.7598996],"category_scores_gemma":[0.002350409,0.00038156845,0.00052807154,0.0006632171,0.00033119338,0.004103034,0.0030782672,0.0014870875,0.6328969],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026984271,0.0000063079074,0.00005816292,0.000036662226,0.0000015833165,0.000029335486,0.000054093784,0.00001426931,0.00029400087,0.00037693727,0.98655546,0.012546156],"study_design_scores_gemma":[0.00001323539,0.000017288561,0.0008141895,0.00006557754,0.0000032909345,0.00006315907,0.0001424182,0.000115914,0.0003083103,0.00031870775,0.9981242,0.000013744762],"about_ca_topic_score_codex":0.005249396,"about_ca_topic_score_gemma":0.016289674,"teacher_disagreement_score":0.24010038,"about_ca_system_score_codex":0.000542163,"about_ca_system_score_gemma":0.0004199979,"threshold_uncertainty_score":0.34247404},"labels":[],"label_agreement":null},{"id":"W4287664697","doi":"10.5281/zenodo.4038763","title":"[After - Chapitre 2 \"Film Complet-2020 [STREAMING VF] Gratuit","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.047616477425925216,"score_gpt":0.21872204545171048,"score_spread":0.17110556802578525,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4287664697","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00032730997,0.0010982415,0.00060906354,0.006561603,0.02051589,0.00017003505,0.005045644,0.0036198066,0.96205246],"genre_scores_gemma":[0.0010958896,0.00051749125,0.00037078254,0.0012506264,0.001225473,0.00005754749,0.0016837228,0.0016708359,0.99212754],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941766,0.000049846953,0.00001799381,0.00008746844,0.00028351697,0.00014345405],"domain_scores_gemma":[0.99820554,0.00008630183,0.000046632777,0.00016686626,0.0007663815,0.00072832283],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00047114788,0.00080323895,0.0004792022,0.001079247,0.0030024955,0.008338952,0.0012393915,0.0018327606,0.8515202],"category_scores_gemma":[0.0031125795,0.00041767833,0.0006337382,0.0011695509,0.0005899694,0.0039629703,0.003592824,0.0033110094,0.737512],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000054403904,0.0000037711125,0.000012704064,0.000033956847,4.0803977e-7,0.000012519373,0.000029937448,0.000008068912,0.000089121706,0.0011601928,0.9924239,0.006220037],"study_design_scores_gemma":[0.0000024544881,0.0000032229718,0.0000857296,0.00004168341,4.7238933e-7,0.000013294906,0.000080933794,0.000007042693,0.000056601537,0.00021025389,0.9994955,0.0000027403453],"about_ca_topic_score_codex":0.012733612,"about_ca_topic_score_gemma":0.039063603,"teacher_disagreement_score":0.14847982,"about_ca_system_score_codex":0.002380198,"about_ca_system_score_gemma":0.002699445,"threshold_uncertainty_score":0.21178836},"labels":[],"label_agreement":null},{"id":"W4288721953","doi":"10.5281/zenodo.6932651","title":"Play to Lose: Animation, Failure, and the Milieu in Trophy Dark","year":2022,"lang":"en","type":"paratext","venue":"PhilPapers (PhilPapers Foundation)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trinity Western University","funders":"","keywords":"Trophy; Animation; Computer science; Computer animation; Computer graphics (images); Geography; Archaeology","score_opus":0.016110739402092514,"score_gpt":0.22638272176437277,"score_spread":0.21027198236228026,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4288721953","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4508492,0.0032412782,0.033801362,0.024145322,0.0019307424,0.00009005207,0.00010310775,0.0007327933,0.48510617],"genre_scores_gemma":[0.9481884,0.00053574244,0.00412441,0.0010714651,0.00008092938,0.000072561445,0.000050352803,0.0002949,0.045581236],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.998072,0.001222721,0.000028966762,0.00019148098,0.00025448814,0.00023028832],"domain_scores_gemma":[0.9988142,0.0005821807,0.000088885165,0.0001080676,0.00006808099,0.00033851565],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016618733,0.000928105,0.00026268724,0.0008281707,0.0061929347,0.007345211,0.0014637712,0.0016698168,0.009525751],"category_scores_gemma":[0.004015706,0.0002957932,0.00031549798,0.00032280743,0.017919334,0.005640817,0.009693616,0.0033267967,0.0009615798],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002577552,0.0001442475,0.004228153,0.00026929178,0.000023333649,0.0012506885,0.60568213,0.0012111862,0.00305266,0.2992622,0.031932622,0.052685738],"study_design_scores_gemma":[0.000060745537,0.00020278968,0.0026568072,0.00053503556,0.000024270319,0.0010226775,0.22683738,0.002659776,0.001936577,0.053817786,0.7101556,0.00009057276],"about_ca_topic_score_codex":0.0058991807,"about_ca_topic_score_gemma":0.01098644,"teacher_disagreement_score":0.009525751,"about_ca_system_score_codex":0.002268862,"about_ca_system_score_gemma":0.0010027426,"threshold_uncertainty_score":0.03186679},"labels":[],"label_agreement":null},{"id":"W4292544931","doi":"10.1177/17496020221122197","title":"Enraptured by this Glorious Media Landscape: <i>Anne</i> <i>with an E</i> and cross-platform coproduction","year":2022,"lang":"en","type":"article","venue":"Critical Studies in Television The International Journal of Television Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Coproduction; Drama; Indigenous; Context (archaeology); Queer; Representation (politics); Sociology; Service (business); Media studies; Gender studies; Political science; Art; Visual arts; History; Politics; Business; Social science; Law; Marketing","score_opus":0.05900670406851664,"score_gpt":0.33803175361079874,"score_spread":0.2790250495422821,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4292544931","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21255964,0.0033629118,0.0026900254,0.046721373,0.0010808646,0.000039842478,0.00018896536,0.00008017605,0.7332762],"genre_scores_gemma":[0.92232555,0.0016920052,0.00088222895,0.0037540887,0.00043755773,0.000021102403,0.0000704993,0.00009910746,0.07071782],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989128,0.00025657244,0.000015155347,0.00010301125,0.00031846596,0.0003940214],"domain_scores_gemma":[0.998106,0.00069492933,0.000176209,0.00019655454,0.00035265734,0.00047362456],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017056429,0.00033630518,0.00016512527,0.0014362527,0.012164806,0.012261304,0.00078655174,0.001576014,0.0134076895],"category_scores_gemma":[0.004049412,0.00017206286,0.00022616897,0.0015015462,0.015041033,0.005315207,0.005000996,0.003533688,0.0007843486],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009227419,0.000036560377,0.0030784858,0.00010812232,0.000011439565,0.0010326756,0.09373977,0.00021873307,0.0011526946,0.82881624,0.037749544,0.03396345],"study_design_scores_gemma":[0.0000079785,0.00003130652,0.0082370825,0.00027623048,0.000013884742,0.0004393479,0.110008135,0.00031867213,0.0013730022,0.023154018,0.8560986,0.00004170357],"about_ca_topic_score_codex":0.24146675,"about_ca_topic_score_gemma":0.3512421,"teacher_disagreement_score":0.24146675,"about_ca_system_score_codex":0.013574072,"about_ca_system_score_gemma":0.0071364846,"threshold_uncertainty_score":0.4801225},"labels":[],"label_agreement":null},{"id":"W4293072206","doi":"10.1093/jaac/kpac026","title":"Why It’s OK to Love Bad Movies","year":2022,"lang":"en","type":"article","venue":"Journal of Aesthetics and Art Criticism","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Art; Aesthetics; Psychology; Psychoanalysis","score_opus":0.02450077992979084,"score_gpt":0.23643208927903922,"score_spread":0.2119313093492484,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4293072206","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06156578,0.017614773,0.001657259,0.64819694,0.016698716,0.00003233912,0.00020634533,0.00009050136,0.25393748],"genre_scores_gemma":[0.77322626,0.008207646,0.001036043,0.12142098,0.011259175,0.00002764015,0.00013347033,0.00036841584,0.08432039],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99730563,0.0014709422,0.000071169874,0.00017392237,0.00069111545,0.00028722495],"domain_scores_gemma":[0.98720574,0.004444608,0.0010653983,0.0006439249,0.0050992556,0.0015410456],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035323363,0.00026658052,0.00028161492,0.0011451712,0.00376033,0.0073569478,0.00057706726,0.0034619835,0.018984057],"category_scores_gemma":[0.02365192,0.00022974075,0.00026478787,0.000799007,0.005641286,0.0052881846,0.00091275724,0.0055802506,0.0031231572],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021731175,0.00016838865,0.016854484,0.00028478485,0.00013563974,0.0006355234,0.022197977,0.000095693125,0.0010735079,0.103050254,0.76120836,0.094078146],"study_design_scores_gemma":[0.00006638766,0.0000900109,0.02326572,0.0010535979,0.00010405303,0.0016210054,0.04337485,0.00027098248,0.0007737438,0.045305885,0.8839901,0.000083597326],"about_ca_topic_score_codex":0.0049904534,"about_ca_topic_score_gemma":0.009005433,"teacher_disagreement_score":0.018984057,"about_ca_system_score_codex":0.0018524315,"about_ca_system_score_gemma":0.00082950544,"threshold_uncertainty_score":0.063507974},"labels":[],"label_agreement":null},{"id":"W4293109237","doi":"10.1515/9781474476430-fm","title":"Frontmatter","year":2022,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Queen's University; Queen's University Belfast; University of Glasgow; Falmouth University","keywords":"History","score_opus":0.03685992031088596,"score_gpt":0.18363260605700937,"score_spread":0.1467726857461234,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4293109237","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002513659,0.0009968777,0.0006463973,0.0014170503,0.0023480868,0.0000311782,0.0008978135,0.0008940651,0.9925171],"genre_scores_gemma":[0.00064800045,0.00024039601,0.0001492146,0.00031223512,0.00017183866,0.00000819022,0.0002803174,0.00020720784,0.9979826],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99965525,0.00003358396,0.000012878022,0.00008339305,0.00017098486,0.000043844295],"domain_scores_gemma":[0.9994067,0.00011590775,0.000028375716,0.00009389191,0.00020759515,0.00014761976],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00034027913,0.00059234176,0.0005786565,0.0015018486,0.0014534703,0.004902774,0.0011101586,0.0018400353,0.8764032],"category_scores_gemma":[0.0016987564,0.0003396874,0.0004000352,0.0011514286,0.00045878522,0.003267836,0.0023233448,0.0017121434,0.78581285],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016914873,0.000014899704,0.000058633428,0.00007257088,0.0000011774316,0.00005805892,0.0000741969,0.000023615225,0.00020950171,0.007966533,0.876031,0.115473084],"study_design_scores_gemma":[0.0000016562136,0.0000044619956,0.00007007869,0.000027426935,4.3019648e-7,0.000040194976,0.000028459888,0.00002161675,0.000054450124,0.0006365895,0.999113,0.0000016495032],"about_ca_topic_score_codex":0.0015749091,"about_ca_topic_score_gemma":0.0051741283,"teacher_disagreement_score":0.12359679,"about_ca_system_score_codex":0.0009608027,"about_ca_system_score_gemma":0.0005522618,"threshold_uncertainty_score":0.17629576},"labels":[],"label_agreement":null},{"id":"W4293118861","doi":"10.1017/9789048543892.001","title":"Introduction. Festivals, Uncut: Queering Film Festival Studies, Curating LGBTQ Film Festivals","year":2020,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Visual arts","score_opus":0.05117774087464395,"score_gpt":0.25667384675103666,"score_spread":0.20549610587639272,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4293118861","genre_codex":"other","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004702382,0.15576254,0.0029559596,0.14054675,0.035260778,0.00025659802,0.0023977342,0.0005232772,0.65759397],"genre_scores_gemma":[0.045594968,0.16567612,0.004494323,0.048396856,0.018189246,0.00056280254,0.0025095986,0.00090951123,0.71366656],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994998,0.00015000947,0.00002671107,0.00007891001,0.0001701116,0.00007447823],"domain_scores_gemma":[0.99890375,0.00051319844,0.000066672874,0.000040791812,0.00021770214,0.00025785746],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00078919635,0.0006282428,0.00040145425,0.001447087,0.004332197,0.0056479466,0.0008406149,0.00262046,0.047446784],"category_scores_gemma":[0.0020520634,0.00041581134,0.00034406193,0.0024340833,0.00228717,0.004756256,0.0025966195,0.0052920966,0.012278212],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012828694,0.000042021005,0.0003067275,0.00040729306,0.00000202469,0.000091388756,0.009136232,0.000036609523,0.00013611393,0.052691016,0.8998342,0.037303552],"study_design_scores_gemma":[0.0000016925405,0.0000069013286,0.00061114953,0.00042352456,6.896516e-7,0.00006627067,0.0026562335,0.0000136776425,0.000023917195,0.002235263,0.9939569,0.000003661701],"about_ca_topic_score_codex":0.014041297,"about_ca_topic_score_gemma":0.023146925,"teacher_disagreement_score":0.047446784,"about_ca_system_score_codex":0.00295963,"about_ca_system_score_gemma":0.0022945353,"threshold_uncertainty_score":0.15872532},"labels":[],"label_agreement":null},{"id":"W4293118878","doi":"10.1017/9789048543892.004","title":"Out of the Celluloid Closet, into the Theatres! Towards a Genealogy of Queer Film Festivals and Gay and Lesbian Film Studies","year":2020,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Closet; Queer; Lesbian; Art; Art history; Coming out; Homosexuality; Transgender; Gender studies; Sociology; Genealogy; History; Archaeology","score_opus":0.052739393841183105,"score_gpt":0.26156783964249924,"score_spread":0.20882844580131615,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4293118878","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15113115,0.08984086,0.01371012,0.17912962,0.0065552415,0.00025877077,0.00033706907,0.00027322178,0.55876404],"genre_scores_gemma":[0.86065376,0.026103629,0.0038923605,0.010370747,0.0033685474,0.000244542,0.000128549,0.0004637406,0.09477412],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9948515,0.0039179157,0.00008357363,0.00033404338,0.0004135741,0.00039930223],"domain_scores_gemma":[0.99416757,0.0031836315,0.0005475743,0.0005526026,0.0005249096,0.0010237725],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006418897,0.000600715,0.00043002327,0.0029962487,0.010877032,0.016958492,0.0012527872,0.0020859274,0.010756341],"category_scores_gemma":[0.009221583,0.00036387023,0.00031589044,0.002179541,0.037231423,0.013845686,0.0068666004,0.0065576388,0.0010027207],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005639137,0.000043230168,0.00096549734,0.0001974381,0.000007672184,0.0002048246,0.49304914,0.000059160695,0.00028335318,0.4670961,0.019568102,0.018469205],"study_design_scores_gemma":[0.000009819377,0.000058453596,0.0016180333,0.0009817918,0.000006358904,0.0001486345,0.3110957,0.000097799166,0.00024271008,0.03731376,0.6484055,0.00002141859],"about_ca_topic_score_codex":0.016905528,"about_ca_topic_score_gemma":0.022162564,"teacher_disagreement_score":0.016958492,"about_ca_system_score_codex":0.00755284,"about_ca_system_score_gemma":0.0031658872,"threshold_uncertainty_score":0.054799974},"labels":[],"label_agreement":null},{"id":"W4295178642","doi":"10.1234/kenoyb","title":"[#FILMS-VOIR] One Piece Film - Red (2022) FILMS STREAMING VF EN GRATUIT ET VOSTFR","year":2022,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Materials science; Art history","score_opus":0.03913640121690429,"score_gpt":0.22771295967452584,"score_spread":0.18857655845762156,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4295178642","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00088546454,0.0012561072,0.0012663951,0.0028814087,0.0040607858,0.000106834814,0.002053551,0.0011121498,0.98637736],"genre_scores_gemma":[0.0048652096,0.0010196296,0.0010166488,0.0009924014,0.00044830886,0.00004237875,0.0014786215,0.00094646844,0.98919034],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994106,0.000066698114,0.000023535047,0.00011289607,0.0003023077,0.000083899875],"domain_scores_gemma":[0.9985261,0.00012592011,0.000056880832,0.00017808715,0.0009484082,0.00016449913],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00058353646,0.00081340224,0.00025858442,0.0009794688,0.0029367497,0.0044871215,0.0009076185,0.0015167767,0.49980113],"category_scores_gemma":[0.0020779269,0.00048521452,0.00046552648,0.0013909076,0.0007140352,0.0036369683,0.0012577082,0.0022394303,0.2454837],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023335471,0.000012077223,0.000093825336,0.000087782384,0.0000030662857,0.000060720886,0.00022530615,0.000020217403,0.0009628748,0.0056852186,0.96557885,0.02724686],"study_design_scores_gemma":[0.0000030361982,0.000006293237,0.00042124986,0.000047382473,0.0000015740505,0.000051300536,0.00016770726,0.00001781696,0.00033171446,0.00021752663,0.9987288,0.0000056015824],"about_ca_topic_score_codex":0.030204913,"about_ca_topic_score_gemma":0.06789721,"teacher_disagreement_score":0.50019884,"about_ca_system_score_codex":0.0020449744,"about_ca_system_score_gemma":0.0015700797,"threshold_uncertainty_score":0.71347296},"labels":[],"label_agreement":null},{"id":"W4296504880","doi":"10.4000/books.pul.47573","title":"Farocki, Harun (1944-2014)","year":2022,"lang":"fr","type":"book-chapter","venue":"Presses universitaires de Lyon eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Compiler; Presentation (obstetrics); Quarter (Canadian coin)","score_opus":0.02301337175129218,"score_gpt":0.19064360880198072,"score_spread":0.16763023705068855,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4296504880","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010955819,0.2607408,0.004335985,0.061746713,0.011286435,0.00010829077,0.00071945693,0.00014882103,0.64995766],"genre_scores_gemma":[0.14642856,0.08411106,0.0031801579,0.011869433,0.001985472,0.00013194693,0.00027294696,0.00019789342,0.7518226],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949133,0.00009072247,0.000019627501,0.00013711468,0.00016841668,0.00009263506],"domain_scores_gemma":[0.99942744,0.00023969343,0.000056242396,0.00002683557,0.00017429588,0.00007554253],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00087928656,0.00083114597,0.00034566768,0.0022968887,0.0046529938,0.004964386,0.00064974,0.0022051202,0.016438166],"category_scores_gemma":[0.0026509105,0.00033543503,0.00020489882,0.0015713479,0.0036366466,0.004769035,0.001488099,0.0026849434,0.00578313],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009085013,0.000040877647,0.0013208555,0.00036429786,0.000008483631,0.0002855394,0.025587153,0.00007929563,0.00042972085,0.38583958,0.40878123,0.17717214],"study_design_scores_gemma":[0.0000036730044,0.000006367431,0.0011207642,0.00024415413,0.00000292224,0.00014333738,0.0015534344,0.000017926994,0.00013419178,0.0057006218,0.9910643,0.000008227245],"about_ca_topic_score_codex":0.036869083,"about_ca_topic_score_gemma":0.067140624,"teacher_disagreement_score":0.036869083,"about_ca_system_score_codex":0.005928076,"about_ca_system_score_gemma":0.0038250738,"threshold_uncertainty_score":0.073308945},"labels":[],"label_agreement":null},{"id":"W4296557266","doi":"10.5281/zenodo.7100576","title":"[Download.123Movies] Black Panther 2: Wakanda Forever 2022 MP4/720p 1080p HD 4K English","year":2022,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Computer graphics (images); Art history; Computer science","score_opus":0.03669151739685711,"score_gpt":0.20793203621700665,"score_spread":0.17124051882014954,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4296557266","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007037851,0.0002968624,0.0010551771,0.0005870301,0.00095019373,0.0001782815,0.010064849,0.011413242,0.9747506],"genre_scores_gemma":[0.002360432,0.00034166363,0.00070138235,0.00028234333,0.0001723003,0.00007625208,0.006782098,0.0055768443,0.9837067],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998553,0.000010573932,0.0000053113063,0.000031381227,0.00006632321,0.000031139392],"domain_scores_gemma":[0.9993343,0.000039917497,0.000017763117,0.000091355854,0.00033749567,0.00017922072],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021815448,0.0009910616,0.00047231812,0.0010058633,0.0017553562,0.0034135722,0.0010353226,0.0011003441,0.9203601],"category_scores_gemma":[0.0013354251,0.0007503365,0.00041278888,0.001285016,0.00030629183,0.0035938467,0.002060501,0.0012950771,0.8582907],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020723153,0.000007812178,0.000042230866,0.00004853424,0.000001460038,0.000029964162,0.00004125904,0.000008933758,0.00025660146,0.00034205927,0.9812214,0.017979078],"study_design_scores_gemma":[0.000009045517,0.000009266236,0.0006140001,0.00004438471,0.0000018090619,0.000057102297,0.000073463445,0.0000372109,0.00020018534,0.00013874927,0.9988067,0.000008095546],"about_ca_topic_score_codex":0.00965483,"about_ca_topic_score_gemma":0.022743821,"teacher_disagreement_score":0.07963991,"about_ca_system_score_codex":0.0005641093,"about_ca_system_score_gemma":0.00044809407,"threshold_uncertainty_score":0.11359656},"labels":[],"label_agreement":null},{"id":"W4296572683","doi":"10.5281/zenodo.7100351","title":"[[!WaTcH^]] Black Panther Wakanda Forever (2022) Online Full 123movies HD Free","year":2022,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.04757498870775415,"score_gpt":0.22074828492869875,"score_spread":0.1731732962209446,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4296572683","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008993216,0.00021907882,0.0008234211,0.0007034418,0.0012147292,0.00012020419,0.0039160755,0.008178158,0.9839257],"genre_scores_gemma":[0.0027046541,0.00020557555,0.0005104004,0.00035613478,0.00014810739,0.00004665043,0.0022882738,0.0026422732,0.99109787],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99989176,0.000008996166,0.000003492791,0.00002372026,0.00004499465,0.000027071052],"domain_scores_gemma":[0.999529,0.000029594858,0.0000134620195,0.00005817947,0.0001955667,0.00017420907],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001683576,0.00065083266,0.00032526956,0.000637402,0.0015608654,0.0024750743,0.0007061912,0.0008611956,0.88446933],"category_scores_gemma":[0.00090117403,0.00043747824,0.0003024124,0.000610629,0.00023037092,0.0025728287,0.002057818,0.0012595215,0.776279],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018633133,0.000007640083,0.000052713553,0.000031234547,0.000001102911,0.00003522061,0.00005128715,0.000006249072,0.00021420083,0.00037899232,0.9824504,0.016752364],"study_design_scores_gemma":[0.0000063057028,0.0000066880657,0.0005227454,0.000027217306,0.0000010806052,0.000049096474,0.00007511872,0.000030475714,0.000118012205,0.00008236403,0.99907553,0.000005336393],"about_ca_topic_score_codex":0.0077352673,"about_ca_topic_score_gemma":0.0230226,"teacher_disagreement_score":0.11553067,"about_ca_system_score_codex":0.00039182656,"about_ca_system_score_gemma":0.0003146311,"threshold_uncertainty_score":0.16479051},"labels":[],"label_agreement":null},{"id":"W4296879263","doi":"10.3366/edinburgh/9781474478854.003.0001","title":"Introduction: Autumnal Altman—Rethinking his Last Quarter Century","year":2022,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Quarter (Canadian coin); Dynamism; Periodization; Period (music); Studio; Art history; Art; History; Literature; Visual arts; Aesthetics; Epistemology; Philosophy","score_opus":0.0253992057729057,"score_gpt":0.17832376822287185,"score_spread":0.15292456244996616,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4296879263","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026417483,0.18844399,0.004619896,0.1877447,0.02786086,0.00004025903,0.00025395438,0.00025364783,0.5643652],"genre_scores_gemma":[0.27920112,0.09170536,0.0031026637,0.018781113,0.018694311,0.00006621269,0.00018310177,0.0004287685,0.5878374],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993667,0.00026603707,0.000018263174,0.00011241035,0.0001617732,0.00007483552],"domain_scores_gemma":[0.9990656,0.00053452794,0.00007819216,0.00004370204,0.00016205208,0.00011587626],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012568496,0.00040680548,0.00020673922,0.0011383643,0.0025159398,0.0048061707,0.00056893774,0.0012538102,0.008176967],"category_scores_gemma":[0.0022960017,0.00021818963,0.00016728084,0.0011174254,0.002762573,0.0038480472,0.001166429,0.0033638794,0.0018519316],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004192203,0.0000325086,0.0005180905,0.00020334897,0.0000050566246,0.00020211257,0.018742379,0.00012731894,0.00035388098,0.39609557,0.5346133,0.04906458],"study_design_scores_gemma":[9.885633e-7,0.0000074985533,0.00034632726,0.0001972427,0.0000015320019,0.00008993824,0.0015307025,0.00005807536,0.00010106022,0.003977307,0.99368566,0.0000036518552],"about_ca_topic_score_codex":0.00571737,"about_ca_topic_score_gemma":0.009607306,"teacher_disagreement_score":0.008176967,"about_ca_system_score_codex":0.0033113365,"about_ca_system_score_gemma":0.0016335587,"threshold_uncertainty_score":0.027354658},"labels":[],"label_agreement":null},{"id":"W4297200047","doi":"10.37390/avancacinema.2022.a386","title":"Shutter/Shudder to Think: Cinema after Cage","year":2022,"lang":"en","type":"article","venue":"AVANCA | CINEMA","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"John Cage; Movie theater; Art; Mainstream; Visual arts; Art history; Painting; Subjectivity; Unconscious mind; Percussion; Shutter; Aesthetics; Literature; Performance art; Psychoanalysis; Philosophy; Psychology; Acoustics","score_opus":0.020247767397432576,"score_gpt":0.21247301908050473,"score_spread":0.19222525168307214,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4297200047","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0950651,0.015878392,0.0040944666,0.1088616,0.010069414,0.00009872807,0.0009823411,0.00051543326,0.76443446],"genre_scores_gemma":[0.71202016,0.0076148175,0.003202708,0.015937822,0.004384508,0.00009252872,0.00039296664,0.00049495,0.2558595],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967635,0.00019226289,0.000005720837,0.000039637158,0.000039438895,0.00004658712],"domain_scores_gemma":[0.9990314,0.0004344248,0.00006659833,0.000066118264,0.00013282784,0.00026865405],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006241124,0.00036540168,0.00015113327,0.0006098459,0.003759798,0.0041499687,0.0003488777,0.0009347261,0.021627624],"category_scores_gemma":[0.0024647322,0.00014432894,0.00015462044,0.00042098033,0.0023796605,0.002654799,0.0014945491,0.0019797243,0.0019959423],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015671729,0.00005634353,0.0024617112,0.00024739432,0.000018590546,0.0008614138,0.08576518,0.00008890555,0.0024043792,0.116089694,0.7420281,0.04982155],"study_design_scores_gemma":[0.00001026589,0.000030306477,0.002537309,0.00019315857,0.000008862917,0.00031252278,0.024219185,0.000104231636,0.00046792367,0.002941576,0.9691621,0.000012459347],"about_ca_topic_score_codex":0.006156358,"about_ca_topic_score_gemma":0.014942037,"teacher_disagreement_score":0.021627624,"about_ca_system_score_codex":0.0009574262,"about_ca_system_score_gemma":0.00060024485,"threshold_uncertainty_score":0.072351635},"labels":[],"label_agreement":null},{"id":"W4297341495","doi":"10.1215/02705346-9787056","title":"“All Your Faves Are Problematic”: The Performative Spectatorship of Drunk Feminist Films","year":2022,"lang":"en","type":"article","venue":"Camera Obscura Feminism Culture and Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Performative utterance; Mainstream; Narrative; Hollywood; Media studies; Craft; Pleasure; Sociology; Mythology; Aesthetics; Visual arts; Art; Political science; Psychology; Literature; Art history","score_opus":0.06736690956939631,"score_gpt":0.2664858420246826,"score_spread":0.1991189324552863,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4297341495","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76670223,0.0038906112,0.0023273802,0.032616142,0.00053993665,0.00006047047,0.00031015268,0.00010928505,0.19344375],"genre_scores_gemma":[0.98242617,0.00084374996,0.00026756065,0.0005084449,0.0001267568,0.000014551468,0.000037178957,0.00006001086,0.015715571],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99415565,0.0040046345,0.00005579356,0.0003456356,0.0006981425,0.00074010564],"domain_scores_gemma":[0.9923356,0.00467612,0.0008215871,0.00041296752,0.0007560036,0.0009976698],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0046936604,0.00073078816,0.00044981213,0.002521129,0.015009375,0.011997834,0.0012206859,0.0018993149,0.007380078],"category_scores_gemma":[0.011644073,0.00036762547,0.00028401494,0.0020852885,0.019365558,0.0032669043,0.006440735,0.0023851024,0.00054673513],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007579391,0.00002004615,0.0057346,0.00009629267,0.00002641498,0.0010205408,0.93540186,0.000119449534,0.0007431173,0.028595572,0.0142152915,0.013950989],"study_design_scores_gemma":[0.000008078852,0.000027939546,0.009117207,0.00027438867,0.000018697088,0.00040882293,0.8081602,0.00026188634,0.0005870262,0.0025381162,0.17856741,0.000030324183],"about_ca_topic_score_codex":0.17733243,"about_ca_topic_score_gemma":0.29375464,"teacher_disagreement_score":0.17733243,"about_ca_system_score_codex":0.014718555,"about_ca_system_score_gemma":0.0038403228,"threshold_uncertainty_score":0.35260046},"labels":[],"label_agreement":null},{"id":"W4297360263","doi":"10.3138/seminar.58.3.5","title":"Undoing the Human in the Films of Maren Ade","year":2022,"lang":"en","type":"article","venue":"Seminar A Journal of Germanic Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Undoing; Kitsch; Aesthetics; Sociology; Normative; Identity (music); Environmental ethics; Gender studies; Psychology; Psychoanalysis; Epistemology; Art; Philosophy","score_opus":0.06577712762045428,"score_gpt":0.2889430641365171,"score_spread":0.2231659365160628,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4297360263","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26910046,0.013014223,0.0033777438,0.084442,0.005310613,0.00004035419,0.00029851482,0.00011825686,0.6242978],"genre_scores_gemma":[0.93537277,0.0023498798,0.0006496694,0.0031909943,0.0009193766,0.0000133729145,0.000047140453,0.00008732187,0.05736952],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99890065,0.0007160028,0.000014868046,0.00008436908,0.00014287943,0.00014112316],"domain_scores_gemma":[0.9985428,0.00092305936,0.00014058012,0.00011951126,0.000107068125,0.00016709577],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015881774,0.0005242592,0.00022743813,0.0009330039,0.005136511,0.006403178,0.000335598,0.0013417208,0.006421278],"category_scores_gemma":[0.0047484976,0.00023547931,0.00018017415,0.00054385053,0.008314713,0.0049375235,0.002892964,0.002689718,0.00077998603],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026007555,0.00008246677,0.002317585,0.00031294362,0.000036506703,0.0012609441,0.3432921,0.00017164339,0.0021192643,0.4979798,0.11653211,0.035634585],"study_design_scores_gemma":[0.000013150918,0.00003525956,0.0020941265,0.0002455038,0.000012713104,0.0006734124,0.06928904,0.00014107954,0.000774702,0.011460469,0.91523546,0.000025060446],"about_ca_topic_score_codex":0.0017082047,"about_ca_topic_score_gemma":0.0064421757,"teacher_disagreement_score":0.006421278,"about_ca_system_score_codex":0.001428118,"about_ca_system_score_gemma":0.0003633446,"threshold_uncertainty_score":0.021481276},"labels":[],"label_agreement":null},{"id":"W4297997266","doi":"10.1093/oxfordhb/9780190873929.013.43","title":"On the Impersonality of Experience","year":2022,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Episteme; Psychoanalytic theory; Affect (linguistics); Film theory; Epistemology; Expression (computer science); Movie theater; Affect theory; Sociology; Aesthetics; Literature; Psychology; Psychoanalysis; Art; Philosophy; Computer science; Communication","score_opus":0.05365918141203356,"score_gpt":0.19903250986130747,"score_spread":0.14537332844927392,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4297997266","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08661687,0.010522456,0.034909975,0.02820498,0.00097038905,0.000055882956,0.00011465551,0.00010298876,0.83850193],"genre_scores_gemma":[0.98453736,0.0016812921,0.00093337265,0.00096116145,0.00022184243,0.000031570413,0.000037622773,0.000053813244,0.01154197],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99059534,0.0063077733,0.0002214734,0.0010835284,0.0011108125,0.0006811102],"domain_scores_gemma":[0.9941571,0.003645289,0.0003967506,0.0007900561,0.00068866817,0.00032215074],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0043633454,0.0005389251,0.00047836703,0.0022276551,0.005199757,0.014419134,0.0014293125,0.0023801222,0.0075134034],"category_scores_gemma":[0.010258861,0.00033656418,0.0004002952,0.0011661702,0.054445427,0.018279376,0.009403147,0.005072586,0.0006109547],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016709751,0.00001022386,0.0002415844,0.000042915723,0.0000052243277,0.0000998423,0.07513819,0.00007240824,0.00014902957,0.91815525,0.001140677,0.004928019],"study_design_scores_gemma":[0.00002062336,0.00006489233,0.0010636848,0.00057586434,0.000015711496,0.00034972033,0.088960856,0.0006023739,0.00044608163,0.6818609,0.22601017,0.000029165147],"about_ca_topic_score_codex":0.003059243,"about_ca_topic_score_gemma":0.0015082929,"teacher_disagreement_score":0.014419134,"about_ca_system_score_codex":0.0054662954,"about_ca_system_score_gemma":0.001594671,"threshold_uncertainty_score":0.03966093},"labels":[],"label_agreement":null},{"id":"W4298006271","doi":"10.7202/1092566ar","title":"“Spectacles of Degeneracy”","year":2022,"lang":"en","type":"article","venue":"Newfoundland and Labrador Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Degeneracy (biology); Geography; Biology; Genetics","score_opus":0.04214769772694669,"score_gpt":0.2525026178312158,"score_spread":0.21035492010426912,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4298006271","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4395263,0.046755273,0.0027403312,0.2288918,0.0008418558,0.000038851136,0.0014694609,0.000049331466,0.27968684],"genre_scores_gemma":[0.98476833,0.0028263135,0.00026641993,0.0066847177,0.00020912736,0.000014997366,0.00016852387,0.000046420897,0.0050151763],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.98912454,0.005275969,0.00042731353,0.0013222693,0.0018735221,0.0019764234],"domain_scores_gemma":[0.96067804,0.019262517,0.00774604,0.005357712,0.0048968904,0.0020589256],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.014511426,0.000358908,0.0006981083,0.0047652866,0.015412362,0.007463924,0.0018864359,0.0030761345,0.017214648],"category_scores_gemma":[0.038882434,0.0006411347,0.00023868254,0.005488811,0.059552494,0.014681385,0.009010886,0.0055522067,0.0010513358],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017178929,0.000049445454,0.036411885,0.00024540583,0.000050714363,0.00039885126,0.31732643,0.00011965886,0.00016375327,0.55292124,0.047451388,0.044689488],"study_design_scores_gemma":[0.00005268613,0.000051915435,0.14379698,0.0028748596,0.00008703399,0.0010070401,0.3749907,0.00016211001,0.0005534426,0.17029119,0.30602118,0.00011085215],"about_ca_topic_score_codex":0.18848564,"about_ca_topic_score_gemma":0.26237136,"teacher_disagreement_score":0.8115144,"about_ca_system_score_codex":0.011043221,"about_ca_system_score_gemma":0.008909599,"threshold_uncertainty_score":0.37477702},"labels":[],"label_agreement":null},{"id":"W4298288522","doi":"10.5281/zenodo.4290554","title":"Dispatches from the Depletion Zone: Edward Burtynsky and the Documentary Sublime","year":2008,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sublime; Art history; History; Art; Environmental ethics; Philosophy","score_opus":0.03536849450665731,"score_gpt":0.20198783640171614,"score_spread":0.16661934189505884,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4298288522","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025203386,0.06418556,0.0015375025,0.72024035,0.01673453,0.000032078762,0.00040795244,0.0001321943,0.17152639],"genre_scores_gemma":[0.4641099,0.055983737,0.00199816,0.0374091,0.01817722,0.000107611966,0.0003734749,0.00037316908,0.42146772],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925655,0.0002914689,0.000031973195,0.0001207373,0.00020963406,0.00008966377],"domain_scores_gemma":[0.9969675,0.0015423347,0.0002150931,0.00020089859,0.0006189736,0.000455257],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018529032,0.00040473393,0.00030354963,0.0014597053,0.0048579704,0.0069971858,0.0007730717,0.0016564731,0.009279912],"category_scores_gemma":[0.0070422995,0.00024267251,0.000119601085,0.0013857399,0.006212899,0.005714741,0.0020483853,0.0039861775,0.0011925283],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003039891,0.000010642381,0.00054040214,0.00010893383,0.000003837789,0.00013062476,0.0155553585,0.00009193984,0.00014984717,0.20409128,0.7654658,0.013821067],"study_design_scores_gemma":[0.0000043590458,0.0000049691225,0.001149072,0.00015394254,0.0000025327663,0.00006818272,0.006929652,0.00015653121,0.00011266631,0.009605734,0.98179585,0.000016436674],"about_ca_topic_score_codex":0.049828146,"about_ca_topic_score_gemma":0.091427706,"teacher_disagreement_score":0.049828146,"about_ca_system_score_codex":0.006978901,"about_ca_system_score_gemma":0.0035025666,"threshold_uncertainty_score":0.09907621},"labels":[],"label_agreement":null},{"id":"W4300193763","doi":"10.29173/scancan49","title":"Op med hodet: Tancred Ibsen’s 1933 Experiment in Cinematic Modernism","year":2010,"lang":"en","type":"article","venue":"Scandinavian-Canadian Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Association for the Advancement of Scandinavian Studies in Canada","funders":"","keywords":"Movie theater; Hollywood; Modernism (music); Art; Narrative; Art history; Norwegian; Literature; Film director; Baptism; Biography; Philosophy; Theology","score_opus":0.05908994512224093,"score_gpt":0.2760234437482818,"score_spread":0.2169334986260409,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4300193763","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5676973,0.0053064045,0.0007643733,0.028782982,0.001259281,0.00006135566,0.00026315896,0.000045392087,0.39581975],"genre_scores_gemma":[0.97156966,0.0008898549,0.0002172744,0.0010164666,0.00010284852,0.000022166088,0.000031806278,0.00003498774,0.026114836],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981014,0.0010591095,0.000034513923,0.00022908574,0.00022722733,0.00034865836],"domain_scores_gemma":[0.99576014,0.0027448805,0.0002109858,0.00020790979,0.0004100858,0.0006659734],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0042641954,0.0003451507,0.00029963691,0.00078097894,0.008197822,0.005442991,0.0007168784,0.0018436805,0.0122105125],"category_scores_gemma":[0.0055389665,0.00028277072,0.00017602446,0.0009609807,0.011220883,0.0028087345,0.0029138722,0.0027331442,0.0008062342],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007970112,0.00039706044,0.0056204437,0.00026282502,0.000029475934,0.0013396785,0.5466499,0.00038026163,0.0016151881,0.32747003,0.0791293,0.03630878],"study_design_scores_gemma":[0.00008916801,0.00017576896,0.019470904,0.00055878493,0.000030273264,0.00027283016,0.22743973,0.00031785696,0.0014082532,0.014667147,0.73550195,0.00006728463],"about_ca_topic_score_codex":0.105651654,"about_ca_topic_score_gemma":0.18453266,"teacher_disagreement_score":0.8943483,"about_ca_system_score_codex":0.012726255,"about_ca_system_score_gemma":0.003888584,"threshold_uncertainty_score":0.21007335},"labels":[],"label_agreement":null},{"id":"W4300970044","doi":"10.1108/978-1-80117-027-720221009","title":"The Making of Monstrosity: Exploring the Monster Figure Through the Lens of Gender","year":2022,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Monster; Lens (geology); Art; Art history; Physics; Optics","score_opus":0.16672681378428106,"score_gpt":0.2422493173170175,"score_spread":0.07552250353273643,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4300970044","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.46636215,0.008758225,0.008628767,0.036618028,0.0008716599,0.0000635544,0.00008431579,0.0000812058,0.47853214],"genre_scores_gemma":[0.98783535,0.0007921621,0.00040726058,0.0007579118,0.00013752021,0.000017083627,0.000010848144,0.000039790528,0.0100019835],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99397343,0.0044814963,0.000046812205,0.00032850594,0.0004527208,0.0007169518],"domain_scores_gemma":[0.99392915,0.004646797,0.00042580636,0.00024408956,0.00030653205,0.00044761066],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0066581937,0.0007331165,0.0006276246,0.0022761011,0.01660135,0.014014579,0.0018672202,0.0033951858,0.0057376106],"category_scores_gemma":[0.0056004287,0.00034404307,0.00035004842,0.0012692406,0.076143965,0.0092062075,0.008017457,0.005478422,0.00032654378],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017941198,0.000014357709,0.00054229423,0.000040388375,0.0000032900105,0.00022811025,0.73866266,0.000049451945,0.0001874638,0.2560012,0.0013631403,0.0028897047],"study_design_scores_gemma":[0.0000064826304,0.00003112894,0.0013118992,0.00040244331,0.0000094582665,0.00022654144,0.84621775,0.00016714842,0.00026647068,0.030428316,0.12091484,0.000017474616],"about_ca_topic_score_codex":0.018824846,"about_ca_topic_score_gemma":0.029029856,"teacher_disagreement_score":0.018824846,"about_ca_system_score_codex":0.011075502,"about_ca_system_score_gemma":0.0040576067,"threshold_uncertainty_score":0.08035874},"labels":[],"label_agreement":null},{"id":"W4301457312","doi":"","title":"Review: Doris Baltruschat and Mary P. Erickson (eds), Independent Filmmaking Around the Globe, University of Toronto Press, Toronto, 2015; pp. 328, RRP CAD $36.95 (Paperback)","year":2016,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Doris (gastropod); Globe; Filmmaking; Art history; Media studies; Art; Medicine; Sociology; Ophthalmology","score_opus":0.12942123771537586,"score_gpt":0.4134051612958567,"score_spread":0.28398392358048086,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4301457312","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00001884313,0.9954195,0.000028544382,0.0027460984,0.0013057609,0.000005888669,0.000058588656,0.000005047761,0.00041172173],"genre_scores_gemma":[0.00023106065,0.9963086,0.000049776074,0.0014806613,0.0010762517,0.000013055754,0.000069134134,0.0000029663565,0.0007683681],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989943,0.00026536844,0.00014710544,0.00014796115,0.0003718005,0.000073534655],"domain_scores_gemma":[0.9952962,0.0025727937,0.000601376,0.00010000828,0.001144437,0.00028512432],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020461513,0.0020823514,0.00373963,0.005033431,0.0007637827,0.0042044036,0.0024177846,0.0026124974,0.01647889],"category_scores_gemma":[0.007540308,0.0010207007,0.0011905398,0.008224258,0.0011894233,0.00441495,0.001502267,0.004318157,0.011122542],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007667156,0.0000125779,0.00013912626,0.029260246,0.00024932012,0.000070846,0.00011774769,0.00014294575,0.00010584854,0.0010502087,0.7731826,0.19559196],"study_design_scores_gemma":[0.000036327572,0.000019151868,0.0008341047,0.015526513,0.0002870878,0.00026003862,0.00013645613,0.000033365093,0.000060497383,0.0009798843,0.9818002,0.000026283264],"about_ca_topic_score_codex":0.008612827,"about_ca_topic_score_gemma":0.018356817,"teacher_disagreement_score":0.01647889,"about_ca_system_score_codex":0.002743421,"about_ca_system_score_gemma":0.0048963483,"threshold_uncertainty_score":0.055127382},"labels":[],"label_agreement":null},{"id":"W4302046704","doi":"10.25071/1913-5874/37382","title":"David Bowie is... Hyperreal","year":2014,"lang":"en","type":"article","venue":"InTensions","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Simulacrum; Performative utterance; Character (mathematics); Art; Subject (documents); Art history; Aesthetics; Space (punctuation); Literature; Philosophy; Computer science","score_opus":0.04315821678414398,"score_gpt":0.2277574931663585,"score_spread":0.18459927638221452,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4302046704","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019898111,0.0033237806,0.0013498613,0.035350043,0.0022969502,0.000027161845,0.00023729025,0.00027533292,0.93724155],"genre_scores_gemma":[0.18916439,0.0021752056,0.0007173286,0.0035292848,0.00036115188,0.000015993213,0.00014211216,0.00014779466,0.8037467],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99946016,0.000108884335,0.0000073540077,0.000093054776,0.00018351282,0.00014705802],"domain_scores_gemma":[0.9993424,0.000060543378,0.000034907873,0.000054262557,0.00014762786,0.0003602966],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005398742,0.00034292627,0.00015750008,0.0005457992,0.007301741,0.0060426453,0.0005378072,0.00097509765,0.088237144],"category_scores_gemma":[0.0010935018,0.00024721,0.00014878243,0.00039160048,0.004549348,0.002591132,0.0027145531,0.0016344688,0.010639423],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001229012,0.000043948752,0.0028593254,0.00018838409,0.000013671911,0.00043661045,0.035365265,0.00009348475,0.0026767564,0.16072296,0.7311188,0.06635785],"study_design_scores_gemma":[0.0000026869113,0.0000067288734,0.001070382,0.000028917751,0.000002028359,0.000096040145,0.0043073557,0.000013636415,0.00014361291,0.0008015652,0.9935196,0.000007421772],"about_ca_topic_score_codex":0.10125403,"about_ca_topic_score_gemma":0.2808051,"teacher_disagreement_score":0.10125403,"about_ca_system_score_codex":0.0051861345,"about_ca_system_score_gemma":0.0022589122,"threshold_uncertainty_score":0.29518265},"labels":[],"label_agreement":null},{"id":"W4304185035","doi":"10.5117/9789462980730_ch04","title":"Realism, Illusion, and Special Effectsin the Cinema","year":2022,"lang":"en","type":"book-chapter","venue":"Amsterdam University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Depiction; Illusion; Realism; Movie theater; Aesthetics; Optical illusion; Perception; Representation (politics); Argument (complex analysis); Epistemology; Art; Psychology; Philosophy; Cognitive psychology; Art history; Visual arts; Politics","score_opus":0.026155573510349667,"score_gpt":0.18022361718794605,"score_spread":0.15406804367759638,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4304185035","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.047180567,0.03361638,0.033536304,0.017252516,0.0012726015,0.00005037609,0.00013912786,0.00013619004,0.86681587],"genre_scores_gemma":[0.87045664,0.011505975,0.0061805453,0.001237246,0.001203572,0.000051654843,0.000114294686,0.000087771696,0.109162375],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992974,0.00040533533,0.00001896254,0.00007261069,0.000121529294,0.00008416049],"domain_scores_gemma":[0.9989718,0.00065983745,0.00007972681,0.00014171397,0.00007112349,0.00007586082],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008789288,0.00047901314,0.0002502996,0.00082838855,0.0011306114,0.0048925905,0.00038448098,0.0011211652,0.008746165],"category_scores_gemma":[0.0022999384,0.00022766592,0.0002567904,0.0005193346,0.008099394,0.005460111,0.0019814663,0.0020643794,0.0005214752],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015381385,0.000008763773,0.0002123357,0.00006315606,0.0000026133882,0.00006167658,0.0028307093,0.00013110273,0.00037353678,0.9793565,0.004975314,0.011968947],"study_design_scores_gemma":[0.000014699885,0.000047245856,0.0023289595,0.00029500344,0.00001399362,0.00059034716,0.0028855212,0.0012626374,0.001088089,0.5723291,0.41911882,0.000025581445],"about_ca_topic_score_codex":0.0011530163,"about_ca_topic_score_gemma":0.0017327475,"teacher_disagreement_score":0.008746165,"about_ca_system_score_codex":0.0015423386,"about_ca_system_score_gemma":0.00044213227,"threshold_uncertainty_score":0.029258847},"labels":[],"label_agreement":null},{"id":"W4304186403","doi":"10.1515/9781782389415-029","title":"24. Screening Histories: The Film-maker Atom Egoyan (Toronto)","year":2022,"lang":"en","type":"book-chapter","venue":"Berghahn Books","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Atom (system on chip); Genealogy; History; Art history; Art; Computer science","score_opus":0.044439278541070104,"score_gpt":0.20826242327450387,"score_spread":0.16382314473343376,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4304186403","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0027643356,0.049453564,0.00037968275,0.03577595,0.004282971,0.00008175834,0.0009555724,0.00012222488,0.90618384],"genre_scores_gemma":[0.020621497,0.0069200257,0.00018379766,0.002252462,0.00029900752,0.00002075074,0.0001272425,0.00006289525,0.9695124],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961424,0.00007636742,0.000010400046,0.000052143307,0.00009148966,0.00015534177],"domain_scores_gemma":[0.9996445,0.00007286827,0.000020142083,0.00002354098,0.00011242111,0.0001265257],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005183712,0.0008594807,0.00028828744,0.0010875771,0.011956376,0.0067001902,0.0008197399,0.003908659,0.117421895],"category_scores_gemma":[0.0012667666,0.0005900909,0.0001958563,0.0018097302,0.0023361014,0.0028469136,0.0019045832,0.0025034633,0.016492112],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012374829,0.000006965072,0.00015923129,0.00005580186,0.0000012593107,0.00017366245,0.003932141,0.00003418697,0.000069678186,0.046117548,0.9287048,0.020732392],"study_design_scores_gemma":[0.0000019454808,0.0000031908787,0.00062058767,0.000058981826,0.0000014142759,0.000031483985,0.0015776027,0.000010558211,0.000044214463,0.0011793886,0.9964664,0.000004274247],"about_ca_topic_score_codex":0.5884788,"about_ca_topic_score_gemma":0.8776446,"teacher_disagreement_score":0.4115212,"about_ca_system_score_codex":0.016867831,"about_ca_system_score_gemma":0.010355283,"threshold_uncertainty_score":0.82788944},"labels":[],"label_agreement":null},{"id":"W4304191768","doi":"10.32873/uno.dc.jrf.26.02.14","title":"Nightmare Alley","year":2022,"lang":"en","type":"article","venue":"Journal of Religion & Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Nightmare; Alley; Art; Religious studies; Philosophy; History; Psychology; Archaeology","score_opus":0.020079361678964083,"score_gpt":0.2131446865251732,"score_spread":0.19306532484620914,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4304191768","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0036565748,0.050403878,0.0004794745,0.14969422,0.19606559,0.00019018051,0.0021966728,0.00046875936,0.5968447],"genre_scores_gemma":[0.013387806,0.00951801,0.0002773552,0.01859393,0.016331078,0.000056571043,0.00076028204,0.0003200249,0.940755],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990834,0.00013507633,0.000025346977,0.00013115916,0.00041834422,0.0002065863],"domain_scores_gemma":[0.9976503,0.00031075007,0.00011318827,0.00011649682,0.0011316253,0.00067760865],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011873071,0.0005708054,0.00038609875,0.0009693243,0.0039387373,0.0040077283,0.0007811724,0.002427556,0.14241102],"category_scores_gemma":[0.005082069,0.00027809697,0.00037298154,0.00048826047,0.0005872659,0.0025967157,0.0025636896,0.0042179185,0.035705596],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016006628,0.0000073774195,0.00007150846,0.000047670215,0.0000017500845,0.00004557334,0.000097333235,0.0000063249,0.00006840534,0.0013004346,0.98997563,0.008361961],"study_design_scores_gemma":[0.0000011500267,0.0000053690915,0.00025348688,0.000043268294,8.4818276e-7,0.00002710027,0.00012197257,0.000005022023,0.000033892757,0.0000545365,0.99945146,0.000001851759],"about_ca_topic_score_codex":0.012826586,"about_ca_topic_score_gemma":0.042113625,"teacher_disagreement_score":0.14241102,"about_ca_system_score_codex":0.0016396185,"about_ca_system_score_gemma":0.0025467072,"threshold_uncertainty_score":0.47641236},"labels":[],"label_agreement":null},{"id":"W4304191822","doi":"10.32873/uno.dc.jrf.26.02.17","title":"223 Wick","year":2022,"lang":"en","type":"article","venue":"Journal of Religion & Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Philosophy; Political science","score_opus":0.021225839086250135,"score_gpt":0.21647085110499334,"score_spread":0.1952450120187432,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4304191822","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015590084,0.11168372,0.0014940845,0.08949531,0.07327879,0.00007202624,0.0006155166,0.00021481026,0.7215867],"genre_scores_gemma":[0.016085012,0.048913717,0.00086066936,0.044269044,0.023111885,0.00005229519,0.00033792,0.00040390363,0.86596555],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992428,0.00013566052,0.00003589597,0.00011168692,0.0003737511,0.00010021562],"domain_scores_gemma":[0.9986545,0.00030065203,0.00005842106,0.00006940406,0.00072330964,0.00019368505],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007004701,0.00078330445,0.00035108547,0.002854545,0.002994584,0.005383858,0.0005726224,0.0021448296,0.066049755],"category_scores_gemma":[0.004244019,0.0002718849,0.00031722742,0.001631757,0.0012356644,0.0036122748,0.001369836,0.0027675906,0.029193573],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000127276335,0.000007898984,0.00007619557,0.000082761035,0.0000019444067,0.000039091006,0.00019599579,0.000022102224,0.00009561697,0.017445283,0.95815253,0.023867859],"study_design_scores_gemma":[8.942346e-7,0.000002712077,0.00015480326,0.00010846357,0.0000013789037,0.000049242866,0.00016513883,0.000016389706,0.00006647905,0.0012495487,0.9981811,0.0000038075004],"about_ca_topic_score_codex":0.01724887,"about_ca_topic_score_gemma":0.036245603,"teacher_disagreement_score":0.066049755,"about_ca_system_score_codex":0.003308988,"about_ca_system_score_gemma":0.0024320313,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4306168533","doi":"10.1093/fs/knac217","title":"<i>Artificial Generation: Photogenic French Literature and the Prehistory of Cinematic Modernity</i> . By Christina Parker-Flynn <i>Artificial Generation: Photogenic French Literature and the Prehistory of Cinematic Modernity</i> . By Parker-FlynnChristina. New Brunswick, NJ: Rutgers University Press, 2022. ix + 246 pp., ill.","year":2022,"lang":"en","type":"article","venue":"French Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Artificiality; Art; Foregrounding; Modernity; Subjectivity; Aesthetics; Literature; Art history; Philosophy; Epistemology","score_opus":0.025910785722998327,"score_gpt":0.20508176412285284,"score_spread":0.17917097839985452,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4306168533","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00880922,0.71913856,0.0011685612,0.0745963,0.0038529471,0.000011306725,0.0000806879,0.00008779973,0.19225466],"genre_scores_gemma":[0.5026219,0.26748377,0.0012908384,0.015356164,0.008954931,0.00006197844,0.00012856556,0.00014046564,0.20396134],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938726,0.0003631479,0.0000116467445,0.000067411485,0.000090998175,0.00007940682],"domain_scores_gemma":[0.99950206,0.00029835885,0.000054967128,0.000023801866,0.00007039298,0.00005039062],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00078823656,0.00076913025,0.0002192235,0.0016434385,0.0032551251,0.0051247184,0.0005612845,0.0019153603,0.009940125],"category_scores_gemma":[0.0010965571,0.00021780054,0.00027582477,0.0016075952,0.005992605,0.0038500198,0.0011755886,0.001550221,0.0013654253],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007380114,0.00003222488,0.0006312783,0.00044086558,0.000015525808,0.00029586462,0.042337507,0.00020340791,0.000491141,0.5046181,0.37433392,0.07652632],"study_design_scores_gemma":[0.000003407222,0.000015199382,0.0010617545,0.000251532,0.0000026116954,0.00016022415,0.0050231908,0.000058301932,0.00008398922,0.0068255016,0.98650753,0.000006849389],"about_ca_topic_score_codex":0.02890708,"about_ca_topic_score_gemma":0.032604504,"teacher_disagreement_score":0.02890708,"about_ca_system_score_codex":0.007642069,"about_ca_system_score_gemma":0.0014403324,"threshold_uncertainty_score":0.057477653},"labels":[],"label_agreement":null},{"id":"W4308290937","doi":"10.25071/2292-4736/40283","title":"Afterglow","year":2022,"lang":"en","type":"article","venue":"UnderCurrents Journal of Critical Environmental Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Ontario College of Art and Design","funders":"","keywords":"Visual arts; Art; Computer science; Computer graphics (images)","score_opus":0.05977631261996744,"score_gpt":0.28167997626662206,"score_spread":0.22190366364665462,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4308290937","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019145734,0.0009402602,0.004404199,0.0026257348,0.0036288898,0.00021640137,0.0046385066,0.012141385,0.9694901],"genre_scores_gemma":[0.0067917346,0.0004720253,0.0019894664,0.0012555056,0.00045611072,0.000094343595,0.0025786397,0.005643321,0.980719],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99956983,0.00004793189,0.0000140256225,0.000087808825,0.00014807266,0.00013221387],"domain_scores_gemma":[0.9991184,0.00007040194,0.000030900035,0.00016721744,0.0002591587,0.000353918],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040634815,0.0010361618,0.00050538697,0.00096689013,0.0027223132,0.0044244737,0.0011530943,0.0016875563,0.81142575],"category_scores_gemma":[0.0022276053,0.00043304428,0.000679851,0.0006423536,0.0006047411,0.005113676,0.005967438,0.0017047866,0.63341665],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052125146,0.000018738743,0.00017749265,0.00012291016,0.000003336701,0.00009413887,0.00043292917,0.000027751334,0.000592586,0.002953506,0.9368124,0.058712073],"study_design_scores_gemma":[0.0000037020934,0.000007939643,0.00028008636,0.00004144798,0.0000021860963,0.00006316809,0.00025383625,0.000026586704,0.00019648719,0.0004256141,0.99869126,0.000007653575],"about_ca_topic_score_codex":0.005346587,"about_ca_topic_score_gemma":0.013911939,"teacher_disagreement_score":0.81142575,"about_ca_system_score_codex":0.0008019667,"about_ca_system_score_gemma":0.00074909476,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4308478466","doi":"10.1108/978-1-80117-514-220221004","title":"‘Musculinity’ and the Empowered Female Body in <i>Haywire</i> (2011)","year":2022,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Saskatchewan","funders":"","keywords":"Gender studies; Sociology","score_opus":0.02839985603445184,"score_gpt":0.20798422855496757,"score_spread":0.17958437252051573,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4308478466","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3023901,0.013768943,0.0016937511,0.0325662,0.0016247802,0.000038643713,0.000074994496,0.00005230873,0.6477904],"genre_scores_gemma":[0.84708196,0.0038982318,0.00047704662,0.0030313663,0.000448749,0.000020355998,0.000037610967,0.000044324755,0.14496028],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9997392,0.00009439422,0.000005901693,0.00003648608,0.000067970475,0.000055939952],"domain_scores_gemma":[0.99975365,0.00006411922,0.000050583927,0.000013709135,0.00003749376,0.00008045895],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004236547,0.00022186358,0.00012202952,0.00044774095,0.0035687163,0.0038373438,0.00027940932,0.0008238825,0.010092621],"category_scores_gemma":[0.00061006297,0.00013561179,0.000090427726,0.00031297217,0.004312376,0.0016483637,0.0016721061,0.0019057909,0.0008076479],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011204088,0.00014352785,0.005151217,0.00036431264,0.000021347472,0.0018763272,0.29876357,0.00007211034,0.005979666,0.4563715,0.13246892,0.09867552],"study_design_scores_gemma":[0.000008838703,0.00006247085,0.013636284,0.00036882484,0.000008916101,0.0012508142,0.05641191,0.00007803392,0.0008272441,0.008746347,0.91858274,0.000017616629],"about_ca_topic_score_codex":0.0038342841,"about_ca_topic_score_gemma":0.01213536,"teacher_disagreement_score":0.010092621,"about_ca_system_score_codex":0.001418905,"about_ca_system_score_gemma":0.0005291248,"threshold_uncertainty_score":0.03376317},"labels":[],"label_agreement":null},{"id":"W4309576902","doi":"10.18192/jpp.v31i2.6535","title":"Tutwiler by Elaine McMillion Sheldon Boston: Frontline PBS (2020) 34 minutes","year":2022,"lang":"en","type":"article","venue":"Journal of Prisoners on Prisons","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"St. Francis Xavier University","funders":"","keywords":"Political science; Gerontology; Medicine","score_opus":0.017178398723865375,"score_gpt":0.22239975015374067,"score_spread":0.2052213514298753,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4309576902","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007776596,0.005831157,0.00067288766,0.024925549,0.040997844,0.00027448,0.0047741095,0.0023199695,0.9194264],"genre_scores_gemma":[0.00041140986,0.00022634363,0.000052554926,0.0011089945,0.00069522014,0.000031379826,0.0003333181,0.0001484334,0.99699223],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990657,0.00011993371,0.000028105136,0.00012780644,0.00035697612,0.00030154982],"domain_scores_gemma":[0.9979729,0.00016842532,0.000085177584,0.00010674507,0.00081699516,0.00084974506],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010300722,0.0016319472,0.0008377375,0.0013932495,0.0033077393,0.0049449606,0.0010867848,0.0046566944,0.83635485],"category_scores_gemma":[0.0036209903,0.0008923932,0.00071928656,0.0009742912,0.0005709526,0.0031902744,0.0048137465,0.0031196272,0.73857677],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000105894405,0.0000037564475,0.000021675429,0.000010764831,3.879153e-7,0.000011493524,0.0000088598235,0.000008017791,0.000029434337,0.00018857198,0.9935939,0.006112623],"study_design_scores_gemma":[0.0000056412778,0.000008032352,0.00017532855,0.000030850704,6.444326e-7,0.000009367112,0.000040871986,0.00001657545,0.000018540943,0.00013043461,0.99956113,0.0000026913222],"about_ca_topic_score_codex":0.014630642,"about_ca_topic_score_gemma":0.050449956,"teacher_disagreement_score":0.83635485,"about_ca_system_score_codex":0.0013981663,"about_ca_system_score_gemma":0.0025459684,"threshold_uncertainty_score":0.2334199},"labels":[],"label_agreement":null},{"id":"W4309694166","doi":"10.3138/cjfs-2022-0021","title":"On the Wings of Hypothesis: Collected Writings on Soviet Cinema","year":2022,"lang":"en","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Movie theater; Art; Aesthetics; Literature; Art history","score_opus":0.06438122699365821,"score_gpt":0.2163002310125746,"score_spread":0.1519190040189164,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4309694166","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66316617,0.02492935,0.0044510467,0.038819592,0.0020715108,0.00016683985,0.005647813,0.000055550547,0.26069212],"genre_scores_gemma":[0.9786879,0.0062076515,0.00095174764,0.0016168882,0.0016682965,0.00004962208,0.0014869627,0.00007733939,0.0092535205],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9954594,0.0020144817,0.0004863022,0.0005053163,0.0011842308,0.00035029635],"domain_scores_gemma":[0.914323,0.06796391,0.0045289854,0.0035982612,0.00853413,0.0010517014],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006420025,0.0003998926,0.00041603658,0.011597231,0.004744371,0.0057026916,0.0005810894,0.0008217691,0.008932669],"category_scores_gemma":[0.03798878,0.0002032391,0.00020186731,0.010262487,0.009110154,0.002837852,0.002278667,0.0014950344,0.00061327574],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00043721567,0.0001536501,0.076981045,0.0022977812,0.0002606855,0.0012695031,0.45003378,0.00055963977,0.0041449363,0.20442042,0.07808482,0.18135664],"study_design_scores_gemma":[0.00002801352,0.000094894225,0.2026023,0.003984628,0.0001443546,0.00059481827,0.29046282,0.00041538474,0.0033021346,0.024495855,0.4738054,0.00006934735],"about_ca_topic_score_codex":0.01697132,"about_ca_topic_score_gemma":0.02640013,"teacher_disagreement_score":0.01697132,"about_ca_system_score_codex":0.0039648134,"about_ca_system_score_gemma":0.0035097138,"threshold_uncertainty_score":0.033952773},"labels":[],"label_agreement":null},{"id":"W4309694194","doi":"10.3138/cjfs-2021-0055","title":"The Canadian Travel Film Library: Non-Theatrical Distribution and Tourism Promotion in the Postwar Period","year":2022,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Humanities; Political science; Art","score_opus":0.024283674768351363,"score_gpt":0.21423908381465992,"score_spread":0.18995540904630856,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4309694194","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2581213,0.015757222,0.0005525463,0.060451247,0.0009950388,0.00014643226,0.002876443,0.00015623754,0.66094357],"genre_scores_gemma":[0.82037336,0.010257263,0.0003221597,0.002848343,0.00021910797,0.00005600021,0.0007553114,0.0001222089,0.1650462],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99777395,0.00020249991,0.000030654195,0.00012673474,0.0008382849,0.001027848],"domain_scores_gemma":[0.99663985,0.00033193926,0.00022870053,0.00011487608,0.0012381936,0.0014463571],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001454263,0.00038565107,0.00025539647,0.0042431764,0.019250115,0.011597182,0.0017213629,0.0014013862,0.036615502],"category_scores_gemma":[0.0053994176,0.00038031972,0.00022473434,0.009465725,0.006874428,0.0038651994,0.0031836168,0.002193311,0.0016058733],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002888188,0.00020149423,0.04370628,0.0005055247,0.000034878973,0.0012612477,0.21006824,0.00029236186,0.0007238248,0.18509184,0.33054608,0.22727938],"study_design_scores_gemma":[0.00001044975,0.000017841487,0.0955073,0.00030670746,0.000012278541,0.00014583081,0.104100846,0.00010742487,0.0001997345,0.0012418466,0.79831016,0.000039653154],"about_ca_topic_score_codex":0.98926175,"about_ca_topic_score_gemma":0.9956228,"teacher_disagreement_score":0.09890313,"about_ca_system_score_codex":0.09890313,"about_ca_system_score_gemma":0.09913814,"threshold_uncertainty_score":0.71759576},"labels":[],"label_agreement":null},{"id":"W4311116262","doi":"10.1080/01419870.2022.2151492","title":"White-washing the movies: Asian erasure and White subjectivity in U.S. film culture <b>White-washing the movies: Asian erasure and White subjectivity in U.S. film culture</b> , David C. Oh, New Brunswick, Rutgers University Press, 2022, 210pp, $29.95 (Paperback), ISBN 978-1978808621","year":2022,"lang":"en","type":"article","venue":"Ethnic and Racial Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subjectivity; White (mutation); Erasure; Art; Aesthetics; Sociology; Gender studies; Philosophy; Computer science; Epistemology","score_opus":0.028390407475240804,"score_gpt":0.2399801072036093,"score_spread":0.2115896997283685,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4311116262","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.052715234,0.67879784,0.00031935153,0.13213404,0.003771552,0.000024427374,0.0014203631,0.000055936354,0.13076131],"genre_scores_gemma":[0.41699106,0.49120027,0.0005051517,0.009297432,0.004473495,0.00006954244,0.0011583843,0.000082438746,0.07622231],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995647,0.0001944847,0.000026068285,0.000041911913,0.00010240827,0.00007046174],"domain_scores_gemma":[0.99882907,0.0004673274,0.00017990771,0.000037597303,0.00022044647,0.0002657264],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011976652,0.000563195,0.00030138917,0.0014476011,0.0018388893,0.004459846,0.00037568656,0.00081910705,0.013747144],"category_scores_gemma":[0.001957917,0.00040194785,0.00019605829,0.0046200966,0.002376492,0.0046797385,0.0010880625,0.0013186528,0.0014542179],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000091621565,0.00007014038,0.016135674,0.0007051984,0.000046650766,0.00026644193,0.04167378,0.00008240206,0.00045453632,0.052232683,0.7501979,0.138043],"study_design_scores_gemma":[0.000016849137,0.00004000756,0.18859039,0.0026509664,0.00006756896,0.00024365456,0.101685084,0.00013847415,0.0003309446,0.010989418,0.6952077,0.00003897255],"about_ca_topic_score_codex":0.09685391,"about_ca_topic_score_gemma":0.1836005,"teacher_disagreement_score":0.09685391,"about_ca_system_score_codex":0.002180599,"about_ca_system_score_gemma":0.0023056418,"threshold_uncertainty_score":0.19258034},"labels":[],"label_agreement":null},{"id":"W4311158094","doi":"10.1080/14680777.2022.2154377","title":"Emergent distribution strategies and feminist media practices: the case of <i>Groupe Intervention Vidéo</i> (GIV)","year":2022,"lang":"en","type":"article","venue":"Feminist Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Concordia University","funders":"","keywords":"Mandate; Context (archaeology); Intervention (counseling); Sociology; Promotion (chess); Distribution (mathematics); Media studies; Public relations; Political science; Psychology; Law; History; Politics","score_opus":0.0718501126881627,"score_gpt":0.3022368801561595,"score_spread":0.2303867674679968,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4311158094","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44311252,0.002327843,0.019737998,0.06547469,0.000322741,0.0002314094,0.00015026753,0.00010349082,0.46853894],"genre_scores_gemma":[0.9733061,0.0006224772,0.001970501,0.0018635853,0.00011493529,0.00011657615,0.000026908343,0.00009023801,0.021888647],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99161386,0.006246182,0.00007776046,0.0005196603,0.00061462953,0.0009279434],"domain_scores_gemma":[0.98943555,0.008419313,0.0005729376,0.00037287024,0.00049182295,0.0007074653],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008922108,0.00058668596,0.00027559977,0.0023402048,0.02046758,0.013616243,0.0019422068,0.0044327737,0.009554831],"category_scores_gemma":[0.012366708,0.0003777146,0.00027117762,0.0021567743,0.03346044,0.010647145,0.008327398,0.0036961983,0.0006819194],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032581935,0.000060578728,0.0016397381,0.00006410299,0.0000043656837,0.0014256355,0.617016,0.00012929885,0.00036783263,0.3631919,0.004403457,0.011664463],"study_design_scores_gemma":[0.000037787235,0.000044977434,0.0020733934,0.00029680363,0.000008903124,0.0007036117,0.6060162,0.000684552,0.0006967129,0.06476407,0.32464767,0.000025308951],"about_ca_topic_score_codex":0.020206237,"about_ca_topic_score_gemma":0.032644685,"teacher_disagreement_score":0.02046758,"about_ca_system_score_codex":0.015345516,"about_ca_system_score_gemma":0.0044876924,"threshold_uncertainty_score":0.111340046},"labels":[],"label_agreement":null},{"id":"W4312526802","doi":"10.7202/1093772ar","title":"Nostalgia, Recursivity, and the Re-Performance of Structural Film1","year":2022,"lang":"fr","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Exhibition; Tribe; Feeling; Art; Subject (documents); Event (particle physics); Aesthetics; Set (abstract data type); Visual arts; History; Literature; Sociology; Computer science; Philosophy; Anthropology; Epistemology; World Wide Web","score_opus":0.028627460514426075,"score_gpt":0.2616338122973303,"score_spread":0.23300635178290421,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312526802","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.38337627,0.012290279,0.011613796,0.036035072,0.0007767062,0.00007217834,0.000077089746,0.00013063963,0.555628],"genre_scores_gemma":[0.9866545,0.00094622927,0.0004985812,0.0004535185,0.00019364033,0.000013917658,0.000015408645,0.00004390637,0.011180302],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.991559,0.006033914,0.00015103642,0.0006793509,0.00089981826,0.0006769151],"domain_scores_gemma":[0.9908964,0.0055991192,0.0011359516,0.0012066511,0.0006048727,0.0005569575],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006358519,0.0004845929,0.0003727974,0.0017547781,0.0070468388,0.012884606,0.0014195525,0.0021838995,0.00592886],"category_scores_gemma":[0.017748332,0.00030104542,0.00020883631,0.0015280516,0.03450293,0.010356411,0.0074479287,0.0048249797,0.0005003862],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005559757,0.00003556358,0.0014577624,0.00009817424,0.000012195961,0.000299124,0.15243086,0.00014566458,0.0005882368,0.82584417,0.0037099947,0.015322674],"study_design_scores_gemma":[0.000048402588,0.00020551267,0.009594024,0.0008150702,0.000028821885,0.00091781886,0.16959451,0.0011819751,0.0019700064,0.3027318,0.5128355,0.00007660575],"about_ca_topic_score_codex":0.0038114474,"about_ca_topic_score_gemma":0.005257385,"teacher_disagreement_score":0.012884606,"about_ca_system_score_codex":0.005815787,"about_ca_system_score_gemma":0.0013767522,"threshold_uncertainty_score":0.04219669},"labels":[],"label_agreement":null},{"id":"W4312617337","doi":"10.1109/bigdataservice55688.2022.00015","title":"Assessing the Impact of Movie Plot Summaries on Box Office Sales","year":2022,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University; University of Waterloo","funders":"","keywords":"Box office; Vocabulary; Computer science; Studio; Set (abstract data type); Production (economics); Advertising; Natural language processing; Business; Linguistics; Economics","score_opus":0.06352705261210957,"score_gpt":0.2932954640963557,"score_spread":0.22976841148424615,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312617337","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.992761,0.0009362059,0.0004207711,0.00016080325,0.000046720248,0.000040805193,0.002501517,0.00008729358,0.003044825],"genre_scores_gemma":[0.993185,0.00043069545,0.0013720165,0.000035518962,0.000091789516,0.000023889435,0.0037216274,0.000031092663,0.0011084644],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99878865,0.0003604797,0.00013540802,0.00013133333,0.000499692,0.000084511325],"domain_scores_gemma":[0.9757145,0.014117585,0.0056003635,0.00080260035,0.0026961914,0.0010687452],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019150084,0.00045179535,0.00032858393,0.0017834931,0.00024037412,0.0012511719,0.00020373949,0.00030742638,0.0025487766],"category_scores_gemma":[0.020852502,0.00009146408,0.00033944528,0.0013750002,0.00017503349,0.0014133346,0.00042523514,0.0004526141,0.0006725538],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0033844782,0.0010541528,0.7730518,0.0010225826,0.0007594715,0.00047985796,0.0012713618,0.005056482,0.009090586,0.0004985246,0.008783165,0.1955474],"study_design_scores_gemma":[0.00002535287,0.0015375697,0.9840217,0.00006309008,0.00019300723,0.00013299966,0.001055001,0.0055899043,0.002353258,0.00014235072,0.0048535555,0.000032082644],"about_ca_topic_score_codex":0.0021598253,"about_ca_topic_score_gemma":0.0039324104,"teacher_disagreement_score":0.0025487766,"about_ca_system_score_codex":0.00028553617,"about_ca_system_score_gemma":0.00021947785,"threshold_uncertainty_score":0.010127664},"labels":[],"label_agreement":null},{"id":"W4312678227","doi":"10.4000/questionsdecommunication.29183","title":"La télévision à l’ère des plateformes","year":2022,"lang":"fr","type":"article","venue":"Questions de communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Humanities; Political science; Art","score_opus":0.03849449588156688,"score_gpt":0.26777824311703946,"score_spread":0.22928374723547257,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312678227","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14659274,0.0012738619,0.039679475,0.0061051007,0.00033661528,0.00009379007,0.00028090813,0.00040522317,0.8052323],"genre_scores_gemma":[0.79776216,0.00150207,0.012785007,0.0008405555,0.0001391031,0.00013740739,0.00024684035,0.00029030253,0.18629651],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981207,0.0006268611,0.00005235024,0.00031025856,0.00065105996,0.00023865404],"domain_scores_gemma":[0.99776614,0.00090895506,0.00023495592,0.00040328215,0.0005116672,0.00017500418],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012179184,0.00063441263,0.00023840164,0.0016046483,0.0038103757,0.009053364,0.0008293387,0.0013333065,0.032099232],"category_scores_gemma":[0.004802712,0.0003223612,0.00041472903,0.0018785819,0.010315644,0.00671608,0.004557708,0.0024108412,0.0044177533],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009874088,0.0000397685,0.0040616654,0.00017611733,0.000017428103,0.0005120712,0.09109893,0.0008946535,0.0048162728,0.80278385,0.008108888,0.087391585],"study_design_scores_gemma":[0.000027586584,0.00011852928,0.010294797,0.0005772644,0.000035857058,0.0012241286,0.09511951,0.0018711394,0.0050225323,0.11055188,0.7750594,0.00009742396],"about_ca_topic_score_codex":0.01604394,"about_ca_topic_score_gemma":0.012707767,"teacher_disagreement_score":0.032099232,"about_ca_system_score_codex":0.004016404,"about_ca_system_score_gemma":0.0024891638,"threshold_uncertainty_score":0.107382596},"labels":[],"label_agreement":null},{"id":"W4312840533","doi":"10.5406/28315081.16.1.11","title":"The Cinema of Mika Kaurismäki: Transvergent Cinescapes, Emergent Identities","year":2012,"lang":"en","type":"article","venue":"Journal of Finnish Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Dalhousie University","funders":"","keywords":"Movie theater; Art; Art history","score_opus":0.06440534853832422,"score_gpt":0.2766542924542676,"score_spread":0.21224894391594337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312840533","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44473383,0.017965006,0.003951464,0.01776837,0.0016686176,0.000043232296,0.00028363586,0.00007842675,0.5135075],"genre_scores_gemma":[0.9846934,0.0015669733,0.00048559345,0.0002652171,0.00012879199,0.00001003731,0.000043937565,0.00003060009,0.012775475],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994836,0.0002113343,0.000019023082,0.00008963977,0.000079156474,0.000117225696],"domain_scores_gemma":[0.99897087,0.00047535033,0.000107645305,0.00007964656,0.00011268787,0.00025383368],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009699908,0.00044258876,0.00023503273,0.001195064,0.0064585432,0.009714315,0.000533331,0.0013333109,0.008992688],"category_scores_gemma":[0.0029835678,0.00022699576,0.00017966017,0.0010641123,0.0061077457,0.0077873645,0.0032001096,0.0019978096,0.0006878128],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019037336,0.000054857075,0.003918829,0.0003208786,0.00001765541,0.0019548966,0.5256646,0.000147245,0.0018292799,0.41834053,0.01985323,0.027707485],"study_design_scores_gemma":[0.000034376175,0.00007756164,0.022386447,0.0009579901,0.00006451634,0.0031497285,0.47913492,0.00054910214,0.0012832558,0.05004849,0.44223413,0.000079508565],"about_ca_topic_score_codex":0.0058003375,"about_ca_topic_score_gemma":0.009300237,"teacher_disagreement_score":0.009714315,"about_ca_system_score_codex":0.0024163544,"about_ca_system_score_gemma":0.0016482453,"threshold_uncertainty_score":0.030083597},"labels":[],"label_agreement":null},{"id":"W4312893369","doi":"10.7202/1092304ar","title":"Dans le mouvement du monde. La musique pop filmée par le cinéma direct","year":2022,"lang":"fr","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.018817988201170577,"score_gpt":0.20318491884636164,"score_spread":0.18436693064519105,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312893369","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06130686,0.025052523,0.007873354,0.020698383,0.0022598295,0.00004668145,0.00013982129,0.00012671207,0.8824957],"genre_scores_gemma":[0.6703626,0.006672222,0.003386644,0.001790731,0.00075481186,0.000055112174,0.000052631,0.00011681621,0.31680846],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993944,0.000246754,0.000011049458,0.00012960334,0.000111263595,0.00010681937],"domain_scores_gemma":[0.9996325,0.00010881248,0.000042501757,0.00004536109,0.000060989914,0.000109755885],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007041768,0.0005075478,0.00016239462,0.00061070494,0.0053174687,0.0065254043,0.00036793295,0.0014898132,0.013595586],"category_scores_gemma":[0.001396149,0.00027568438,0.0002597247,0.0005240366,0.00866148,0.0028826678,0.0035099802,0.002699413,0.001665894],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000091951595,0.00001536375,0.0015673082,0.00022818198,0.000012853531,0.00037680005,0.0702343,0.00015513408,0.0017715152,0.85071355,0.023449486,0.051383507],"study_design_scores_gemma":[0.0000073278165,0.000034965826,0.0019335182,0.00017542773,0.000008410923,0.00029478833,0.010839783,0.00011237539,0.00045974797,0.024923591,0.96119696,0.000013025093],"about_ca_topic_score_codex":0.011451355,"about_ca_topic_score_gemma":0.022431886,"teacher_disagreement_score":0.013595586,"about_ca_system_score_codex":0.002944089,"about_ca_system_score_gemma":0.0017046105,"threshold_uncertainty_score":0.04548174},"labels":[],"label_agreement":null},{"id":"W4312980566","doi":"10.5840/cpsem2020/20218","title":"A Semiotic Analysis: Journalistic Writing about Brazilian Cinema","year":2020,"lang":"en","type":"book-chapter","venue":"Semiotics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Semiotics; Movie theater; Art; Literature; Sociology; Linguistics; Philosophy","score_opus":0.035147904445219154,"score_gpt":0.2356035398533273,"score_spread":0.20045563540810815,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312980566","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.109638765,0.0132307885,0.016997203,0.015091132,0.0008280021,0.00010039635,0.0002621238,0.00009426463,0.8437573],"genre_scores_gemma":[0.962271,0.0039545144,0.0030988674,0.0005563418,0.00039552103,0.00007321394,0.000097488104,0.00013672582,0.029416304],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9979656,0.0015699076,0.000045888915,0.000108901964,0.00020111179,0.00010864688],"domain_scores_gemma":[0.9943868,0.0041821366,0.000285224,0.00024526461,0.00065897626,0.00024164436],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019101442,0.00053452037,0.00027002336,0.0030020128,0.006557996,0.008612917,0.00047119954,0.0010347255,0.0051514744],"category_scores_gemma":[0.008833935,0.0002035104,0.00018184379,0.0037914864,0.009656545,0.0044361865,0.001896428,0.0016109647,0.00035430596],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036062414,0.000025382615,0.00053467933,0.00021477955,0.000004328891,0.0003376605,0.23668216,0.00007282183,0.0013323069,0.72911626,0.008320231,0.02332325],"study_design_scores_gemma":[0.0000071927484,0.00003990767,0.005356423,0.0010751187,0.000020398013,0.00083621446,0.30521557,0.00082834624,0.0012665812,0.092986405,0.5923429,0.000024987734],"about_ca_topic_score_codex":0.011582767,"about_ca_topic_score_gemma":0.017286513,"teacher_disagreement_score":0.011582767,"about_ca_system_score_codex":0.0055128387,"about_ca_system_score_gemma":0.002655233,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4312981072","doi":"10.3167/jbsm.2022.030202","title":"You Must Be Shitting Me","year":2022,"lang":"en","type":"article","venue":"Journal of Bodies Sexualities and Masculinities","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"John Abbott College","funders":"","keywords":"Disgust; Masculinity; Normative; Queer; Gender studies; Scholarship; Human sexuality; Psychology; Representation (politics); Sociology; Aesthetics; Social psychology; Art; Politics; Epistemology; Political science; Philosophy","score_opus":0.06258150141945325,"score_gpt":0.24352980218947634,"score_spread":0.1809483007700231,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4312981072","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09064807,0.010900805,0.013796508,0.17661764,0.01735427,0.00008371429,0.00039352605,0.00067560654,0.6895299],"genre_scores_gemma":[0.57395977,0.0037681276,0.0024874825,0.034437712,0.0018922832,0.00003956578,0.00017460373,0.00048300935,0.3827575],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99848586,0.0007285426,0.00003354967,0.00013780192,0.0003958914,0.0002184086],"domain_scores_gemma":[0.9985322,0.00042191427,0.00018277086,0.00010777816,0.00034356845,0.00041190215],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012677568,0.00061517453,0.00025368648,0.00045912428,0.0049609337,0.004646949,0.0003774236,0.0019380751,0.021453172],"category_scores_gemma":[0.0047765775,0.00024154097,0.00030534953,0.00023605837,0.005953755,0.004552564,0.0027822503,0.0039742757,0.008556186],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023196921,0.000074309755,0.005840775,0.00029744406,0.000075699696,0.0017157402,0.10479631,0.0001408458,0.003762542,0.19485232,0.61550707,0.072704986],"study_design_scores_gemma":[0.000008110332,0.00006979702,0.0024994952,0.00016692716,0.000014860614,0.0011494036,0.039747227,0.000116077965,0.0008577114,0.008972459,0.946357,0.00004091717],"about_ca_topic_score_codex":0.0036319173,"about_ca_topic_score_gemma":0.007013207,"teacher_disagreement_score":0.021453172,"about_ca_system_score_codex":0.0011641219,"about_ca_system_score_gemma":0.00051062333,"threshold_uncertainty_score":0.071767986},"labels":[],"label_agreement":null},{"id":"W4313303976","doi":"10.32920/ifmj.v2i4.1732","title":"Interactive Documentary","year":2022,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Affordance; Polyphony; Narrative; Sociology; Active listening; Media studies; Visual arts; Psychology; Pedagogy; Linguistics; Art; Communication","score_opus":0.018586269150095567,"score_gpt":0.23762664730948221,"score_spread":0.21904037815938665,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4313303976","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017365924,0.0024136768,0.011140881,0.018266102,0.018531658,0.00035615047,0.008883932,0.004045152,0.9346258],"genre_scores_gemma":[0.03010865,0.0030101778,0.009390811,0.005699774,0.01034263,0.00056185975,0.0075440593,0.0054970947,0.92784506],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9968154,0.000904333,0.00022438567,0.00049445115,0.0012035273,0.00035799344],"domain_scores_gemma":[0.9894958,0.0042433506,0.00063752005,0.002410267,0.0018823039,0.0013306049],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0034367873,0.00081207557,0.00064416125,0.003017985,0.0034007747,0.009201493,0.0024465965,0.0029608193,0.51332563],"category_scores_gemma":[0.021273935,0.00041899376,0.0007712381,0.0030329335,0.001879274,0.008175357,0.008477256,0.0033734879,0.19358197],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009688639,0.000020360501,0.00012827115,0.00028773258,0.000007008976,0.00014593333,0.001623191,0.000063993124,0.0005523633,0.030298837,0.90986335,0.05691215],"study_design_scores_gemma":[0.0000034643542,0.000004206181,0.00007505293,0.0000633974,0.0000012713618,0.000043418793,0.0001454208,0.00002492226,0.00007181263,0.00083596347,0.99872714,0.0000040356545],"about_ca_topic_score_codex":0.0019965302,"about_ca_topic_score_gemma":0.004228661,"teacher_disagreement_score":0.51332563,"about_ca_system_score_codex":0.0021361583,"about_ca_system_score_gemma":0.0018650086,"threshold_uncertainty_score":0.6941819},"labels":[],"label_agreement":null},{"id":"W4313303981","doi":"10.32920/ifmj.v2i4.1684","title":"Reconfiguring Archives in Interactive Documentaries","year":2022,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indexicality; Repurposing; Narrative; Textuality; Visual arts; Context (archaeology); Temporalities; Polyphony; Computer science; Merge (version control); Storytelling; Multimedia; History; Art; Literature; Linguistics","score_opus":0.019809432285522136,"score_gpt":0.2331417709839926,"score_spread":0.21333233869847046,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4313303981","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40469953,0.0032020824,0.10138419,0.003703538,0.0003406899,0.00038275018,0.00043352915,0.0010534021,0.48480028],"genre_scores_gemma":[0.9335694,0.0007196555,0.037840452,0.0002106318,0.000083743675,0.00016831976,0.0001619015,0.00052946265,0.026716532],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99551696,0.0026106155,0.00015621133,0.0005652632,0.0006907482,0.00046017522],"domain_scores_gemma":[0.992997,0.0038261777,0.00056497566,0.0019065301,0.00030501574,0.0004002691],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004329415,0.0005550253,0.000350402,0.0028922283,0.007097128,0.018009786,0.0019933025,0.001790755,0.010026607],"category_scores_gemma":[0.008951337,0.00046178984,0.00055021816,0.0028669243,0.017331114,0.014669788,0.011804051,0.0024740018,0.001681061],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000115701,0.000053088603,0.0023616885,0.00022904255,0.000014263444,0.0010504443,0.45003262,0.0010971169,0.0025938593,0.5017316,0.0018606357,0.038859945],"study_design_scores_gemma":[0.000043791722,0.000108141074,0.0038572093,0.00076316565,0.000055290555,0.0021102813,0.24805689,0.002550943,0.004707545,0.14612,0.59154063,0.000086084474],"about_ca_topic_score_codex":0.003678383,"about_ca_topic_score_gemma":0.0049248585,"teacher_disagreement_score":0.018009786,"about_ca_system_score_codex":0.0045341253,"about_ca_system_score_gemma":0.0022212942,"threshold_uncertainty_score":0.033542335},"labels":[],"label_agreement":null},{"id":"W4313470429","doi":"10.47818/drarch.2022.v3si068","title":"A reflection on cinematic architecture through light, poetic imagery, narrative and social issues","year":2022,"lang":"en","type":"article","venue":"Journal of Design for Resilience in Architecture and Planning","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Queen's University; Queen's University Belfast","keywords":"Architecture; Movie theater; Metaphor; Narrative; Aesthetics; Art; Poetry; Context (archaeology); Visual arts; Sociology; Art history; Literature; Philosophy; History","score_opus":0.051845311838827006,"score_gpt":0.3052088568985207,"score_spread":0.25336354505969366,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4313470429","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10353083,0.045972154,0.010871435,0.08501646,0.0073141246,0.00012530904,0.00016466789,0.00019762464,0.74680746],"genre_scores_gemma":[0.8808818,0.012042338,0.0027640327,0.00658585,0.0024388968,0.00013475437,0.00006135755,0.00021442742,0.0948765],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984107,0.0011276912,0.000021246848,0.000103703875,0.0001818245,0.00015474748],"domain_scores_gemma":[0.99869746,0.0008401773,0.00008123193,0.00007418702,0.00012389992,0.00018303243],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017261329,0.00063794747,0.0002694329,0.0013829548,0.0077603194,0.008927413,0.00073299045,0.0017524601,0.0059155934],"category_scores_gemma":[0.0035255603,0.000281117,0.00028246894,0.0011062588,0.01690235,0.0075301845,0.0035655554,0.005465028,0.00060377014],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028486464,0.000027490692,0.00023653333,0.00016779597,0.0000058225073,0.0005670894,0.49904233,0.00008505501,0.0018220014,0.43867797,0.046753503,0.012586027],"study_design_scores_gemma":[0.0000055217506,0.000021739144,0.00070617,0.00034225074,0.000005987479,0.00055875507,0.12599705,0.00010912946,0.00039320363,0.013734048,0.8581141,0.000012048759],"about_ca_topic_score_codex":0.005233357,"about_ca_topic_score_gemma":0.0077334526,"teacher_disagreement_score":0.008927413,"about_ca_system_score_codex":0.0037212316,"about_ca_system_score_gemma":0.0013340616,"threshold_uncertainty_score":0.026999593},"labels":[],"label_agreement":null},{"id":"W4313495258","doi":"10.1007/978-3-031-14171-3","title":"Rethinking Film Festivals in the Pandemic Era and After","year":2023,"lang":"en","type":"book","venue":"Framing film festivals.","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":31,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"School of Oriental and African Studies, University of London; Universiteit Utrecht","keywords":"Social distance; Pandemic; Coronavirus disease 2019 (COVID-19); Distancing; Media studies; Social media; Sociology; Art; Political science; Medicine; Law","score_opus":0.044762972936814284,"score_gpt":0.24197771841813653,"score_spread":0.19721474548132226,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4313495258","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.037817508,0.037596256,0.0025881664,0.07870025,0.0099966675,0.00009568051,0.000535602,0.00023273623,0.83243716],"genre_scores_gemma":[0.4444344,0.03032341,0.0026026443,0.008831989,0.005504149,0.00012054519,0.00063842797,0.00042319196,0.5071212],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990578,0.0004992759,0.000022566333,0.00006181923,0.00017706396,0.00018152189],"domain_scores_gemma":[0.99686664,0.0019003632,0.00018284471,0.00018187134,0.00031516928,0.00055312243],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020559758,0.00041099996,0.0002336813,0.0009462103,0.004565808,0.009986662,0.0008206989,0.0014172893,0.02020268],"category_scores_gemma":[0.0063711186,0.0002347456,0.00025464394,0.0012289335,0.0035471926,0.008290665,0.0027100851,0.0031898424,0.0025078538],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000083269784,0.00008068368,0.0015501019,0.00027647833,0.000017832515,0.00031782727,0.041351374,0.0002149719,0.0003041624,0.32611325,0.5266476,0.10304232],"study_design_scores_gemma":[0.000007648584,0.000022750852,0.0028333329,0.00031885042,0.0000053983103,0.00007857435,0.027472565,0.00009866096,0.00016120581,0.018293826,0.9506956,0.000011591939],"about_ca_topic_score_codex":0.009235958,"about_ca_topic_score_gemma":0.031891376,"teacher_disagreement_score":0.02020268,"about_ca_system_score_codex":0.0027107424,"about_ca_system_score_gemma":0.0017263269,"threshold_uncertainty_score":0.067584634},"labels":[],"label_agreement":null},{"id":"W4313498980","doi":"10.1080/14927713.2022.2159865","title":"‘Sadly, my group was “hanged” at the end of the evening’: the politics of deservingness and representation at carceral-themed escape rooms","year":2023,"lang":"en","type":"article","venue":"Leisure/Loisir","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Women's and Gender Studies et Recherches Féministes; University of Winnipeg; University of Ottawa","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Evening; Politics; Representation (politics); Psychology; Social psychology; Political science; Law; Physics; Astronomy","score_opus":0.04143214428378718,"score_gpt":0.24901313795674365,"score_spread":0.20758099367295646,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4313498980","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8940617,0.00068977615,0.0013753256,0.01226468,0.00018367042,0.000022150054,0.00006564666,0.000037335234,0.09129983],"genre_scores_gemma":[0.9958134,0.00015812993,0.00013022804,0.0004414895,0.000033000175,0.000005735736,0.000014704896,0.000024731693,0.0033784963],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9976132,0.0015724394,0.000029428138,0.00014196393,0.00025419513,0.00038891757],"domain_scores_gemma":[0.9961144,0.0021856676,0.00040282882,0.00018508833,0.00044339622,0.00066861435],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030106697,0.00032744007,0.0002505608,0.0012559671,0.013168932,0.008445807,0.00085699424,0.0011844401,0.0037282135],"category_scores_gemma":[0.005251991,0.00021412813,0.0001728952,0.00114304,0.020133594,0.00403603,0.0038430346,0.0028840112,0.00029672106],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003377495,0.000015413067,0.002681487,0.000033982764,0.000004294585,0.00034790518,0.96839863,0.000031143056,0.00047435603,0.020436412,0.0032814187,0.004261063],"study_design_scores_gemma":[0.00000317568,0.000009266312,0.0041614664,0.00008396694,0.0000068946947,0.00013306746,0.9569385,0.00008860738,0.0002574819,0.0012533604,0.037051424,0.000012814137],"about_ca_topic_score_codex":0.10948953,"about_ca_topic_score_gemma":0.1904716,"teacher_disagreement_score":0.10948953,"about_ca_system_score_codex":0.0071092374,"about_ca_system_score_gemma":0.003936404,"threshold_uncertainty_score":0.21770447},"labels":[],"label_agreement":null},{"id":"W4313596022","doi":"10.1007/978-3-031-14171-3_10","title":"Cinephilia, Publics, Cinegoraphilia: Surveying the Short-Term Effects of Covid-19 on Community-Based Festivals in Toronto","year":2023,"lang":"en","type":"book-chapter","venue":"Framing film festivals.","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Brock University","funders":"School of Oriental and African Studies, University of London; Universiteit Utrecht","keywords":"Publics; Context (archaeology); Media studies; Sociology; Coronavirus disease 2019 (COVID-19); Public relations; Political science; Visual arts; Geography; Art; Politics; Archaeology","score_opus":0.07785608520637233,"score_gpt":0.2851907609968029,"score_spread":0.20733467579043058,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4313596022","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9295167,0.0027500705,0.00027321753,0.0036956777,0.00010824709,0.00012094911,0.0013731378,0.000024842944,0.06213719],"genre_scores_gemma":[0.99003637,0.001567025,0.00012105307,0.00017892465,0.000043231106,0.00006575945,0.0003741171,0.000019033525,0.0075944946],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.9981335,0.0005816469,0.000045880577,0.00016080329,0.00048491795,0.00059326],"domain_scores_gemma":[0.9931051,0.002731415,0.0012709524,0.00031474873,0.0009868995,0.0015908661],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025183212,0.00031284627,0.00029329397,0.0021745274,0.007418721,0.006568418,0.0011436353,0.0006166941,0.007260588],"category_scores_gemma":[0.009567136,0.00032456982,0.00019211425,0.0043550357,0.0053963,0.0018104626,0.003714098,0.0015924057,0.0003435608],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017315155,0.00011064442,0.12405563,0.00043308016,0.00004319885,0.00068946165,0.7963738,0.00025395813,0.0007853737,0.013169216,0.028231973,0.035680566],"study_design_scores_gemma":[0.0000065306585,0.000051577215,0.30096075,0.00029983657,0.000016403112,0.00007598471,0.6112471,0.00010630703,0.00016010342,0.0002552847,0.08679989,0.00002026662],"about_ca_topic_score_codex":0.81904805,"about_ca_topic_score_gemma":0.92936516,"teacher_disagreement_score":0.18095195,"about_ca_system_score_codex":0.04046926,"about_ca_system_score_gemma":0.01598452,"threshold_uncertainty_score":0.3640352},"labels":[],"label_agreement":null},{"id":"W4313596036","doi":"10.1007/978-3-031-14171-3_8","title":"Vidéo de Femmes Dans le Parc: Feminist Rhythms and Festival Times Under Covid","year":2023,"lang":"en","type":"book-chapter","venue":"Framing film festivals.","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill University; Concordia University","funders":"School of Oriental and African Studies, University of London; Universiteit Utrecht","keywords":"Exhibition; Mandate; Coronavirus disease 2019 (COVID-19); Queer; Movie theater; Sociology; Embodied cognition; Media studies; Visual arts; Gender studies; Art; Political science","score_opus":0.05227628213207213,"score_gpt":0.2475307973466903,"score_spread":0.19525451521461817,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4313596036","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44608992,0.005690262,0.0017051715,0.035749756,0.0006853072,0.00007864942,0.0010766861,0.000087955494,0.5088363],"genre_scores_gemma":[0.9614033,0.001412969,0.00020380174,0.00062369934,0.0002611892,0.000028109045,0.00011123367,0.000043347558,0.03591238],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99904567,0.00044563223,0.000008696623,0.00009184453,0.0001588141,0.0002492846],"domain_scores_gemma":[0.99834144,0.00081887125,0.00014617357,0.000076735945,0.00021966345,0.0003970523],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015848322,0.00029059383,0.00014887936,0.0012251975,0.0066074133,0.0052574123,0.00075020385,0.0008076156,0.011755874],"category_scores_gemma":[0.003043646,0.00017126459,0.00011551107,0.0019113828,0.0069671134,0.0019596415,0.001953943,0.0014197261,0.00041631327],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018652456,0.00009429511,0.014108161,0.0002587921,0.000018876546,0.0017902388,0.5654765,0.00045418474,0.001307269,0.24093486,0.10863991,0.0667305],"study_design_scores_gemma":[0.000010818239,0.000043471005,0.051102962,0.00033997255,0.000007675496,0.00024381523,0.30547312,0.00025178242,0.00040698834,0.004137535,0.6379498,0.000032031963],"about_ca_topic_score_codex":0.2752521,"about_ca_topic_score_gemma":0.48196265,"teacher_disagreement_score":0.2752521,"about_ca_system_score_codex":0.01496843,"about_ca_system_score_gemma":0.0033663856,"threshold_uncertainty_score":0.5472999},"labels":[],"label_agreement":null},{"id":"W4313625322","doi":"10.3138/chr.103.4.br20","title":"<i>A Runner’s Journey</i>. Bruce Kidd","year":2022,"lang":"en","type":"article","venue":"Canadian Historical Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Brandon University","funders":"","keywords":"Art; Art history","score_opus":0.055980497874846775,"score_gpt":0.22622978994227644,"score_spread":0.17024929206742967,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4313625322","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00019400008,0.6024436,0.00027388992,0.3187471,0.03720691,0.000014434724,0.0004074494,0.00007229128,0.04064031],"genre_scores_gemma":[0.010572563,0.6322071,0.0007283465,0.1363153,0.0356309,0.000038774288,0.00053787016,0.00030475456,0.18366443],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99868625,0.0002576317,0.000054435324,0.00013698255,0.000665393,0.00019931544],"domain_scores_gemma":[0.99237615,0.0014833172,0.00022888415,0.00016251381,0.004638,0.0011111165],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021908747,0.00082696293,0.0008197215,0.003924053,0.004972724,0.006565132,0.0012593619,0.0025562309,0.038949948],"category_scores_gemma":[0.008402284,0.00053239084,0.00045440104,0.0046700584,0.0028653995,0.0054604067,0.001587742,0.005959413,0.0144721465],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000045575466,0.0000013075534,0.00004174046,0.000092267015,0.0000019833317,0.000011927758,0.0000943895,0.0000050141625,0.000011656198,0.0021474678,0.98871464,0.008873105],"study_design_scores_gemma":[0.000001060905,9.606404e-7,0.0002815225,0.000404496,0.0000027886904,0.00003597132,0.00030120197,0.0000045775296,0.000016147162,0.00053432037,0.998412,0.0000049328783],"about_ca_topic_score_codex":0.40007383,"about_ca_topic_score_gemma":0.5961013,"teacher_disagreement_score":0.40007383,"about_ca_system_score_codex":0.010368401,"about_ca_system_score_gemma":0.012710226,"threshold_uncertainty_score":0.79549026},"labels":[],"label_agreement":null},{"id":"W4313681466","doi":"10.5206/tba.v4i1.15044","title":"Yield to the figural—communicating the unconscious in montage","year":2023,"lang":"en","type":"article","venue":"tba Journal of Art Media and Visual Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Unconscious mind; Dream; Interpretation (philosophy); Psychoanalytic theory; Psychology; Psychoanalysis; Psychoanalytic dream interpretation; Art; Linguistics; Philosophy; Psychotherapist","score_opus":0.0495117762628191,"score_gpt":0.28442587360051746,"score_spread":0.23491409733769836,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4313681466","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20547718,0.0042074337,0.108288795,0.03187484,0.0008352392,0.00004682011,0.00019888616,0.00038965725,0.6486811],"genre_scores_gemma":[0.9818127,0.0005211446,0.0044179186,0.00038243306,0.00010753042,0.00001264532,0.000027649434,0.000081216465,0.012636713],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99824893,0.0012047226,0.000038491933,0.00015207285,0.00024813105,0.00010778778],"domain_scores_gemma":[0.9975025,0.0014073411,0.0002074256,0.00055680744,0.00020152003,0.00012446978],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021459565,0.00027403215,0.000158297,0.00104525,0.0026142597,0.0058859354,0.0005954465,0.0012865848,0.0043960726],"category_scores_gemma":[0.009681053,0.00019935393,0.000261279,0.0007407301,0.022689356,0.0112972045,0.0033756578,0.0024357487,0.00053431815],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004362367,0.0000064973756,0.00047528272,0.000034141354,0.000004558614,0.00017592178,0.07049581,0.00014525409,0.00056594994,0.9142734,0.0026133996,0.01116619],"study_design_scores_gemma":[0.000019817868,0.000050904426,0.0019237523,0.00021938587,0.000014228214,0.0008871521,0.066098824,0.0016146498,0.0018370468,0.75245374,0.17484255,0.000038024747],"about_ca_topic_score_codex":0.0021206934,"about_ca_topic_score_gemma":0.0021363664,"teacher_disagreement_score":0.0058859354,"about_ca_system_score_codex":0.001481027,"about_ca_system_score_gemma":0.0007695034,"threshold_uncertainty_score":0.014706373},"labels":[],"label_agreement":null},{"id":"W4317764885","doi":"10.3828/liverpool/9781800856370.003.0007","title":"“Deadened by Blood and Gore”:Censorship","year":2022,"lang":"en","type":"book-chapter","venue":"Liverpool University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Censorship; Capitalism; Ideology; Studio; Law; Film industry; Political science; Advertising; Art; Art history; Business; Politics; Movie theater; Visual arts","score_opus":0.030629454026633425,"score_gpt":0.1642265206075714,"score_spread":0.13359706658093798,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4317764885","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009869918,0.032191224,0.0025364927,0.024664573,0.0018454704,0.000017049875,0.00009369994,0.00009277785,0.92868876],"genre_scores_gemma":[0.3340936,0.022424106,0.00091810286,0.0084005,0.0032452776,0.000050180595,0.00014414564,0.00028213116,0.6304421],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99833655,0.0009086706,0.000029919915,0.00018028708,0.00040366358,0.00014088993],"domain_scores_gemma":[0.9969902,0.0020685613,0.00018473945,0.00030760307,0.000266788,0.00018208705],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014709809,0.0004312297,0.00030471612,0.0011589604,0.0038906883,0.008303676,0.00087810814,0.0021850949,0.011584109],"category_scores_gemma":[0.0056220945,0.00026028123,0.00023537157,0.0012440106,0.009077219,0.006835816,0.0018492381,0.004242818,0.0030695463],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022516288,0.000017804785,0.00026073275,0.00008257516,0.0000059913273,0.00019105944,0.015162376,0.00013279336,0.00013632688,0.81056607,0.1398044,0.03361745],"study_design_scores_gemma":[0.0000046096875,0.0000130950475,0.0006569607,0.00035746125,0.0000069852576,0.00022687936,0.0038271658,0.00023602927,0.00030967675,0.0536314,0.94071597,0.000013754336],"about_ca_topic_score_codex":0.007961369,"about_ca_topic_score_gemma":0.009115463,"teacher_disagreement_score":0.011584109,"about_ca_system_score_codex":0.0033927325,"about_ca_system_score_gemma":0.0013808005,"threshold_uncertainty_score":0.038752675},"labels":[],"label_agreement":null},{"id":"W4318481327","doi":"10.16995/olh.8866","title":"Local and Universal: The Canadian Inuit and the Irish Aran Islanders in the Films of Robert J. Flaherty","year":2023,"lang":"en","type":"article","venue":"Open Library of Humanities","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Irish; Enlightenment; Locality; Sociology; Poetry; Universality (dynamical systems); Argument (complex analysis); Aesthetics; Art; Philosophy; Epistemology; Literature; Medicine","score_opus":0.03789938322661074,"score_gpt":0.20584515715086227,"score_spread":0.16794577392425153,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4318481327","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7658907,0.0048052603,0.00042763108,0.035441063,0.0005683005,0.000062083,0.00024439642,0.000028696773,0.19253188],"genre_scores_gemma":[0.97519946,0.0017724285,0.00021390102,0.0018952325,0.00007824013,0.000018396044,0.000058170863,0.000030839146,0.020733325],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99889046,0.00028089475,0.0000148799645,0.0001366964,0.0002250727,0.00045204276],"domain_scores_gemma":[0.99868816,0.00038695816,0.00013843688,0.000046914553,0.00033589365,0.0004037056],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012596096,0.0005675115,0.00038785586,0.0013983167,0.022229899,0.007011158,0.0014431236,0.0014754814,0.005378287],"category_scores_gemma":[0.0033990683,0.0002909298,0.00023430599,0.002000163,0.01213025,0.0024107401,0.0031537004,0.0030936527,0.00020928001],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006939843,0.000034741184,0.0051452867,0.00008002517,0.000012540877,0.001126531,0.9371699,0.00005512842,0.0006494938,0.023064082,0.019841384,0.012751392],"study_design_scores_gemma":[0.0000041738626,0.00001380704,0.012647195,0.00011907324,0.000013202315,0.00023595306,0.86935264,0.000054008724,0.0001513616,0.00059247954,0.116776735,0.000039351806],"about_ca_topic_score_codex":0.96724975,"about_ca_topic_score_gemma":0.9860793,"teacher_disagreement_score":0.038898095,"about_ca_system_score_codex":0.038898095,"about_ca_system_score_gemma":0.015608655,"threshold_uncertainty_score":0.28222674},"labels":[],"label_agreement":null},{"id":"W4319154758","doi":"10.5040/9781350919464","title":"Mulroney: The Opera","year":2011,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Opera; Art history; Art; Performance art; Musical; Visual arts; History","score_opus":0.04737181095658353,"score_gpt":0.20714572678658139,"score_spread":0.15977391582999786,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4319154758","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012019506,0.0028663285,0.00034366842,0.0049702395,0.0009031013,0.000023354545,0.0014650716,0.0006156015,0.9876107],"genre_scores_gemma":[0.009133349,0.0013587408,0.00033730722,0.00068193476,0.00018769623,0.000014234559,0.0006501654,0.00033452397,0.98730206],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996113,0.000035946177,0.000008589794,0.000049663613,0.00019266704,0.000101864935],"domain_scores_gemma":[0.99949265,0.000029145589,0.000021697202,0.00003557467,0.00019930258,0.00022159002],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039244955,0.00058783,0.00022739953,0.0011627255,0.0047198185,0.005414714,0.00070036895,0.0009820033,0.29082742],"category_scores_gemma":[0.0015495811,0.00018892909,0.0001879943,0.0014836836,0.0008030472,0.0023028902,0.002119967,0.00156428,0.046423886],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023704784,0.00000873686,0.00013621274,0.000048845588,0.0000013747272,0.000088902394,0.00046105226,0.000015654807,0.00018081929,0.014003997,0.95487225,0.030158417],"study_design_scores_gemma":[0.0000012115203,0.0000017263108,0.000484342,0.000027018034,7.877553e-7,0.000034427805,0.0002558644,0.000012770597,0.000053708,0.0002619708,0.99886274,0.0000033340852],"about_ca_topic_score_codex":0.33096373,"about_ca_topic_score_gemma":0.65504867,"teacher_disagreement_score":0.66903627,"about_ca_system_score_codex":0.004155279,"about_ca_system_score_gemma":0.005142806,"threshold_uncertainty_score":0.97291464},"labels":[],"label_agreement":null},{"id":"W4319348118","doi":"10.1080/09612025.2023.2174683","title":"The betrayal of Anne Frank: a cold case investigation","year":2023,"lang":"en","type":"article","venue":"Women s History Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Betrayal; Cold war; History; Art history; Art; Political science; Law","score_opus":0.06576441297828627,"score_gpt":0.2300505362707031,"score_spread":0.16428612329241682,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4319348118","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.030332934,0.077554636,0.0012696519,0.8402287,0.0076215304,0.00009847861,0.000081645056,0.000024133404,0.042788308],"genre_scores_gemma":[0.2731836,0.08189326,0.0021182501,0.60927445,0.005498553,0.000480769,0.00008619968,0.00011816566,0.027346788],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9742087,0.018912472,0.0007071965,0.00093231874,0.0031876499,0.0020517402],"domain_scores_gemma":[0.93602735,0.053881265,0.0029158369,0.0010725604,0.00437629,0.0017266275],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.024822595,0.00060228835,0.0009035789,0.0024035666,0.023710433,0.008834323,0.0025332407,0.015780687,0.0032332079],"category_scores_gemma":[0.067604624,0.00072157243,0.0005774722,0.0035277489,0.0179892,0.012373774,0.0048811142,0.017601833,0.0005890516],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007707611,0.000056396217,0.0014929693,0.0011124376,0.00003848078,0.0055471943,0.18760064,0.00016569748,0.00033486309,0.21358691,0.56094986,0.029037423],"study_design_scores_gemma":[0.000009479402,0.000037896276,0.0014604802,0.0036012847,0.000025195777,0.001701231,0.2276195,0.00006608233,0.00022634394,0.013056206,0.7521211,0.00007527136],"about_ca_topic_score_codex":0.031117564,"about_ca_topic_score_gemma":0.06836216,"teacher_disagreement_score":0.031117564,"about_ca_system_score_codex":0.0069364076,"about_ca_system_score_gemma":0.0112366695,"threshold_uncertainty_score":0.13127601},"labels":[],"label_agreement":null},{"id":"W4319998916","doi":"10.4000/communiquer.9984","title":"Woodstock au fil de ses médiations : Les technologies sonores et les mises en scène du live","year":2022,"lang":"fr","type":"article","venue":"Communiquer Revue de communication sociale et publique","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.050258838969008096,"score_gpt":0.28308112654765943,"score_spread":0.23282228757865134,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4319998916","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28642485,0.009109594,0.13869129,0.019622276,0.0012173805,0.00038337917,0.0006191021,0.00062374567,0.5433084],"genre_scores_gemma":[0.8491793,0.0045869146,0.02332622,0.00090225023,0.00019767444,0.00015215183,0.00018963848,0.00014941212,0.1213163],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99753916,0.0011153101,0.00006509335,0.00045826007,0.0005631657,0.00025902656],"domain_scores_gemma":[0.9959345,0.0020190622,0.00043206845,0.0005161783,0.00080612575,0.00029210898],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028039613,0.0006333149,0.00033806983,0.0013897318,0.0032585645,0.0072155343,0.0010393803,0.0015374223,0.017468499],"category_scores_gemma":[0.0072483523,0.00039053013,0.00034669077,0.0013398412,0.0037536568,0.0069172555,0.0030983516,0.0018487867,0.002250606],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00046966292,0.00014832098,0.025180671,0.0009039902,0.00010576404,0.0011074842,0.08370173,0.002375058,0.0127467215,0.48061025,0.017809235,0.3748411],"study_design_scores_gemma":[0.000042784497,0.0003440283,0.02460652,0.0013092263,0.00015406261,0.0009998898,0.09588382,0.0038496852,0.013404916,0.059799906,0.7994571,0.00014810915],"about_ca_topic_score_codex":0.026330056,"about_ca_topic_score_gemma":0.049947485,"teacher_disagreement_score":0.026330056,"about_ca_system_score_codex":0.0036971713,"about_ca_system_score_gemma":0.0032199868,"threshold_uncertainty_score":0.058438003},"labels":[],"label_agreement":null},{"id":"W4320517334","doi":"10.5040/9781350905832","title":"100 Days","year":2001,"lang":"fr","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geology","score_opus":0.030421277779622682,"score_gpt":0.21781640760126977,"score_spread":0.18739512982164708,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4320517334","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00075113605,0.0008595784,0.00032312615,0.0031106775,0.003733639,0.000051022962,0.0025532402,0.0007654097,0.98785233],"genre_scores_gemma":[0.0036087944,0.0004232976,0.00016245917,0.00076909777,0.0005134272,0.00002312114,0.0014868953,0.00034102987,0.99267185],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999178,0.000066038345,0.000021722539,0.00013398199,0.00041334867,0.00018702933],"domain_scores_gemma":[0.9981329,0.00009058664,0.000070496084,0.00022473412,0.0006725202,0.00080889976],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00064100453,0.00072447426,0.00040261092,0.0015716628,0.0028653024,0.0069457456,0.0006525189,0.0018537854,0.6820853],"category_scores_gemma":[0.0030039859,0.0002904473,0.00046837094,0.0012642432,0.0005603103,0.0030165308,0.0028652549,0.0020386183,0.45965117],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000243842,0.000015685175,0.00013384556,0.000029330411,0.0000014295898,0.000031360138,0.000081164326,0.000012556688,0.00016009883,0.0031111434,0.9588035,0.037595507],"study_design_scores_gemma":[0.0000023473108,0.000007305846,0.000511799,0.000020467782,6.044442e-7,0.000029050243,0.00008584857,0.000008278261,0.000036937345,0.00018335473,0.9991116,0.0000023652763],"about_ca_topic_score_codex":0.018394874,"about_ca_topic_score_gemma":0.03578772,"teacher_disagreement_score":0.6820853,"about_ca_system_score_codex":0.0019102268,"about_ca_system_score_gemma":0.0014200128,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4320517882","doi":"10.3998/mij.3727","title":"Book Review: Porst, Jennifer. &lt;i&gt;Broadcasting Hollywood: The Struggle Over Feature Films on Early TV&lt;/i&gt; (New Brunswick: Rutgers University Press, 2021)","year":2023,"lang":"en","type":"article","venue":"Media Industries","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Font; Art; Visual arts","score_opus":0.028296124155627964,"score_gpt":0.21357914059223265,"score_spread":0.1852830164366047,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4320517882","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00031854722,0.1373206,0.0008105558,0.025383193,0.027727552,0.00017125733,0.0021084014,0.0013127755,0.80484706],"genre_scores_gemma":[0.0011140913,0.03892073,0.0003030889,0.0043943715,0.0026753522,0.00005128105,0.0010458058,0.00043113867,0.9510641],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941266,0.00004522802,0.00002643935,0.000091358655,0.00038648385,0.00003788786],"domain_scores_gemma":[0.9977792,0.0003554113,0.000085363776,0.000088496585,0.0013916221,0.0002998933],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00052075146,0.0011972563,0.0010359985,0.0020453443,0.0011505991,0.0039052425,0.0014989197,0.001588262,0.40460816],"category_scores_gemma":[0.00298531,0.00055777456,0.0003457026,0.0039356593,0.00057094445,0.0042008376,0.0010598884,0.0026561802,0.43960539],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000018352314,0.000001921183,0.0000061430737,0.00006976523,4.9673343e-7,0.0000062554354,0.0000139824715,0.000006238385,0.000023268354,0.0001839693,0.98216116,0.017525043],"study_design_scores_gemma":[0.0000013593526,0.0000027974875,0.00008027312,0.0001241323,0.0000013846374,0.000034052755,0.000035429563,0.0000061233,0.000019866948,0.00009892284,0.99959296,0.0000027136293],"about_ca_topic_score_codex":0.01130857,"about_ca_topic_score_gemma":0.024958936,"teacher_disagreement_score":0.40460816,"about_ca_system_score_codex":0.0021112142,"about_ca_system_score_gemma":0.0028051229,"threshold_uncertainty_score":0.8492542},"labels":[],"label_agreement":null},{"id":"W4320724914","doi":"10.1080/10509208.2023.2172978","title":"Something to (Not) See: Reading Whiteness through Voyeurism in the Desktop Horror","year":2023,"lang":"en","type":"article","venue":"Quarterly Review of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Voyeurism; Art; Reading (process); Visual arts; Aesthetics; Art history; Psychology; Psychoanalysis; Philosophy; Linguistics","score_opus":0.05065300996577712,"score_gpt":0.29253836424812774,"score_spread":0.2418853542823506,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4320724914","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14753225,0.008852565,0.01683194,0.046843268,0.0049213525,0.00008826904,0.00054314657,0.0034482726,0.77093893],"genre_scores_gemma":[0.63980055,0.0073311245,0.013491867,0.012311976,0.0018826626,0.000072528135,0.0005008244,0.0016287409,0.32297975],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99969447,0.00012861154,0.000010374353,0.00004466792,0.000065667744,0.000056260484],"domain_scores_gemma":[0.9984785,0.00077316264,0.00009997865,0.00009706218,0.00021157246,0.000339645],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004995731,0.00032838917,0.00019592281,0.00051175087,0.0013627842,0.002763611,0.0004122739,0.00081741234,0.053944856],"category_scores_gemma":[0.004795101,0.00015499153,0.00016197923,0.00028360094,0.0012289276,0.0036330596,0.0015040138,0.0012954867,0.008778893],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00035505407,0.00014599069,0.004035866,0.0006104506,0.000021521497,0.00071970036,0.030216042,0.00009065849,0.0070116115,0.020717077,0.51750433,0.41857168],"study_design_scores_gemma":[0.000067763925,0.00020810647,0.015108569,0.0009588819,0.00006053478,0.0011611234,0.03174957,0.00040533597,0.0047246953,0.017914059,0.92758465,0.000056716268],"about_ca_topic_score_codex":0.0031644353,"about_ca_topic_score_gemma":0.008089616,"teacher_disagreement_score":0.053944856,"about_ca_system_score_codex":0.00046357626,"about_ca_system_score_gemma":0.0003836429,"threshold_uncertainty_score":0.1804635},"labels":[],"label_agreement":null},{"id":"W4321131292","doi":"10.7202/1096040ar","title":"Short-Form Women-Made Horror: Origins and Observations","year":2023,"lang":"en","type":"article","venue":"Monstrum","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Art; History; Aesthetics","score_opus":0.06335660257868213,"score_gpt":0.23306391437448132,"score_spread":0.16970731179579918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321131292","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42691147,0.012767895,0.0011884805,0.014177072,0.00049817614,0.000056269,0.00069367443,0.000064486405,0.5436425],"genre_scores_gemma":[0.9255492,0.0037492584,0.00022959479,0.00062021764,0.00032348366,0.000021084028,0.00013403466,0.0000671578,0.06930595],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9990783,0.0003952806,0.000023171171,0.00017040673,0.00014522976,0.00018759996],"domain_scores_gemma":[0.99784625,0.0012489662,0.00024628176,0.00018860672,0.00022487622,0.00024509875],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013232342,0.00040812325,0.0002629273,0.001674797,0.0050394908,0.0036559764,0.00064091344,0.0008377631,0.011617981],"category_scores_gemma":[0.0052139093,0.00032415264,0.00010260926,0.0020887584,0.0077152406,0.0025556437,0.002084092,0.00204346,0.0011724248],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020517429,0.00006845815,0.010744337,0.00026394404,0.000010919449,0.0017780341,0.70395696,0.000047539295,0.0009040118,0.18184854,0.05601198,0.044160016],"study_design_scores_gemma":[0.000009346136,0.000037379625,0.023344258,0.00036654703,0.0000052042847,0.0006612977,0.23391908,0.00008353892,0.00057443144,0.0051298174,0.7358525,0.000016576798],"about_ca_topic_score_codex":0.0135352425,"about_ca_topic_score_gemma":0.025533203,"teacher_disagreement_score":0.0135352425,"about_ca_system_score_codex":0.003169252,"about_ca_system_score_gemma":0.0009349247,"threshold_uncertainty_score":0.038866043},"labels":[],"label_agreement":null},{"id":"W4321226962","doi":"10.4324/9781003121800-14","title":"The American Cinematic Landscape Inscribed @Work","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Inscribed figure; Visual arts; Art; Geography; Geometry; Mathematics","score_opus":0.042458985457773546,"score_gpt":0.2182791162724442,"score_spread":0.17582013081467066,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321226962","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0027416656,0.0061782445,0.00072210777,0.002160326,0.0004286513,0.000009485158,0.00011123766,0.00004458012,0.9876038],"genre_scores_gemma":[0.09906518,0.016360546,0.0014495546,0.0013037429,0.0007619423,0.0000650587,0.00032106697,0.00009449985,0.8805786],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99986637,0.000038987833,0.0000021498427,0.000022227798,0.000050651037,0.000019615367],"domain_scores_gemma":[0.9998497,0.000050470437,0.000010132299,0.0000133353815,0.00005463649,0.000021743446],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016499244,0.0002773463,0.00009655665,0.0005727654,0.0014121938,0.0035370959,0.00029311198,0.0003934891,0.021714045],"category_scores_gemma":[0.0003850062,0.00013248214,0.00009444694,0.0010543313,0.0010199079,0.0014851226,0.0006313512,0.0011881901,0.0028781907],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008788956,0.000031888383,0.00036526236,0.00006425997,0.0000017141206,0.000054647935,0.0025742173,0.00017421448,0.00032676355,0.5150304,0.39394915,0.08741876],"study_design_scores_gemma":[5.7498977e-7,0.0000024373724,0.00074509805,0.000049356604,0.0000010271075,0.000030241521,0.00043915657,0.00009419267,0.000044404744,0.004715045,0.9938764,0.0000020470272],"about_ca_topic_score_codex":0.018455055,"about_ca_topic_score_gemma":0.03152414,"teacher_disagreement_score":0.021714045,"about_ca_system_score_codex":0.00200962,"about_ca_system_score_gemma":0.0012372631,"threshold_uncertainty_score":0.07264066},"labels":[],"label_agreement":null},{"id":"W4321334356","doi":"10.4000/books.septentrion.145312","title":"Conclusion","year":2023,"lang":"fr","type":"book-chapter","venue":"Presses universitaires du Septentrion eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Medicine","score_opus":0.028236195006316266,"score_gpt":0.19463055889416098,"score_spread":0.1663943638878447,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321334356","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0078245215,0.0049698534,0.006723448,0.06029341,0.0058749123,0.00014533044,0.0027133508,0.00039855787,0.9110566],"genre_scores_gemma":[0.148319,0.006559296,0.0059284098,0.04215331,0.0022031378,0.00028994383,0.0045833993,0.0006751613,0.78928834],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.997036,0.00051963626,0.0001230222,0.00073171273,0.001006692,0.00058292487],"domain_scores_gemma":[0.99588937,0.00085440214,0.00022259523,0.0004783013,0.0019934224,0.0005619714],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0030507774,0.0006538669,0.00045167128,0.0012639379,0.002884379,0.006653528,0.0020173236,0.003142422,0.22814526],"category_scores_gemma":[0.013021998,0.0002263286,0.00076508045,0.0012832583,0.0015941012,0.004451413,0.0034293223,0.0030044115,0.06978885],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001854439,0.00008261983,0.0043315114,0.00060599064,0.000048206246,0.0005900858,0.0033685607,0.0002852485,0.0004561765,0.33121222,0.5077843,0.15104954],"study_design_scores_gemma":[0.000012585492,0.000015532207,0.0020211898,0.00044135185,0.000013521784,0.00023180085,0.0021428203,0.00007316594,0.00024934168,0.025767162,0.9690224,0.000009185702],"about_ca_topic_score_codex":0.009003046,"about_ca_topic_score_gemma":0.009423489,"teacher_disagreement_score":0.77185476,"about_ca_system_score_codex":0.004168815,"about_ca_system_score_gemma":0.00502171,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4321484463","doi":"10.1007/978-3-031-09472-9_13","title":"Homoerotic Counter-Mythologies in Derek Jarman’s The Angelic Conversation","year":2023,"lang":"en","type":"book-chapter","venue":"Global Shakespeares","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Sonnet; Conversation; Queer; Literature; Art; Narrative; Mythology; Art history; History; Poetry; Sociology; Gender studies; Philosophy; Linguistics","score_opus":0.06555241929290206,"score_gpt":0.24112500299387518,"score_spread":0.17557258370097312,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321484463","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014732203,0.008183055,0.00781263,0.06845873,0.0034029647,0.000028498775,0.00007481965,0.00009420138,0.8972128],"genre_scores_gemma":[0.7237331,0.0022454204,0.0023569434,0.017660413,0.0025981674,0.00010379648,0.000071348484,0.00037297935,0.25085777],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972332,0.0018199228,0.000048686707,0.00026677214,0.00032134543,0.0003100164],"domain_scores_gemma":[0.9984763,0.001003229,0.00009289095,0.0001469676,0.00014546013,0.00013520697],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002687147,0.0006419399,0.00042619812,0.0010361405,0.007022494,0.009813356,0.0009500309,0.005114001,0.00792643],"category_scores_gemma":[0.0057814717,0.00035886967,0.00025457863,0.00069544686,0.025702769,0.009007233,0.0036179675,0.0089926915,0.0019856251],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006235285,0.0000035804285,0.000015585798,0.000007087592,8.8630776e-7,0.000029994946,0.008814144,0.000011972667,0.000021078455,0.98230714,0.007990155,0.0007920483],"study_design_scores_gemma":[0.000020272342,0.000009466471,0.00009967877,0.00011731082,0.00000487892,0.00023105455,0.010620064,0.00018921823,0.00017815799,0.5140085,0.47450373,0.000017742543],"about_ca_topic_score_codex":0.0024877163,"about_ca_topic_score_gemma":0.0039002057,"teacher_disagreement_score":0.009813356,"about_ca_system_score_codex":0.0037610158,"about_ca_system_score_gemma":0.001454114,"threshold_uncertainty_score":0.027288139},"labels":[],"label_agreement":null},{"id":"W4321512379","doi":"10.1386/jptv_00085_1","title":"Disrupted and deranged: The formless and the abject in Twin Peaks: The Return","year":2022,"lang":"en","type":"article","venue":"The Journal of Popular Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Metaphor; Narrative; Humanity; Aesthetics; Sociology; Psychology; Psychoanalysis; Literature; Art; Philosophy","score_opus":0.01921635047884039,"score_gpt":0.22643675990055034,"score_spread":0.20722040942170994,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321512379","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.74138504,0.0028496874,0.008900582,0.016097859,0.0007664652,0.000042164553,0.000063719905,0.00010871275,0.22978581],"genre_scores_gemma":[0.98760927,0.00039173654,0.0003226925,0.0005641587,0.000074207106,0.000007839226,0.000015346877,0.000082998944,0.010931831],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983754,0.00097348425,0.000025325779,0.00014225258,0.00020047747,0.00028306444],"domain_scores_gemma":[0.9988356,0.0005053611,0.00015593399,0.00014281103,0.00009210956,0.00026813196],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015794841,0.00043329826,0.000269941,0.0007021948,0.009721156,0.010773662,0.00083175604,0.0016845689,0.006011272],"category_scores_gemma":[0.0040993006,0.00035641892,0.00028770807,0.0006302864,0.025012784,0.009265343,0.007334115,0.005014736,0.0005502326],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000088536945,0.000024638162,0.0021628572,0.000063183696,0.00001057179,0.0007868326,0.77545226,0.000065832355,0.00085139583,0.2080442,0.0047374284,0.007712365],"study_design_scores_gemma":[0.000010787028,0.0000646495,0.0037194353,0.00016442349,0.000021554775,0.0012200245,0.8101028,0.00023922586,0.0008487549,0.026955064,0.15661652,0.00003679548],"about_ca_topic_score_codex":0.008182932,"about_ca_topic_score_gemma":0.015341942,"teacher_disagreement_score":0.010773662,"about_ca_system_score_codex":0.0021897345,"about_ca_system_score_gemma":0.001066033,"threshold_uncertainty_score":0.020109713},"labels":[],"label_agreement":null},{"id":"W4321637886","doi":"10.1017/9781782043263.003","title":"“If People Want to Oppress You, They Make You Say ‘I’”: Hito Steyerl in Conversation","year":2014,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Conversation; Film director; Exhibition; Sociology; The arts; Racism; Globalization; Art history; Media studies; Media arts; Contemporary art; Art; Visual arts; Movie theater; Performance art; Gender studies; Political science; Law","score_opus":0.017410173575217583,"score_gpt":0.21524801276556702,"score_spread":0.19783783919034942,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4321637886","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20091118,0.02308175,0.0098431865,0.50885236,0.009640865,0.00028107187,0.00023443326,0.00036508733,0.24679013],"genre_scores_gemma":[0.7777534,0.0059753754,0.002799095,0.106900334,0.0016246728,0.00035055,0.00009402445,0.00047679752,0.10402577],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9932234,0.005038694,0.000106964144,0.0005110957,0.00045011778,0.00066976907],"domain_scores_gemma":[0.996851,0.0017076728,0.0002711244,0.0000784257,0.00029527067,0.0007963434],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029811305,0.0010123358,0.0006948135,0.0009867225,0.020404184,0.008385095,0.001140123,0.008134668,0.009029849],"category_scores_gemma":[0.011717828,0.00074997084,0.00042606468,0.0007891806,0.013617012,0.011681587,0.006724161,0.012841533,0.0031024108],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045594123,0.000038961993,0.00082775764,0.00011420352,0.00001233871,0.0024589573,0.8734689,0.00005054155,0.0009060347,0.017152976,0.098270535,0.0066532334],"study_design_scores_gemma":[0.000008490137,0.000025609083,0.00067863433,0.0004094092,0.000007862298,0.0013066363,0.54214853,0.00018337146,0.00041676505,0.0028634612,0.45190847,0.000042729396],"about_ca_topic_score_codex":0.010441622,"about_ca_topic_score_gemma":0.01723693,"teacher_disagreement_score":0.020404184,"about_ca_system_score_codex":0.0036770795,"about_ca_system_score_gemma":0.0019565308,"threshold_uncertainty_score":0.030207813},"labels":[],"label_agreement":null},{"id":"W4322579669","doi":"10.1386/btwo_00072_7","title":"From fireflies to lit windows and from lit windows to fireflies: Alex Dudok de Wit on Isao Takahata’s Grave of the Fireflies","year":2022,"lang":"en","type":"article","venue":"Book 2 0","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Dalhousie University","funders":"","keywords":"Art; Studio; Art history; Subject (documents); Visual arts; Computer science; Library science","score_opus":0.02492225787475006,"score_gpt":0.2187911535003192,"score_spread":0.19386889562556914,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4322579669","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04183306,0.024288518,0.001252049,0.03764341,0.0026295958,0.00002532655,0.00006665349,0.000058933518,0.8922024],"genre_scores_gemma":[0.35081148,0.017340848,0.00079201715,0.0042534005,0.0011470072,0.000031176405,0.000049566068,0.00015813882,0.6254164],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998204,0.00004198637,0.000004035428,0.000032529817,0.000043055323,0.000057983147],"domain_scores_gemma":[0.99984694,0.000047173507,0.000016623302,0.0000090580115,0.000026583984,0.000053631928],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029201942,0.00023562148,0.00012976675,0.00036222383,0.0040479777,0.004668578,0.00033225596,0.0008577756,0.0132954465],"category_scores_gemma":[0.0005618856,0.00020139437,0.00009662675,0.00053728174,0.0032572034,0.0035371936,0.001495701,0.0024408044,0.001764023],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000073443225,0.000052023745,0.0006185634,0.00018378001,0.0000055734367,0.0005959955,0.08758487,0.00007822264,0.0014149499,0.49301252,0.35353607,0.06284403],"study_design_scores_gemma":[0.0000040608184,0.000014113356,0.0011777944,0.000140011,0.00000371334,0.00021493931,0.013798634,0.000029937755,0.00025720304,0.008407202,0.9759443,0.000008032519],"about_ca_topic_score_codex":0.014962876,"about_ca_topic_score_gemma":0.051566783,"teacher_disagreement_score":0.014962876,"about_ca_system_score_codex":0.003193811,"about_ca_system_score_gemma":0.0009335317,"threshold_uncertainty_score":0.0444777},"labels":[],"label_agreement":null},{"id":"W4323519471","doi":"10.1525/fq.2023.76.3.104","title":"Review: <i>Kill the Documentary: A Letter to Filmmakers, Students, and Scholars</i>, by Jill Godmilow","year":2023,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Citation; Appropriation; CONTEST; Veneration; Art history; Art; Media studies; History; Library science; Sociology; Computer science; Political science; Law","score_opus":0.01813558340915274,"score_gpt":0.2537738141621923,"score_spread":0.23563823075303955,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323519471","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002508291,0.5475862,0.0007386707,0.16966937,0.18402743,0.001610579,0.002356889,0.00073606713,0.093024],"genre_scores_gemma":[0.0029161044,0.5179032,0.00095738145,0.1765269,0.061382018,0.0024724004,0.0034133429,0.0004502434,0.2339784],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9941399,0.0010008058,0.0006421125,0.00042115906,0.003442871,0.00035325164],"domain_scores_gemma":[0.97074866,0.004593308,0.0018738811,0.00075810985,0.020011416,0.0020146659],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0044654896,0.0015074557,0.0033171002,0.004273468,0.0016261953,0.008430618,0.003779693,0.0076952903,0.10237741],"category_scores_gemma":[0.026604466,0.0012075641,0.0017524802,0.0044800937,0.0018797553,0.005350308,0.002085878,0.0061917747,0.10868189],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000089431815,0.0000033678698,0.000010135539,0.0009772393,0.000008295003,0.000018157165,0.000012259629,0.0000052233527,0.000024593202,0.000091867114,0.98773205,0.011107931],"study_design_scores_gemma":[0.000022677703,0.000017955217,0.00014049618,0.0040382124,0.000018471883,0.000078394354,0.000039350874,0.000008439084,0.00003362522,0.00014461538,0.99544394,0.000013767503],"about_ca_topic_score_codex":0.0057378234,"about_ca_topic_score_gemma":0.010858722,"teacher_disagreement_score":0.10237741,"about_ca_system_score_codex":0.0053596394,"about_ca_system_score_gemma":0.009496377,"threshold_uncertainty_score":0.34248656},"labels":[],"label_agreement":null},{"id":"W4323665078","doi":"10.4000/ilcea.16499","title":"“The Lore of the Place”: (In)Hospitalities in Michael Crummey’s Galore (2010)","year":2023,"lang":"en","type":"article","venue":"ILCEA","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.031237947944922018,"score_gpt":0.21291063607642313,"score_spread":0.18167268813150111,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323665078","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31672353,0.007508359,0.004077609,0.18288651,0.0022650813,0.000031597243,0.00027091784,0.00011495497,0.4861215],"genre_scores_gemma":[0.9647218,0.0010832421,0.00029678416,0.002749754,0.00031210153,0.00001293049,0.000022694667,0.000058034493,0.03074272],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986878,0.000801039,0.000012351042,0.00009972086,0.0001118939,0.00028716854],"domain_scores_gemma":[0.9982881,0.00095597934,0.00021005438,0.00009136837,0.000107287226,0.00034718984],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001213741,0.00038447347,0.0002666334,0.0007561824,0.011037139,0.01096634,0.000845994,0.0024822897,0.0048089926],"category_scores_gemma":[0.003324352,0.00022430962,0.00016918169,0.00085768575,0.027556257,0.0044368603,0.004013073,0.0051579936,0.000370361],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009546866,0.00002036959,0.0011903787,0.00010688253,0.000007366171,0.0010640016,0.56473905,0.00016581117,0.00040555364,0.3668858,0.056550022,0.008769228],"study_design_scores_gemma":[0.000010115125,0.000020237747,0.0032399609,0.0003472833,0.000008830465,0.0005345559,0.38221228,0.00016777482,0.00031711525,0.011835562,0.60126996,0.000036347472],"about_ca_topic_score_codex":0.09056021,"about_ca_topic_score_gemma":0.21141532,"teacher_disagreement_score":0.09056021,"about_ca_system_score_codex":0.009908462,"about_ca_system_score_gemma":0.0026170674,"threshold_uncertainty_score":0.18006617},"labels":[],"label_agreement":null},{"id":"W4323789334","doi":"10.33137/ic.v26i.39634","title":"Da First Comes Love (2005)","year":2022,"lang":"en","type":"article","venue":"Italian Canadiana","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Psychology","score_opus":0.0269573567170124,"score_gpt":0.19637540887423718,"score_spread":0.16941805215722477,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4323789334","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017023764,0.02175415,0.0004875297,0.028952401,0.00683486,0.00004724996,0.003696866,0.00036108098,0.9361635],"genre_scores_gemma":[0.008120292,0.0046109324,0.00040948082,0.0033710161,0.00061606604,0.000029557912,0.0009845213,0.00017131813,0.98168683],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994804,0.000068637084,0.000021914038,0.00008945529,0.00022119733,0.00011836984],"domain_scores_gemma":[0.99897987,0.00011555767,0.000055214794,0.000080340724,0.00046881754,0.00030010677],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071719853,0.00046755993,0.0002817011,0.0014840327,0.0037646107,0.007245721,0.00057805015,0.0020964353,0.22175878],"category_scores_gemma":[0.0022667602,0.000363325,0.00024054309,0.0015042637,0.00056056725,0.0030920575,0.0015323836,0.0026706492,0.09863128],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017077879,0.000012193014,0.00027524264,0.00004973087,0.0000017930939,0.000041624637,0.00037497882,0.0000089429,0.000061601524,0.011061501,0.95345116,0.034644097],"study_design_scores_gemma":[0.0000011896302,0.0000024179676,0.0006926177,0.00005056309,9.3086004e-7,0.000030546667,0.00017200215,0.00000519972,0.000042069376,0.00037566575,0.99862444,0.0000024234134],"about_ca_topic_score_codex":0.028732117,"about_ca_topic_score_gemma":0.11476622,"teacher_disagreement_score":0.22175878,"about_ca_system_score_codex":0.0023099598,"about_ca_system_score_gemma":0.0032396028,"threshold_uncertainty_score":0.74185705},"labels":[],"label_agreement":null},{"id":"W432540954","doi":"10.17077/2168-569x.1038","title":"Canadian Films and Understated Critiques of (North) American Suburbanism","year":2003,"lang":"en","type":"article","venue":"Iowa Journal of Cultural Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.05326181529113583,"score_gpt":0.26567208034315126,"score_spread":0.21241026505201543,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W432540954","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18490711,0.019540431,0.0008396781,0.15551338,0.0010932225,0.000025306292,0.0003681712,0.000047874248,0.6376648],"genre_scores_gemma":[0.96386456,0.008030542,0.00026008955,0.0057732756,0.00024372786,0.000014455462,0.0000638958,0.000053663756,0.02169569],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978655,0.00059742556,0.00003801307,0.00024617545,0.0005982169,0.0006545939],"domain_scores_gemma":[0.99566466,0.0017085321,0.00031485202,0.00020638223,0.0014617173,0.0006438328],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019440878,0.00049327506,0.0002662798,0.0027929472,0.020075174,0.012331831,0.0011134938,0.0020281458,0.0065404237],"category_scores_gemma":[0.006338849,0.00033368636,0.00018857975,0.006293101,0.01974392,0.0034614739,0.002631838,0.003772441,0.0002303345],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051378884,0.000016924903,0.003683763,0.00014390255,0.000014150134,0.00036137187,0.16207315,0.00019412798,0.00025334736,0.7289096,0.086450115,0.017848138],"study_design_scores_gemma":[0.000012626653,0.000005982011,0.014927635,0.00045280377,0.00002880221,0.00015425617,0.1922063,0.0003047974,0.00025320612,0.02110497,0.770505,0.0000436782],"about_ca_topic_score_codex":0.95947176,"about_ca_topic_score_gemma":0.9770503,"teacher_disagreement_score":0.071527205,"about_ca_system_score_codex":0.071527205,"about_ca_system_score_gemma":0.031159092,"threshold_uncertainty_score":0.51896864},"labels":[],"label_agreement":null},{"id":"W4328004536","doi":"10.47761/494a02f6.e213f95f","title":"Book Review: Dying in Full Detail: Mortality and Digital Documentary","year":2018,"lang":"en","type":"article","venue":"InVisible Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"History","score_opus":0.0330960315516461,"score_gpt":0.26659083974506387,"score_spread":0.23349480819341778,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4328004536","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00008616215,0.9557222,0.00006442498,0.023173526,0.014377364,0.000011783344,0.00014785018,0.000009174935,0.006407575],"genre_scores_gemma":[0.0013603452,0.9582912,0.000088273984,0.010949894,0.016743684,0.000025708581,0.00016487647,0.00001843985,0.012357496],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916613,0.00016328966,0.00008864166,0.00012364001,0.00040710156,0.000051210154],"domain_scores_gemma":[0.9903042,0.0058334875,0.00067891355,0.00015783083,0.0025511966,0.00047437678],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011626291,0.00085637625,0.001845208,0.0034755773,0.00061558094,0.0036904977,0.001688142,0.0041773436,0.032022573],"category_scores_gemma":[0.009858478,0.0005162851,0.00059562526,0.0074981614,0.0015587437,0.003385324,0.0008660062,0.0038929288,0.012618198],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015865922,0.000009006869,0.000060264974,0.002161251,0.000015555412,0.00002506013,0.000027158032,0.00003857289,0.00002258788,0.0018058718,0.94898146,0.046837404],"study_design_scores_gemma":[0.000013699842,0.000023866736,0.0007146688,0.005503335,0.000027771366,0.0002647425,0.00006468445,0.000025724124,0.000031210406,0.0009920723,0.9923265,0.000011783891],"about_ca_topic_score_codex":0.00794541,"about_ca_topic_score_gemma":0.016486892,"teacher_disagreement_score":0.032022573,"about_ca_system_score_codex":0.003103843,"about_ca_system_score_gemma":0.004515557,"threshold_uncertainty_score":0.10712618},"labels":[],"label_agreement":null},{"id":"W4328004621","doi":"10.47761/494a02f6.57291c4b","title":"Film Review: Allegory and Its Interpretational Force in \"mother!\"","year":2018,"lang":"en","type":"article","venue":"InVisible Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Allegory; Art; Literature","score_opus":0.02501714424039533,"score_gpt":0.25018116119249245,"score_spread":0.22516401695209712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4328004621","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004486826,0.9293482,0.0004572134,0.036771927,0.022906737,0.000047032205,0.00018889215,0.000023354482,0.009807866],"genre_scores_gemma":[0.012417487,0.9250173,0.0008338181,0.037246548,0.016137231,0.00022310129,0.0002988308,0.00012171394,0.0077039413],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.98836166,0.006474379,0.0016720821,0.00084421126,0.0023359915,0.00031161882],"domain_scores_gemma":[0.944019,0.038605902,0.004136894,0.0020967675,0.010364352,0.0007770788],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.010188929,0.000753383,0.001859447,0.0065160724,0.0018479985,0.00901581,0.0020816312,0.003793859,0.009367153],"category_scores_gemma":[0.06312163,0.00058487756,0.0010620398,0.008182448,0.0056442604,0.006304391,0.002849281,0.0051462958,0.0032607038],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011905257,0.000022102295,0.0003617766,0.04976344,0.00022407074,0.00037458373,0.006201253,0.000067601104,0.00043438573,0.041302275,0.6971389,0.20399064],"study_design_scores_gemma":[0.0000064149845,0.000015826083,0.0005055634,0.03141749,0.000073028066,0.00024984922,0.0013507635,0.000014984749,0.00009952893,0.0012290002,0.96502656,0.000010900306],"about_ca_topic_score_codex":0.011203569,"about_ca_topic_score_gemma":0.014377159,"teacher_disagreement_score":0.011203569,"about_ca_system_score_codex":0.0059057195,"about_ca_system_score_gemma":0.007302612,"threshold_uncertainty_score":0.053884804},"labels":[],"label_agreement":null},{"id":"W4328005004","doi":"10.47761/494a02f6.d746c85b","title":"Book Review: Sensations of History: Animation and New Media Art","year":2021,"lang":"en","type":"article","venue":"InVisible Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Animation; Art; Computer graphics (images); Visual arts; Computer science","score_opus":0.051473364334103454,"score_gpt":0.23132724757190073,"score_spread":0.17985388323779727,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4328005004","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00010171729,0.9613444,0.00012317186,0.01193776,0.009705378,0.000008655431,0.00010246952,0.000015359814,0.016660988],"genre_scores_gemma":[0.0024981077,0.9306922,0.00020254744,0.0077892747,0.019947223,0.000029633502,0.00018177598,0.000044582328,0.03861468],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995821,0.00010258991,0.000032765827,0.00006906162,0.00018517167,0.000028294004],"domain_scores_gemma":[0.99549884,0.0030874424,0.00024853632,0.00009754547,0.0008188143,0.00024878152],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057283614,0.000935122,0.0013108572,0.0035252387,0.00081553694,0.0041364916,0.0011920405,0.0033538328,0.058722317],"category_scores_gemma":[0.004539552,0.00042913976,0.00040600993,0.0060360646,0.0016217753,0.0037634359,0.0011868717,0.0032182245,0.01649461],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018492943,0.000017176502,0.0000757303,0.0022932724,0.000013931131,0.00003589826,0.000097187156,0.00007410423,0.00005602522,0.0063611288,0.89769936,0.09325768],"study_design_scores_gemma":[0.000005176607,0.000009905649,0.0004223876,0.0030930869,0.000010330742,0.0001883411,0.00007485199,0.000025146319,0.000020482548,0.0015396299,0.9946038,0.0000068519607],"about_ca_topic_score_codex":0.007124838,"about_ca_topic_score_gemma":0.015665833,"teacher_disagreement_score":0.058722317,"about_ca_system_score_codex":0.0023402104,"about_ca_system_score_gemma":0.0021527656,"threshold_uncertainty_score":0.1964457},"labels":[],"label_agreement":null},{"id":"W4362450416","doi":"10.54103/sss19973","title":"Identity, Loss, and Singing Transcendence after the End of the World","year":2023,"lang":"en","type":"article","venue":"Sound Stage Screen","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Centro de Estudos de Sociologia e Estética Musical; Fundação para a Ciência e a Tecnologia; Federation for the Humanities and Social Sciences","keywords":"Transcendence (philosophy); Singing; Identity (music); Psychoanalysis; Art; Aesthetics; Psychology; Philosophy; Theology; Acoustics; Physics","score_opus":0.03629774683792443,"score_gpt":0.251316774800516,"score_spread":0.2150190279625916,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4362450416","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015269311,0.99060386,0.000031495776,0.004128334,0.0008374835,0.0000011330701,0.000015257489,0.0000010810842,0.002854351],"genre_scores_gemma":[0.025291162,0.9696482,0.000036779897,0.001825911,0.0016649973,0.0000045244124,0.000042957796,0.0000044384215,0.0014809632],"study_design_codex":"design_other","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9993693,0.00024761388,0.00005451372,0.0000729456,0.0001605813,0.00009496423],"domain_scores_gemma":[0.99717194,0.0016722195,0.00041312524,0.00009343864,0.00040920233,0.00024021769],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013850855,0.0002121961,0.000714982,0.0013494143,0.0005700793,0.003506113,0.0004875326,0.0014870125,0.0041634263],"category_scores_gemma":[0.007329898,0.000120140256,0.00037071639,0.0022616403,0.0031320474,0.0033759335,0.0011214019,0.0020919314,0.0008187129],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00036274723,0.00005816334,0.003029585,0.010337004,0.0003626296,0.0007311047,0.00428461,0.00012885494,0.00029565286,0.0707797,0.11335878,0.7962712],"study_design_scores_gemma":[0.00003820911,0.00012745897,0.022518856,0.02085383,0.00026350789,0.0017115688,0.007218753,0.000034626377,0.00028100525,0.026430957,0.9204829,0.0000384331],"about_ca_topic_score_codex":0.0027393068,"about_ca_topic_score_gemma":0.0052712006,"teacher_disagreement_score":0.0041634263,"about_ca_system_score_codex":0.0011532397,"about_ca_system_score_gemma":0.0023432071,"threshold_uncertainty_score":0.013927996},"labels":[],"label_agreement":null},{"id":"W4362600414","doi":"10.3366/jbctv.2023.0668","title":"‘The Billings verdict’:<i>Kine Weekly</i>and the British Box Office, 1936–62","year":2023,"lang":"en","type":"article","venue":"Journal of British Cinema and Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Verdict; Box office; Revenue; Quarter (Canadian coin); History; Advertising; Political science; Economics; Law; Business; Archaeology; Accounting","score_opus":0.012097757534439929,"score_gpt":0.2040005934955465,"score_spread":0.19190283596110658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4362600414","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13747941,0.048743997,0.0012420998,0.16707054,0.014608676,0.00015144954,0.021134462,0.00024096525,0.6093283],"genre_scores_gemma":[0.37579936,0.009648815,0.0006859276,0.011209123,0.0025697437,0.000103253224,0.005241662,0.00029347657,0.5944486],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985514,0.00015719097,0.00007704764,0.00020510858,0.00069552596,0.00031369325],"domain_scores_gemma":[0.99834085,0.00049216003,0.00022846926,0.0001015665,0.0005991695,0.00023767378],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013363513,0.00026751444,0.00019810768,0.0018606225,0.0033935325,0.004718882,0.00049508887,0.0016319645,0.020915039],"category_scores_gemma":[0.007986929,0.00040301718,0.00013601688,0.0049748975,0.0015562397,0.0023598021,0.0010620342,0.0026961134,0.0041441317],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005304611,0.000010495085,0.0050579826,0.00006890684,0.000005616109,0.000112853784,0.002656988,0.000047382015,0.00013454299,0.03471954,0.92641306,0.030719554],"study_design_scores_gemma":[0.0000023416321,0.000012893625,0.04246405,0.00009104791,0.0000031168997,0.0000463288,0.001813653,0.000035231817,0.00018868606,0.00090999686,0.95441616,0.000016520538],"about_ca_topic_score_codex":0.34097123,"about_ca_topic_score_gemma":0.465316,"teacher_disagreement_score":0.34097123,"about_ca_system_score_codex":0.007060108,"about_ca_system_score_gemma":0.0030019789,"threshold_uncertainty_score":0.67797315},"labels":[],"label_agreement":null},{"id":"W4362650015","doi":"10.1007/978-3-031-25906-7_127","title":"Narratives of Glitch: Towards a New Understanding of the Imaginal","year":2023,"lang":"en","type":"book-chapter","venue":"Lecture notes in networks and systems","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Narrative; Glitch; Autonomy; The Imaginary; Poetics; Aesthetics; Sociology; Epistemology; Literature; Computer science; Psychology; Art; Philosophy; Poetry; Political science; Psychoanalysis; Law; Telecommunications","score_opus":0.0748695635836972,"score_gpt":0.23613343189950955,"score_spread":0.16126386831581235,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4362650015","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.055639,0.007104556,0.041985895,0.03911999,0.00086103997,0.00007371115,0.00021437231,0.00019127918,0.8548101],"genre_scores_gemma":[0.93053055,0.0021569338,0.006797639,0.0023061044,0.00033124562,0.00009978241,0.00013683768,0.00038861425,0.05725237],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99806255,0.0013212408,0.000033075277,0.0001612115,0.00020271385,0.0002192008],"domain_scores_gemma":[0.9966208,0.0021237845,0.00024131345,0.00040273642,0.0002647369,0.00034667345],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0030508677,0.00089168904,0.00041112615,0.0023519807,0.005902182,0.01259403,0.001704612,0.0030802637,0.008423689],"category_scores_gemma":[0.0059131454,0.00038040982,0.00032519858,0.0018599401,0.04235449,0.018887933,0.005578579,0.0062750443,0.000903029],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011119215,0.0000038507833,0.00007725658,0.00002280327,0.0000011988017,0.00006409336,0.084710374,0.00005642819,0.00008012984,0.908302,0.004063917,0.0026066825],"study_design_scores_gemma":[0.000013119559,0.000016279637,0.00028926853,0.00028711697,0.000005432679,0.00033660352,0.11995595,0.0006896293,0.00039526896,0.50225896,0.37573263,0.00001970272],"about_ca_topic_score_codex":0.005874098,"about_ca_topic_score_gemma":0.007252797,"teacher_disagreement_score":0.01259403,"about_ca_system_score_codex":0.0040797554,"about_ca_system_score_gemma":0.002723138,"threshold_uncertainty_score":0.029600859},"labels":[],"label_agreement":null},{"id":"W4366310628","doi":"10.1525/fmh.2023.9.2.1","title":"Note from the Editor","year":2023,"lang":"en","type":"article","venue":"Feminist Media Histories","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Movie theater; Queer; Citation; Media studies; Download; Art history; Art; Sociology; Library science; Computer science; Gender studies; World Wide Web","score_opus":0.02965406883833901,"score_gpt":0.22331180058772265,"score_spread":0.19365773174938364,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4366310628","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00014855548,0.00558652,0.00028042673,0.109021805,0.8261423,0.00007651664,0.0003199091,0.000227588,0.05819635],"genre_scores_gemma":[0.0027956436,0.0065940516,0.00051563635,0.14789347,0.25354248,0.00013835408,0.000427762,0.000295728,0.5877969],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980578,0.00022213624,0.00016722259,0.00036736118,0.0009526008,0.00023290205],"domain_scores_gemma":[0.99204016,0.0009471037,0.00027112965,0.00043779163,0.0047601573,0.0015436837],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018967567,0.0013792904,0.0009019464,0.001302839,0.0028948532,0.0060095116,0.0021255214,0.006189267,0.17136206],"category_scores_gemma":[0.012828228,0.0004669095,0.0008672617,0.0008876548,0.00082389155,0.0039582243,0.0021731115,0.007900045,0.123944595],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007011191,0.000004541523,0.000024048497,0.000029792574,9.314971e-7,0.000046257934,0.000009272654,0.0000057886773,0.00003284383,0.000303541,0.99127495,0.008260977],"study_design_scores_gemma":[0.0000025574016,0.0000045154234,0.0000909857,0.000058545513,0.0000011569779,0.000060458406,0.000030910982,0.000008841427,0.000033977965,0.00016681897,0.99953806,0.0000032649268],"about_ca_topic_score_codex":0.0027895018,"about_ca_topic_score_gemma":0.0055017993,"teacher_disagreement_score":0.17136206,"about_ca_system_score_codex":0.0017197077,"about_ca_system_score_gemma":0.0039238245,"threshold_uncertainty_score":0.57326317},"labels":[],"label_agreement":null},{"id":"W4366528996","doi":"10.1093/oso/9780190067342.001.0001","title":"Fractured Fifties","year":2023,"lang":"en","type":"book","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Periodization; Movie theater; Argument (complex analysis); Historiography; Historicity (philosophy); Mediation; Aesthetics; History; Literature; Sociology; Art history; Art; Political science; Social science; Archaeology; Law; Politics","score_opus":0.03961589584220281,"score_gpt":0.19372703589056867,"score_spread":0.15411114004836585,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4366528996","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033170063,0.032683242,0.0042943414,0.019666364,0.0063512716,0.000039741168,0.0004642362,0.00016057336,0.9031702],"genre_scores_gemma":[0.5976252,0.02124107,0.002130132,0.0048002326,0.0038032567,0.00006155429,0.00033585617,0.00023355955,0.3697691],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99945325,0.00014238375,0.000018761997,0.00011015278,0.00014427963,0.00013123562],"domain_scores_gemma":[0.9991498,0.00036838197,0.00008515312,0.00008095142,0.00015011548,0.00016563095],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008935227,0.00037252065,0.00023039774,0.0020211653,0.0023720316,0.007455127,0.00058938324,0.0010625973,0.021242682],"category_scores_gemma":[0.0037993742,0.00022805309,0.00028398758,0.0013450064,0.0047994284,0.006203482,0.0024894124,0.0029275487,0.0018165678],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008924694,0.00001626185,0.0010914683,0.00015916787,0.00000770626,0.00028559114,0.018045219,0.00027814778,0.00047454712,0.8149963,0.09807161,0.066484705],"study_design_scores_gemma":[0.000007844896,0.000024672006,0.0012527041,0.00045171147,0.0000064597084,0.00024921648,0.0037602852,0.0002014657,0.00035116513,0.029211381,0.9644719,0.000011052191],"about_ca_topic_score_codex":0.006946074,"about_ca_topic_score_gemma":0.007054357,"teacher_disagreement_score":0.021242682,"about_ca_system_score_codex":0.0043991352,"about_ca_system_score_gemma":0.0017254,"threshold_uncertainty_score":0.07106382},"labels":[],"label_agreement":null},{"id":"W4366767287","doi":"","title":"The Creative Powers of the Everyday in Chantal Akerman's Films","year":2018,"lang":"en","type":"preprint","venue":"Project Muse (Johns Hopkins University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Canadian Heritage","funders":"","keywords":"Art; Aesthetics; Psychoanalysis; Psychology","score_opus":0.025649460909433007,"score_gpt":0.21490731086646914,"score_spread":0.18925784995703612,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4366767287","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5570594,0.009759508,0.004674329,0.04045636,0.00095005415,0.000043172546,0.000144986,0.000073971634,0.3868382],"genre_scores_gemma":[0.9788462,0.0018626286,0.0004812926,0.000803128,0.00028453342,0.000018059507,0.000018777771,0.000054425833,0.017631004],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983015,0.0010144755,0.000031147865,0.00016846729,0.00027030794,0.000214132],"domain_scores_gemma":[0.998018,0.0013813549,0.00024189755,0.00009271797,0.00010569435,0.00016043776],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016325396,0.0003293335,0.00019807293,0.0015621426,0.006171679,0.0098102065,0.00059135543,0.00114703,0.0030051586],"category_scores_gemma":[0.004030707,0.00025678062,0.00013062125,0.0010355104,0.017966883,0.0051620617,0.0032620928,0.001999613,0.00025561568],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005213573,0.000025831612,0.0013945474,0.00009327923,0.000009249019,0.00076623895,0.5224913,0.000111558256,0.00094102474,0.45153686,0.010691392,0.011886603],"study_design_scores_gemma":[0.000014757021,0.000027592232,0.0052720956,0.00034066325,0.000009591447,0.0007770725,0.39314604,0.00017357462,0.0010422772,0.037801813,0.5613608,0.000033704888],"about_ca_topic_score_codex":0.0064198878,"about_ca_topic_score_gemma":0.009392483,"teacher_disagreement_score":0.0098102065,"about_ca_system_score_codex":0.002925156,"about_ca_system_score_gemma":0.0011077067,"threshold_uncertainty_score":0.021223605},"labels":[],"label_agreement":null},{"id":"W4366809204","doi":"10.1353/leg.2022.0006","title":"Screen Secrets: The Unpublished Hollywood Novels of Winnifred Eaton","year":2022,"lang":"en","type":"article","venue":"Legacy A Journal of American Women Writers","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Movie theater; Novella; Literature; History; Entertainment; Popular culture; Film industry; Film genre; Subject (documents); Art; Art history; Visual arts","score_opus":0.016350928757201347,"score_gpt":0.21357914148874108,"score_spread":0.19722821273153973,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4366809204","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15039416,0.018378394,0.0013778222,0.11148439,0.02181867,0.00008057798,0.00049068016,0.00017736263,0.6957979],"genre_scores_gemma":[0.4511979,0.004947139,0.000365539,0.008707168,0.0051129353,0.00008918494,0.00016281696,0.00030942966,0.52910787],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939907,0.00020165283,0.00001356377,0.000058327118,0.0002018152,0.00012552712],"domain_scores_gemma":[0.9989016,0.0005064345,0.000090171816,0.00006167413,0.00018730313,0.00025275952],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010560715,0.00046536073,0.00020118096,0.000722763,0.0076787407,0.0058488874,0.00062520336,0.0013065963,0.016000189],"category_scores_gemma":[0.0027952378,0.0002416453,0.00019472325,0.00049499096,0.0041853073,0.002646488,0.0027056732,0.0026494837,0.0015550333],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00024646753,0.000113645845,0.00056479534,0.00017616156,0.00001471087,0.0022907418,0.106953524,0.0000891621,0.0022559466,0.11287979,0.7458909,0.028524064],"study_design_scores_gemma":[0.000007922247,0.000020455089,0.0007588441,0.00008770621,0.0000038050457,0.0002532141,0.02546826,0.000025725329,0.00042199073,0.0016359158,0.9713066,0.000009563558],"about_ca_topic_score_codex":0.008427916,"about_ca_topic_score_gemma":0.03198669,"teacher_disagreement_score":0.016000189,"about_ca_system_score_codex":0.00347736,"about_ca_system_score_gemma":0.0009951575,"threshold_uncertainty_score":0.053525925},"labels":[],"label_agreement":null},{"id":"W4366822975","doi":"10.1177/27538702231170132","title":"Collaborative projection and the twin ecstasies of DIY cineworlding","year":2023,"lang":"en","type":"article","venue":"DIY Alternative Cultures & Society","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"MacEwan University","funders":"","keywords":"Capitalism; Normative; Sociology; Ethnography; Psychoanalytic theory; Citizenship; Projection (relational algebra); Production (economics); Aesthetics; Order (exchange); Epistemology; Media studies; Political science; Art; Computer science; Anthropology; Philosophy; Law; Politics; Business; Psychology; Economics; Psychoanalysis","score_opus":0.02703334429579213,"score_gpt":0.27481350308311925,"score_spread":0.24778015878732712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4366822975","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3301395,0.003879196,0.08407028,0.016212936,0.00064069545,0.00021763127,0.00018027338,0.00028124152,0.5643783],"genre_scores_gemma":[0.9804088,0.00073799817,0.0073342044,0.0003777828,0.00016045649,0.00011901881,0.000041178508,0.00009253843,0.010727938],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99483806,0.003673466,0.000103968385,0.0004888593,0.0006060511,0.00028955727],"domain_scores_gemma":[0.99231625,0.0050793863,0.0005338438,0.001284747,0.0004136577,0.0003720275],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0049002296,0.0005011081,0.00024603336,0.002133518,0.0038977116,0.009322397,0.00096822734,0.0012513978,0.006110403],"category_scores_gemma":[0.010579624,0.00036095342,0.00026897938,0.0011591458,0.02659812,0.009433963,0.009951629,0.0022683698,0.00038678874],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007158607,0.000050902127,0.0024492093,0.00023218586,0.00001663381,0.00047343402,0.32775906,0.00021638419,0.002753594,0.6244695,0.0035067296,0.03800069],"study_design_scores_gemma":[0.000056233956,0.00018277668,0.01238123,0.000751917,0.000051257342,0.0025380543,0.306573,0.0018234586,0.005235833,0.23102407,0.43930924,0.000072963594],"about_ca_topic_score_codex":0.00095988763,"about_ca_topic_score_gemma":0.0013785904,"teacher_disagreement_score":0.009322397,"about_ca_system_score_codex":0.0016147123,"about_ca_system_score_gemma":0.00095981965,"threshold_uncertainty_score":0.025915205},"labels":[],"label_agreement":null},{"id":"W4367157401","doi":"10.7202/1091837ar","title":"Machines, Films, and Operas: A (Mostly) Soviet Perspective","year":2022,"lang":"en","type":"article","venue":"Intersections Canadian Journal of Music","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Canadian University Music Society","funders":"","keywords":"Opera; Futurist; Cult; Criticism; Ballet; Soviet union; Modernity; Perspective (graphical); Art; Literature; Art history; Aesthetics; History; Visual arts; Philosophy; Epistemology; Political science; Law; Dance","score_opus":0.026782749562312767,"score_gpt":0.21319734129737164,"score_spread":0.18641459173505887,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4367157401","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10439497,0.1609118,0.0047268276,0.048666168,0.0029240304,0.000023453591,0.00016516076,0.000084567706,0.678103],"genre_scores_gemma":[0.9084048,0.053337574,0.0007992737,0.003254509,0.0039835474,0.000028954335,0.000061028943,0.000116000505,0.030014228],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985268,0.0008233431,0.000052233576,0.00016505145,0.00020688493,0.00022564593],"domain_scores_gemma":[0.9982973,0.001219486,0.00015656726,0.00012324408,0.00009177468,0.00011158794],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015967329,0.00055092707,0.00037889282,0.002366957,0.0044332687,0.012197079,0.00060153025,0.0023333735,0.0059226244],"category_scores_gemma":[0.0028884944,0.00024542634,0.00024257858,0.0025193647,0.019616703,0.006261524,0.0030661107,0.0041012745,0.00046537316],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041057523,0.00002399537,0.00078366615,0.0001560022,0.000009577626,0.000096919044,0.023739623,0.0001906751,0.00023451044,0.94664913,0.007156296,0.020918565],"study_design_scores_gemma":[0.000020130974,0.00011473231,0.005632857,0.0012158996,0.000020653639,0.00042686524,0.038061492,0.00049521343,0.0007573691,0.119129404,0.8340908,0.000034563902],"about_ca_topic_score_codex":0.0055103824,"about_ca_topic_score_gemma":0.004439918,"teacher_disagreement_score":0.012197079,"about_ca_system_score_codex":0.0037495259,"about_ca_system_score_gemma":0.0010550095,"threshold_uncertainty_score":0.027204812},"labels":[],"label_agreement":null},{"id":"W4367158512","doi":"10.7202/1084033ar","title":"Looks and Frictions. Essays in Cultural Studies and Film Theory, par Paul WILLEMEN, Bloomington et Indianapolis : Indiana University Press, et London : British Film Institute, 1994, 263 pages (broché)","year":2021,"lang":"fr","type":"article","venue":"Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Media studies; Art history; Sociology; Art","score_opus":0.024696987901776497,"score_gpt":0.23630125597136917,"score_spread":0.21160426806959268,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4367158512","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004901562,0.72058713,0.0034829562,0.13888794,0.005282955,0.000033248292,0.0004953608,0.000043523338,0.12628527],"genre_scores_gemma":[0.24657318,0.5485693,0.004144243,0.013157176,0.010447395,0.00014894317,0.0005853766,0.00018050369,0.17619385],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982424,0.0008514053,0.0001342083,0.00021330568,0.00040614573,0.0001525896],"domain_scores_gemma":[0.9950781,0.0031943608,0.0005997981,0.00022825116,0.0005609882,0.0003386097],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025798907,0.0012758784,0.0008797982,0.003339585,0.003157596,0.007181031,0.0009371441,0.002911795,0.024469385],"category_scores_gemma":[0.012384706,0.00087456394,0.0007187784,0.005249677,0.008255076,0.0116217,0.0024089552,0.00293937,0.0035242038],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055902037,0.00006123452,0.0014840116,0.00060445064,0.00004597999,0.00012915346,0.006412212,0.00056949264,0.00015697653,0.38887528,0.5237377,0.07786761],"study_design_scores_gemma":[0.000031831445,0.000029219507,0.005823984,0.0018311661,0.00003827186,0.00021487915,0.008824091,0.00037420646,0.00015530868,0.41680393,0.5658358,0.000037182945],"about_ca_topic_score_codex":0.017995114,"about_ca_topic_score_gemma":0.020442253,"teacher_disagreement_score":0.024469385,"about_ca_system_score_codex":0.0044876668,"about_ca_system_score_gemma":0.003000803,"threshold_uncertainty_score":0.08185822},"labels":[],"label_agreement":null},{"id":"W4367848256","doi":"10.1177/15274764231171070","title":"From Brand to Genre: The Hallmark Movie","year":2023,"lang":"en","type":"article","venue":"Television & New Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Ontario Tech University","funders":"","keywords":"Advertising; Studio; Ideology; Movie theater; Style (visual arts); Media studies; Sociology; Business; Art; Visual arts; Political science","score_opus":0.058426917094302866,"score_gpt":0.2512491906325338,"score_spread":0.19282227353823095,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4367848256","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.44411305,0.0030370974,0.0031578108,0.01978517,0.0013711639,0.00006445264,0.00092441274,0.00012531845,0.5274216],"genre_scores_gemma":[0.97054124,0.0013581432,0.0015979412,0.002081415,0.00040468242,0.000020177804,0.0002773505,0.00009390493,0.023625141],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9996747,0.00014079611,0.0000124453445,0.000039556504,0.00009519258,0.00003737128],"domain_scores_gemma":[0.99918,0.0003145704,0.0001024425,0.00007108284,0.000152171,0.0001797092],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006202526,0.00009820778,0.000087456705,0.00052951457,0.0010612195,0.004005582,0.0002150181,0.00034112734,0.0049137548],"category_scores_gemma":[0.0033552612,0.00008273382,0.00008235112,0.00090693025,0.0016332173,0.00289076,0.0007776124,0.0010280316,0.00044313227],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00046927956,0.00014813873,0.050210353,0.00039297302,0.0000366632,0.0007438835,0.10521013,0.00020548969,0.0035410551,0.38695678,0.26708427,0.18500091],"study_design_scores_gemma":[0.000047233185,0.00021452949,0.13050002,0.0005358424,0.000047614398,0.00078045315,0.11042063,0.0011394972,0.0022785608,0.029691085,0.7242875,0.00005702209],"about_ca_topic_score_codex":0.00888275,"about_ca_topic_score_gemma":0.021019263,"teacher_disagreement_score":0.00888275,"about_ca_system_score_codex":0.0017774183,"about_ca_system_score_gemma":0.00045773812,"threshold_uncertainty_score":0.017662108},"labels":[],"label_agreement":null},{"id":"W4372080545","doi":"10.25148/crcp.10.1.010581","title":"Why Scorsese is Right About Corporate Power","year":2022,"lang":"en","type":"article","venue":"Class Race Corporate Power","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Movie theater; Permission; Power (physics); History; Art history; Media studies; Political science; Law; Law and economics; Sociology; Physics","score_opus":0.0424835213033833,"score_gpt":0.22390433589961142,"score_spread":0.1814208145962281,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4372080545","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012620247,0.0085717635,0.00095448317,0.551791,0.0060260505,0.000009640862,0.0001236418,0.00006727753,0.4198359],"genre_scores_gemma":[0.58830327,0.010702635,0.0007256851,0.14544174,0.011918993,0.00004131953,0.00020339388,0.00050296413,0.24215998],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966731,0.0011184089,0.00009127111,0.00043251962,0.0010548555,0.00062992144],"domain_scores_gemma":[0.9881108,0.0065481663,0.0005713193,0.0009399461,0.002337901,0.0014918695],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003980313,0.00022995485,0.000364084,0.00091046025,0.004154178,0.009564913,0.00055315386,0.00345197,0.0371795],"category_scores_gemma":[0.026169222,0.00015828417,0.00021217081,0.00096992246,0.015610538,0.010508643,0.0022832104,0.0067846216,0.0054493058],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030174555,0.00001595781,0.0011485422,0.00006813891,0.000007839036,0.00013226847,0.010595615,0.000042609718,0.00011358322,0.5583471,0.40070373,0.02879439],"study_design_scores_gemma":[0.000013576437,0.000013896789,0.0016329711,0.00037118,0.0000048963625,0.0001409862,0.009837366,0.00006108945,0.00016581132,0.18770494,0.80003774,0.000015559346],"about_ca_topic_score_codex":0.009214223,"about_ca_topic_score_gemma":0.015084609,"teacher_disagreement_score":0.0371795,"about_ca_system_score_codex":0.0024071604,"about_ca_system_score_gemma":0.0020295244,"threshold_uncertainty_score":0.12437785},"labels":[],"label_agreement":null},{"id":"W4375826080","doi":"10.1163/9789047409878_002","title":"Editorial Preface","year":2006,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Philosophy","score_opus":0.023022740013054006,"score_gpt":0.19611353878232332,"score_spread":0.1730907987692693,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4375826080","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00035651075,0.0071318373,0.0009371557,0.033524543,0.62225527,0.00020323727,0.0023314706,0.00076123327,0.33249876],"genre_scores_gemma":[0.004211665,0.007215755,0.00085814664,0.012865302,0.24830222,0.00016442257,0.0032771747,0.00084504735,0.7222603],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99771714,0.00023916873,0.00016635667,0.00043938184,0.0012438779,0.00019412854],"domain_scores_gemma":[0.9904606,0.0015343982,0.00035509586,0.0007900578,0.0054236357,0.001436203],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0020930008,0.0011751591,0.0010298074,0.0038607954,0.003320753,0.007576829,0.0020401895,0.0028953985,0.40378454],"category_scores_gemma":[0.013376377,0.0005360753,0.0008662286,0.0022028028,0.0010322984,0.003781114,0.0024222706,0.00460983,0.26627162],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014515658,0.000008455507,0.00004650631,0.00010125096,0.0000017508382,0.000031632477,0.000033793232,0.000018118722,0.00006953867,0.0014763593,0.98204345,0.016154664],"study_design_scores_gemma":[0.000003897599,0.0000068709405,0.00015757489,0.000102652855,0.0000017176711,0.000031246265,0.000048548725,0.00001773262,0.000044619228,0.0005680909,0.9990133,0.0000037071177],"about_ca_topic_score_codex":0.002613014,"about_ca_topic_score_gemma":0.0037919544,"teacher_disagreement_score":0.5962155,"about_ca_system_score_codex":0.002415682,"about_ca_system_score_gemma":0.0035548492,"threshold_uncertainty_score":0.850429},"labels":[],"label_agreement":null},{"id":"W4375835015","doi":"10.1353/cj.2023.0041","title":"Reclaiming Popular Documentary ed. by Christie Milliken and Steve F. Anderson","year":2023,"lang":"en","type":"article","venue":"Journal of cinema and media studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Documentary film; Portrait; Popular culture; Art history; Scholarship; Rhetorical question; Media studies; Art; Sociology; History; Literature; Law; Political science","score_opus":0.04502514185265463,"score_gpt":0.26770012197697496,"score_spread":0.22267498012432033,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4375835015","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012891082,0.18101893,0.0016779429,0.09892988,0.090917826,0.00020396215,0.00094686856,0.0006748738,0.62434065],"genre_scores_gemma":[0.0072076996,0.051322434,0.001024326,0.011049714,0.009802574,0.00014155434,0.00061243016,0.00066016667,0.918179],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99786216,0.0003470222,0.000119439144,0.000384842,0.0010699071,0.00021665826],"domain_scores_gemma":[0.99752384,0.00039539306,0.00021858513,0.0001571038,0.0013782904,0.00032679198],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017825392,0.0013157085,0.0007588403,0.002091152,0.0032975795,0.009956916,0.0013484058,0.003007421,0.15071137],"category_scores_gemma":[0.005225606,0.00064143474,0.00036691455,0.002000855,0.0027440954,0.007102956,0.0038371978,0.005144514,0.116983004],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000063365014,0.000004561382,0.000029874831,0.00009078026,0.000001035499,0.000027909524,0.00027150486,0.000011005041,0.00009239637,0.0035126444,0.9732914,0.022660555],"study_design_scores_gemma":[6.8154213e-7,0.0000018876109,0.000058291884,0.000105495,4.9887564e-7,0.000034667544,0.00010172084,0.0000034676186,0.000025010011,0.000102598955,0.9995634,0.0000022357392],"about_ca_topic_score_codex":0.008537257,"about_ca_topic_score_gemma":0.012377546,"teacher_disagreement_score":0.15071137,"about_ca_system_score_codex":0.0035693846,"about_ca_system_score_gemma":0.00552782,"threshold_uncertainty_score":0.5041798},"labels":[],"label_agreement":null},{"id":"W4376058153","doi":"10.24908/lhps.v1i1.15478","title":"Ghosts Without Unfinished Business","year":2022,"lang":"en","type":"article","venue":"Living Histories A Past Studies Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Liminality; Animation; Social life; Aesthetics; Social relationship; Perception; Sociology; Trophy; Dead body; Social media; Digital era; Construct (python library); Visual arts; Art; History; Psychology; Social psychology; Anthropology; The Internet; Computer science; Political science; Law","score_opus":0.03969633875111323,"score_gpt":0.2402914661630837,"score_spread":0.20059512741197047,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4376058153","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47148746,0.009172399,0.0063888985,0.049814764,0.00073311693,0.00004284246,0.00018160866,0.000062952306,0.46211597],"genre_scores_gemma":[0.9743671,0.0024280362,0.0006611489,0.0014948287,0.00018779712,0.00000931362,0.00003104777,0.00001742501,0.02080336],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986848,0.0008139224,0.00004999272,0.000120925,0.00020682413,0.00012351635],"domain_scores_gemma":[0.9957639,0.0021602327,0.0007939258,0.0005610551,0.00027725069,0.0004436242],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020159504,0.00016038271,0.0001864164,0.0011129249,0.0041150246,0.006878707,0.00044749904,0.0011519388,0.007994126],"category_scores_gemma":[0.008376737,0.0001837299,0.00011564984,0.0008770554,0.016393626,0.008515485,0.003181065,0.002316382,0.0005722536],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005019495,0.000034316894,0.0032373762,0.00008859839,0.0000047977755,0.00031095248,0.083439745,0.00008713832,0.00025801326,0.87759906,0.008515079,0.026374748],"study_design_scores_gemma":[0.000025525655,0.000104634404,0.010287624,0.0008967204,0.00002003415,0.0013673229,0.16037197,0.0005207146,0.0011035482,0.21754265,0.60771245,0.000046745936],"about_ca_topic_score_codex":0.0023549306,"about_ca_topic_score_gemma":0.003455467,"teacher_disagreement_score":0.007994126,"about_ca_system_score_codex":0.0024613356,"about_ca_system_score_gemma":0.0012246029,"threshold_uncertainty_score":0.026742995},"labels":[],"label_agreement":null},{"id":"W4376142632","doi":"10.54097/hset.v47i.8184","title":"The Analysis of the Factors that Influence the Film Revenue","year":2023,"lang":"en","type":"article","venue":"Highlights in Science Engineering and Technology","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Popularity; Revenue; Regression analysis; Variables; Set (abstract data type); Advertising; Box office; Marketing; Linear regression; Business; Econometrics; Computer science; Economics; Accounting; Political science; Law","score_opus":0.013800287644464379,"score_gpt":0.20752290873355786,"score_spread":0.1937226210890935,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4376142632","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.98069763,0.00052673306,0.0011088509,0.00041844966,0.00002050426,0.00006282271,0.00091201457,0.000024699855,0.016228404],"genre_scores_gemma":[0.99595636,0.00030849886,0.0004944585,0.000021834647,0.00002546298,0.0000143415145,0.00062830583,0.000009610348,0.002541092],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99927264,0.00020866228,0.00005681072,0.000094048766,0.00022268911,0.00014513961],"domain_scores_gemma":[0.99332243,0.0037214435,0.0012847671,0.00020389444,0.0011879574,0.00027950355],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010551015,0.00020147274,0.00024276601,0.0012938294,0.00034458304,0.0015424569,0.00018804579,0.00018232001,0.005592014],"category_scores_gemma":[0.007285359,0.00009973192,0.0004605932,0.001366142,0.0002658232,0.00082859496,0.0002521877,0.00044072117,0.0010595395],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023445612,0.00015613706,0.94362783,0.00019978978,0.00012690344,0.00070071674,0.0011113578,0.0016422032,0.002438665,0.0028514701,0.0033249224,0.043585524],"study_design_scores_gemma":[0.00000356901,0.0000791253,0.9867328,0.000038665294,0.00005248685,0.00024926712,0.0027649237,0.0027487087,0.0016657205,0.00026645008,0.0053823316,0.00001594145],"about_ca_topic_score_codex":0.007611613,"about_ca_topic_score_gemma":0.0062701935,"teacher_disagreement_score":0.007611613,"about_ca_system_score_codex":0.00072169787,"about_ca_system_score_gemma":0.0006472086,"threshold_uncertainty_score":0.018707156},"labels":[],"label_agreement":null},{"id":"W4376154965","doi":"10.3366/film.2023.0226","title":"The Colour of Film-Philosophy","year":2023,"lang":"en","type":"article","venue":"Film-Philosophy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Rigour; Modernity; Realm; Movie theater; Sociology; Aesthetics; Race (biology); Critical theory; White (mutation); Epistemology; Consciousness; Critical race theory; Gender studies; Philosophy; Art; Literature; Law; Political science","score_opus":0.05285729050861029,"score_gpt":0.23543304004009583,"score_spread":0.18257574953148553,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4376154965","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.034715705,0.030689316,0.016943732,0.09748275,0.004800936,0.000045803507,0.00008719859,0.00007804855,0.8151565],"genre_scores_gemma":[0.84807974,0.015253704,0.005138053,0.01385473,0.0019830072,0.0000986309,0.00005630876,0.00027412424,0.11526165],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976501,0.0015547193,0.000044357545,0.00025169476,0.00031233893,0.00018680176],"domain_scores_gemma":[0.99737096,0.0015518405,0.00017926448,0.00022753142,0.00038804967,0.00028231915],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028145113,0.00047692758,0.00031624842,0.0011809899,0.005562635,0.008467314,0.0006165087,0.0016954102,0.0104571385],"category_scores_gemma":[0.005468559,0.00023851533,0.00019962461,0.00077469455,0.018237902,0.009292454,0.004794639,0.0039016143,0.00078800786],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016562755,0.000009513767,0.00022262502,0.00006721889,0.000003136209,0.000036293182,0.014350325,0.000033568525,0.00019119683,0.96683496,0.0076170326,0.01061748],"study_design_scores_gemma":[0.0000137703655,0.00004220392,0.0010529836,0.000564268,0.000011593058,0.0001799208,0.021200882,0.00020438389,0.00059066236,0.19829547,0.77782893,0.0000149005955],"about_ca_topic_score_codex":0.005880812,"about_ca_topic_score_gemma":0.0075840387,"teacher_disagreement_score":0.0104571385,"about_ca_system_score_codex":0.004806061,"about_ca_system_score_gemma":0.0017231363,"threshold_uncertainty_score":0.034982562},"labels":[],"label_agreement":null},{"id":"W4377993995","doi":"10.1515/9781474452885-fm","title":"Frontmatter","year":2022,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Queen's University; Queen's University Belfast; University of Glasgow; Falmouth University","keywords":"Computer science","score_opus":0.03685992031088596,"score_gpt":0.18363260605700937,"score_spread":0.1467726857461234,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4377993995","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002513659,0.0009968777,0.0006463973,0.0014170503,0.0023480868,0.0000311782,0.0008978135,0.0008940651,0.9925171],"genre_scores_gemma":[0.00064800045,0.00024039601,0.0001492146,0.00031223512,0.00017183866,0.00000819022,0.0002803174,0.00020720784,0.9979826],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99965525,0.00003358396,0.000012878022,0.00008339305,0.00017098486,0.000043844295],"domain_scores_gemma":[0.9994067,0.00011590775,0.000028375716,0.00009389191,0.00020759515,0.00014761976],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00034027913,0.00059234176,0.0005786565,0.0015018486,0.0014534703,0.004902774,0.0011101586,0.0018400353,0.8764032],"category_scores_gemma":[0.0016987564,0.0003396874,0.0004000352,0.0011514286,0.00045878522,0.003267836,0.0023233448,0.0017121434,0.78581285],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016914873,0.000014899704,0.000058633428,0.00007257088,0.0000011774316,0.00005805892,0.0000741969,0.000023615225,0.00020950171,0.007966533,0.876031,0.115473084],"study_design_scores_gemma":[0.0000016562136,0.0000044619956,0.00007007869,0.000027426935,4.3019648e-7,0.000040194976,0.000028459888,0.00002161675,0.000054450124,0.0006365895,0.999113,0.0000016495032],"about_ca_topic_score_codex":0.0015749091,"about_ca_topic_score_gemma":0.0051741283,"teacher_disagreement_score":0.12359679,"about_ca_system_score_codex":0.0009608027,"about_ca_system_score_gemma":0.0005522618,"threshold_uncertainty_score":0.17629576},"labels":[],"label_agreement":null},{"id":"W4378382235","doi":"10.1515/9780773569829-002","title":"Editor’s Preface","year":2001,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.021982850038100334,"score_gpt":0.1906026442314057,"score_spread":0.16861979419330536,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4378382235","genre_codex":"editorial","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002929726,0.008330403,0.0010767181,0.053733617,0.7586714,0.00015810649,0.0028734931,0.00083306147,0.17403027],"genre_scores_gemma":[0.0040414347,0.010573897,0.0014431035,0.036977448,0.2566924,0.0002057053,0.0032771653,0.0009969121,0.685792],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99799156,0.00026210002,0.00018908914,0.00035096545,0.0010344826,0.00017184218],"domain_scores_gemma":[0.9878462,0.0026006415,0.00050981564,0.00077230873,0.0066293688,0.001641747],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0018959617,0.0012258972,0.001031506,0.0025828788,0.0025442264,0.0056861658,0.0022419868,0.0028481567,0.42661095],"category_scores_gemma":[0.018789336,0.00050028006,0.0008058164,0.00176471,0.0009100626,0.0033478467,0.0019559835,0.0046743006,0.24707592],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008899731,0.0000052592713,0.0000222194,0.00007534827,0.0000011303758,0.000029683093,0.000019408257,0.000011723304,0.000026521262,0.0004262479,0.9891338,0.010239745],"study_design_scores_gemma":[0.0000030450447,0.0000043032287,0.0000751516,0.000107402346,0.0000010920393,0.000041950127,0.000030329926,0.000011772044,0.000024688856,0.0003083076,0.99938893,0.000002912424],"about_ca_topic_score_codex":0.002694369,"about_ca_topic_score_gemma":0.004420913,"teacher_disagreement_score":0.57338905,"about_ca_system_score_codex":0.0016063512,"about_ca_system_score_gemma":0.0034259749,"threshold_uncertainty_score":0.8178699},"labels":[],"label_agreement":null},{"id":"W4378445365","doi":"10.1515/9780773589001","title":"The Video Art of Sylvia Safdie","year":2013,"lang":"en","type":"book","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Computer graphics (images); Visual arts; Art history; Computer science","score_opus":0.017887004024656407,"score_gpt":0.18177784987945533,"score_spread":0.16389084585479893,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4378445365","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08357354,0.0058332714,0.0037222411,0.01280533,0.0032688142,0.000055859065,0.00027389565,0.00029138694,0.8901756],"genre_scores_gemma":[0.543132,0.004842807,0.004183948,0.0028030092,0.00082830206,0.000039761962,0.00026468255,0.00018855203,0.44371688],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997961,0.000056460623,0.0000033075253,0.000022665778,0.000072825824,0.00004861161],"domain_scores_gemma":[0.9997842,0.00008485266,0.000010048784,0.000016194354,0.00005485631,0.000050009436],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00028524504,0.00029794028,0.000101360776,0.00052344153,0.0036925056,0.0018908151,0.0003110144,0.00063467264,0.013918457],"category_scores_gemma":[0.0008613708,0.000109307126,0.00013771937,0.00043129036,0.0026796178,0.0011700763,0.001116085,0.0010484044,0.0017473532],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022484192,0.000033730168,0.001517001,0.00022520377,0.000008548818,0.0017503254,0.073127724,0.00032391166,0.0086675,0.29504523,0.43670574,0.18237023],"study_design_scores_gemma":[0.0000042603697,0.000032782522,0.0011068366,0.000105237654,0.0000026946877,0.00066307676,0.009468585,0.00011894447,0.00069357065,0.0020692516,0.98572344,0.000011303103],"about_ca_topic_score_codex":0.030063227,"about_ca_topic_score_gemma":0.08083637,"teacher_disagreement_score":0.030063227,"about_ca_system_score_codex":0.0017709993,"about_ca_system_score_gemma":0.001223169,"threshold_uncertainty_score":0.059776425},"labels":[],"label_agreement":null},{"id":"W4378695945","doi":"10.1007/978-3-030-91263-5_7-1","title":"Montreal School of Intermediality: Beyond Media Studies","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Media studies; Sociology; Art","score_opus":0.08383177536833733,"score_gpt":0.25562759730811796,"score_spread":0.17179582193978063,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4378695945","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012163972,0.070703626,0.0061468515,0.0226797,0.0015816197,0.000031397154,0.00061499147,0.00022060561,0.89680487],"genre_scores_gemma":[0.057942487,0.05343242,0.0032250818,0.0013408891,0.0020519916,0.00005307741,0.00031305774,0.00021181558,0.88142914],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9992787,0.00016572198,0.000017048718,0.00012382682,0.00030816454,0.00010648592],"domain_scores_gemma":[0.99890757,0.0003237531,0.00007534024,0.00016673155,0.00028187988,0.0002447112],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009464334,0.0010717364,0.00066446885,0.003376821,0.0030607062,0.009837888,0.0014896642,0.002083646,0.07135494],"category_scores_gemma":[0.0022194542,0.0006751984,0.00031199682,0.007505795,0.0051317005,0.0070014014,0.0014957045,0.0027639975,0.00644426],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000066640728,0.000017328153,0.00021361987,0.000048313996,0.000003859423,0.000033837212,0.00036332177,0.00022079685,0.000057588408,0.75481135,0.20499268,0.039230607],"study_design_scores_gemma":[0.0000029215028,0.0000036441586,0.0007231858,0.00013408912,0.000004050875,0.00002334991,0.00028114047,0.00035663985,0.00010022738,0.08766535,0.9106942,0.000011339138],"about_ca_topic_score_codex":0.46316886,"about_ca_topic_score_gemma":0.58381456,"teacher_disagreement_score":0.46316886,"about_ca_system_score_codex":0.02322015,"about_ca_system_score_gemma":0.0136320265,"threshold_uncertainty_score":0.9209458},"labels":[],"label_agreement":null},{"id":"W4378803373","doi":"10.1017/s1054204323000114","title":"Big Bang Theory","year":2023,"lang":"en","type":"article","venue":"TDR/The Drama Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spectacle; Opera; Queer; Musical; Art; Queer theory; Judaism; Aesthetics; Literature; Visual arts; History; Sociology; Gender studies","score_opus":0.06908981808837772,"score_gpt":0.2598574090678533,"score_spread":0.1907675909794756,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4378803373","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02697893,0.018768473,0.2534648,0.029527957,0.0014556013,0.0001386465,0.0011250884,0.0006137683,0.6679268],"genre_scores_gemma":[0.728172,0.013542707,0.021362154,0.0041077533,0.0016273563,0.0003529813,0.0005295386,0.0005363435,0.22976917],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916744,0.00024078609,0.000034988276,0.00018856382,0.00022522766,0.00014293123],"domain_scores_gemma":[0.9980648,0.0008808599,0.00019377365,0.0003319922,0.00032573516,0.0002027089],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015396784,0.0008239104,0.0012619501,0.0014735325,0.0016152367,0.0038021146,0.0022082292,0.0025961217,0.04724146],"category_scores_gemma":[0.005467252,0.00047525953,0.0013301395,0.0012945074,0.0040922323,0.004811892,0.0025574262,0.003173885,0.0052545355],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005568888,0.000006200623,0.00021350103,0.000051168023,0.000014812151,0.000038014587,0.00006897747,0.0010327194,0.00001895721,0.99128085,0.004073779,0.0031954667],"study_design_scores_gemma":[0.00001173746,0.000007474999,0.000276167,0.00005714049,0.000010407783,0.000059250684,0.00006444513,0.004494915,0.000028533852,0.97747713,0.017505895,0.0000070105025],"about_ca_topic_score_codex":0.003815023,"about_ca_topic_score_gemma":0.002431404,"teacher_disagreement_score":0.04724146,"about_ca_system_score_codex":0.0023256883,"about_ca_system_score_gemma":0.002044784,"threshold_uncertainty_score":0.15803838},"labels":[],"label_agreement":null},{"id":"W4379106492","doi":"10.1080/17400309.2023.2207439","title":"A queer way of feeling: girl fans and personal archives of early Hollywood <b>A queer way of feeling: girl fans and personal archives of early Hollywood</b> , by Diana W. Anselmo, Oakland, University of California Press, 2023, 280 pp., $29.95 (paperback), ISBN 9780520299658","year":2023,"lang":"en","type":"article","venue":"New Review of Film and Television Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Hollywood; Girl; Queer; Feeling; Art; Visual arts; Aesthetics; Art history; Literature; Sociology; Gender studies; Psychology; Social psychology","score_opus":0.03163585592812587,"score_gpt":0.2428220066633763,"score_spread":0.21118615073525043,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379106492","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.038750313,0.6386263,0.0005775014,0.18250819,0.0052025146,0.000021004636,0.00027513108,0.00008671891,0.13395235],"genre_scores_gemma":[0.43837363,0.37579772,0.0008455228,0.019004367,0.008206111,0.000070870075,0.00024755485,0.00025374332,0.15720056],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936527,0.00036993143,0.000016095883,0.000044499153,0.00011297581,0.00009134413],"domain_scores_gemma":[0.99843866,0.00090384344,0.00018072248,0.00005253469,0.00014128824,0.00028300704],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019627353,0.00045706032,0.00038482476,0.0019200295,0.0034088972,0.008001438,0.0006791811,0.001363058,0.013516079],"category_scores_gemma":[0.0025296756,0.00031742887,0.00021139016,0.0025406785,0.0074415193,0.009397077,0.0020619004,0.0023242491,0.00118012],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001264331,0.0000804825,0.003954414,0.0006460876,0.000026527608,0.0007128492,0.13979615,0.000041975596,0.00021456926,0.09338686,0.640148,0.12086566],"study_design_scores_gemma":[0.0000132385785,0.000021060938,0.01064345,0.0014383532,0.000016453161,0.0005293319,0.10535167,0.000034905563,0.00009858368,0.01023674,0.8715976,0.000018617118],"about_ca_topic_score_codex":0.013162148,"about_ca_topic_score_gemma":0.03074571,"teacher_disagreement_score":0.013516079,"about_ca_system_score_codex":0.0020195616,"about_ca_system_score_gemma":0.0013575876,"threshold_uncertainty_score":0.045215726},"labels":[],"label_agreement":null},{"id":"W4379384475","doi":"10.7765/9781526163387.00013","title":"Bibliography","year":2023,"lang":"en","type":"book-chapter","venue":"Manchester University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Yale University; British Academy; Queen's University; McGill University; Graduate School, University of Maryland; University of Oxford","keywords":"Narrative; Space (punctuation); Subject (documents); Movie theater; Aesthetics; Realism; Field (mathematics); Visual arts; Social realism; Sociology; Art; Literature; Philosophy","score_opus":0.06697225468640385,"score_gpt":0.19008221138553655,"score_spread":0.1231099566991327,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379384475","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005174912,0.039111596,0.0015380781,0.009045776,0.014808576,0.00014965502,0.006641852,0.00063104904,0.92755604],"genre_scores_gemma":[0.005796771,0.039788634,0.0019781224,0.004408702,0.0049000103,0.00015025193,0.012817959,0.0005321118,0.92962736],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901664,0.00014621147,0.00007670609,0.00018724593,0.00046806637,0.00010519905],"domain_scores_gemma":[0.9983726,0.00025825936,0.000079915284,0.00019518365,0.00091929303,0.00017484823],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00066849624,0.0008024406,0.0009518702,0.0061116084,0.0028304025,0.0059104944,0.0017624459,0.001712591,0.43936953],"category_scores_gemma":[0.0037789354,0.0003917035,0.0006515877,0.009116742,0.0008490329,0.003994776,0.002129206,0.0021981804,0.331012],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013793,0.000016400742,0.00011491269,0.0002734954,0.0000029869311,0.000059298553,0.00014187644,0.000054259956,0.00007059676,0.009393446,0.9263228,0.06353605],"study_design_scores_gemma":[0.0000012625101,0.0000027743945,0.00015442788,0.00020722402,0.0000013430932,0.000044299937,0.00008174218,0.000008775073,0.000019279521,0.0011245293,0.9983518,0.0000025195177],"about_ca_topic_score_codex":0.010657381,"about_ca_topic_score_gemma":0.013586611,"teacher_disagreement_score":0.56063044,"about_ca_system_score_codex":0.0032005555,"about_ca_system_score_gemma":0.0035736556,"threshold_uncertainty_score":0.7996713},"labels":[],"label_agreement":null},{"id":"W4379520381","doi":"10.3138/cjfs-2022-0002","title":"“See the Big Picture”: Cineplex Entertainment and Branded Cinemagoing","year":2023,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Political science","score_opus":0.06082168080584817,"score_gpt":0.24790148372597012,"score_spread":0.18707980292012194,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379520381","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16799657,0.011389791,0.0031050716,0.01953751,0.0007379916,0.00004843464,0.00025608536,0.00009020469,0.7968384],"genre_scores_gemma":[0.9103545,0.004298924,0.0007114185,0.0016040277,0.000380437,0.000020934893,0.00011008021,0.000074734024,0.08244489],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9994236,0.00022853457,0.000011079665,0.00007017124,0.00012661856,0.00013992812],"domain_scores_gemma":[0.9992132,0.00033565226,0.00008822331,0.000057639885,0.00013053165,0.00017460086],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007133381,0.00032312394,0.00010704903,0.0011803529,0.0036217095,0.008779482,0.00048692193,0.0010606187,0.017709909],"category_scores_gemma":[0.0014559916,0.00013926641,0.00010441308,0.0013008595,0.0076257153,0.0035632097,0.0029379115,0.001987341,0.0007362233],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001111927,0.000055294662,0.0043641594,0.00033406884,0.000010543885,0.00056297967,0.14168203,0.00017676396,0.0009951055,0.7425541,0.039781604,0.069372125],"study_design_scores_gemma":[0.00000883621,0.000035622837,0.012808748,0.00065194693,0.000013425269,0.00054848695,0.0674784,0.00037663107,0.0009839641,0.0185813,0.8984907,0.000021927615],"about_ca_topic_score_codex":0.056201115,"about_ca_topic_score_gemma":0.12718652,"teacher_disagreement_score":0.9437989,"about_ca_system_score_codex":0.007814225,"about_ca_system_score_gemma":0.0028307335,"threshold_uncertainty_score":0.11174792},"labels":[],"label_agreement":null},{"id":"W4379520978","doi":"10.3138/cjfs-2022-0051","title":"“Keeping <i>Continuity</i>: Institutional Memory and the FSAC/ACÉC Newsletter”","year":2023,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Brock University","funders":"","keywords":"Humanities; Political science; Association (psychology); Art; Psychology","score_opus":0.04180488466809803,"score_gpt":0.23335511910231665,"score_spread":0.19155023443421862,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379520978","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08984031,0.016973615,0.0011343078,0.40706232,0.007626034,0.0000655799,0.00060498144,0.00014813879,0.4765447],"genre_scores_gemma":[0.8216981,0.0072504836,0.00046574918,0.018149028,0.004471838,0.000045076114,0.00029487544,0.00012705108,0.14749777],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99818367,0.00046067758,0.00005476865,0.00013082741,0.00051320205,0.0006568535],"domain_scores_gemma":[0.9897815,0.00351081,0.001179029,0.0005632926,0.0022542877,0.0027110362],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031693021,0.00019888612,0.00016798047,0.0019859455,0.007894587,0.01439538,0.0010950926,0.0025381856,0.019010145],"category_scores_gemma":[0.012718134,0.00021512144,0.0001252454,0.002554573,0.006101511,0.004466081,0.0025279243,0.0031556003,0.0012667725],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000929448,0.00007900568,0.007224401,0.00018502642,0.000011265564,0.00040650592,0.042861197,0.00010755946,0.00034240697,0.20872149,0.6560042,0.083963975],"study_design_scores_gemma":[0.000007563915,0.000013374392,0.0116499495,0.00021969758,0.0000073550355,0.00008340187,0.016959123,0.00007129089,0.00021346156,0.003011923,0.96774465,0.000018189206],"about_ca_topic_score_codex":0.274297,"about_ca_topic_score_gemma":0.39460805,"teacher_disagreement_score":0.274297,"about_ca_system_score_codex":0.016022349,"about_ca_system_score_gemma":0.014969083,"threshold_uncertainty_score":0.54540086},"labels":[],"label_agreement":null},{"id":"W4379617141","doi":"10.1353/mos.2019.0008","title":"\"A Suspended State\": The Body of an American as Cinematic Doppelg�nger","year":2019,"lang":"en","type":"article","venue":"Mosaic","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Embodied cognition; State (computer science); Movie theater; Aesthetics; Law; Art; History; Political science; Art history; Philosophy; Epistemology; Computer science","score_opus":0.013740556806055002,"score_gpt":0.2304378345469237,"score_spread":0.21669727774086872,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379617141","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20117527,0.004088815,0.0026467727,0.05570027,0.0016042133,0.00002735422,0.00013628206,0.00011836641,0.73450273],"genre_scores_gemma":[0.9201314,0.0020253847,0.00061635225,0.0027181397,0.0005263402,0.000018128103,0.000048868078,0.000062504536,0.07385277],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99954885,0.00025939106,0.0000054948705,0.00004572376,0.00006604925,0.00007453312],"domain_scores_gemma":[0.9988674,0.0005775415,0.00008218307,0.000069634414,0.0001616338,0.00024171815],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012423575,0.00020620236,0.00010968584,0.00077141006,0.0056073028,0.0066140806,0.0003266537,0.00081601617,0.005593226],"category_scores_gemma":[0.002569285,0.0001248949,0.00006945001,0.00065305765,0.0066052317,0.003230219,0.001564271,0.0022134737,0.0003934782],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006383314,0.000054481203,0.0015601768,0.000041596162,0.000005174897,0.00018082166,0.30879575,0.00007202851,0.0009138467,0.5656696,0.09155177,0.031090928],"study_design_scores_gemma":[0.000006513672,0.000019244182,0.00306691,0.0001314241,0.0000079570145,0.000106468135,0.095451504,0.000260678,0.0003611405,0.018589428,0.881984,0.000014702829],"about_ca_topic_score_codex":0.011531856,"about_ca_topic_score_gemma":0.02420427,"teacher_disagreement_score":0.011531856,"about_ca_system_score_codex":0.0020967717,"about_ca_system_score_gemma":0.0012223894,"threshold_uncertainty_score":0.02292949},"labels":[],"label_agreement":null},{"id":"W4379619782","doi":"10.1353/his.2023.a899608","title":"“Vaudeville Indians” on Global Circuits, 1880s–1930s by Christine Bold (review)","year":2023,"lang":"en","type":"article","venue":"Histoire sociale","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Indigenous; Entertainment; History; White (mutation); Media studies; Sociology; Gender studies; Art; Visual arts","score_opus":0.025468898909075183,"score_gpt":0.23060180970036412,"score_spread":0.20513291079128892,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379619782","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00005325981,0.9955674,0.000013396788,0.0012503386,0.001512216,0.000005491554,0.00006953076,0.0000039944016,0.0015244174],"genre_scores_gemma":[0.0007761653,0.9934215,0.000035613175,0.0017991685,0.0011517192,0.00001447989,0.0001330151,0.000004383305,0.0026640776],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996141,0.00007530192,0.000052753974,0.00007269184,0.00013776515,0.000047265814],"domain_scores_gemma":[0.9991435,0.00023330864,0.00014630356,0.000015339889,0.0003490537,0.00011249911],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00070445234,0.0009901631,0.0010899381,0.0027141748,0.00050168595,0.0017484963,0.00089370535,0.0007820014,0.015079397],"category_scores_gemma":[0.0020094288,0.0003636253,0.00053413457,0.004648859,0.0007333946,0.0017074455,0.0010635204,0.002092658,0.004705933],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058453414,0.000019190215,0.00027368363,0.025677321,0.00009405036,0.00009332949,0.00035800555,0.00010133844,0.0001503815,0.0018923021,0.6837712,0.28751072],"study_design_scores_gemma":[0.000010665907,0.00002451628,0.0018962824,0.01608215,0.00006468167,0.00021092624,0.00028283143,0.000009498123,0.000034936762,0.00018577413,0.9811818,0.000015942067],"about_ca_topic_score_codex":0.015652595,"about_ca_topic_score_gemma":0.029126253,"teacher_disagreement_score":0.015652595,"about_ca_system_score_codex":0.0013766092,"about_ca_system_score_gemma":0.003660288,"threshold_uncertainty_score":0.050445676},"labels":[],"label_agreement":null},{"id":"W4379645745","doi":"10.32920/ifmj.v3i1.1678","title":"The Spectator-in-Crisis","year":2023,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Aesthetics; Affect (linguistics); Politics; Art; Perception; Empathy; Counterculture; Framing (construction); Sociology; Psychology; Social psychology; Visual arts; History; Political science; Art history","score_opus":0.024133528419338447,"score_gpt":0.24745470513584425,"score_spread":0.2233211767165058,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379645745","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66628426,0.0032255969,0.009296995,0.0084697865,0.00084703596,0.0000728191,0.00009877015,0.00011660921,0.3115882],"genre_scores_gemma":[0.977987,0.0008612861,0.00080986804,0.00057123887,0.00016035058,0.000021490814,0.000046415422,0.00006831668,0.019474054],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988746,0.00065528933,0.00001893387,0.00012643416,0.00018356122,0.0001411196],"domain_scores_gemma":[0.99888474,0.00051722623,0.0002087357,0.00008165466,0.000104815364,0.00020286033],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00088849507,0.00042057602,0.00024807465,0.0007241481,0.0030274664,0.0033420397,0.0006369159,0.0010450812,0.008242819],"category_scores_gemma":[0.0033365183,0.00018663693,0.00021995045,0.000317928,0.0054606316,0.0029544034,0.005931412,0.0014682078,0.00057794136],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026683905,0.00008851973,0.013759481,0.00044116165,0.000038220252,0.0036566297,0.7796248,0.00026440117,0.013596539,0.10268662,0.014973573,0.07060324],"study_design_scores_gemma":[0.000020442641,0.00032395366,0.018524915,0.0005804562,0.000039939867,0.004569519,0.4585666,0.000490578,0.0042912615,0.010050014,0.5024866,0.000055746146],"about_ca_topic_score_codex":0.0015547378,"about_ca_topic_score_gemma":0.003413118,"teacher_disagreement_score":0.008242819,"about_ca_system_score_codex":0.0009562743,"about_ca_system_score_gemma":0.00044955066,"threshold_uncertainty_score":0.027574956},"labels":[],"label_agreement":null},{"id":"W4379653490","doi":"10.32920/ifmj.v3i1.1642","title":"Intersections between Technology, Journalism and Civic Participation in India","year":2023,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Filmmaking; Storytelling; Journalism; Witness; Narrative; Media studies; Sociology; Mainstream; Affordance; Reality television; Grassroots; Social media; Aesthetics; Visual arts; Political science; Art; Psychology; Literature; Law; Politics","score_opus":0.033541222743626455,"score_gpt":0.2893425535463517,"score_spread":0.2558013308027252,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379653490","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.90711063,0.00086327706,0.00042124232,0.0025997928,0.000035621266,0.000023003931,0.000037845522,0.000033328397,0.08887532],"genre_scores_gemma":[0.99832624,0.00031124213,0.000092567054,0.000076327524,0.000010097738,0.000009170626,0.00001135619,0.0000051533975,0.0011578763],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99801207,0.0009937338,0.00006767947,0.00017074335,0.0002609379,0.0004948172],"domain_scores_gemma":[0.9965965,0.0019850982,0.00050975557,0.00021268569,0.000176289,0.00051962474],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009885597,0.00023591775,0.00018032246,0.0023546258,0.0064810407,0.012497676,0.0007835675,0.0008136429,0.0032458617],"category_scores_gemma":[0.00287018,0.00026613357,0.0002780506,0.002990508,0.010191651,0.003407977,0.006867026,0.0015158844,0.00027032834],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018712955,0.000306916,0.058414076,0.0005101273,0.000043078806,0.0031826512,0.74438345,0.00046407102,0.0034988036,0.11554809,0.003164608,0.07029702],"study_design_scores_gemma":[0.000013879378,0.00019683775,0.11301611,0.000393213,0.00006335699,0.0016441696,0.8024902,0.00047249324,0.0011930236,0.00954554,0.07089993,0.00007135561],"about_ca_topic_score_codex":0.014415447,"about_ca_topic_score_gemma":0.013106152,"teacher_disagreement_score":0.014415447,"about_ca_system_score_codex":0.003950355,"about_ca_system_score_gemma":0.0033429465,"threshold_uncertainty_score":0.028663099},"labels":[],"label_agreement":null},{"id":"W4379767214","doi":"10.1558/jazz.26119","title":"Stanley Crouch, Kansas City Lightning: The Rise and Times of Charlie Parker","year":2023,"lang":"en","type":"article","venue":"Jazz Research Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Humber Polytechnic","funders":"","keywords":"Lightning (connector); Art history; History; Art; Meteorology; Cartography; Geography; Power (physics); Physics","score_opus":0.15483184073306216,"score_gpt":0.3453402443324512,"score_spread":0.19050840359938903,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379767214","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001419948,0.57355964,0.00043303816,0.32574987,0.029356195,0.000025005302,0.00037415937,0.0002611512,0.06882093],"genre_scores_gemma":[0.03736152,0.33102062,0.0009288787,0.07514211,0.016037017,0.000068657726,0.00039874564,0.0004571101,0.5385853],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941313,0.00014972949,0.000020029553,0.0000851694,0.00021638807,0.000115599956],"domain_scores_gemma":[0.99742764,0.0005282481,0.0001845489,0.000061490115,0.0008495676,0.00094845693],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010600479,0.0008764706,0.0005287908,0.0017270796,0.005413484,0.0062510828,0.0009785836,0.003267027,0.053456943],"category_scores_gemma":[0.004149923,0.00078580074,0.00021034127,0.002541881,0.0022637588,0.006995884,0.002552511,0.0056728097,0.01862182],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000074998625,0.0000038897942,0.000072336785,0.00004655911,9.062938e-7,0.00002630171,0.00049266894,0.000008579066,0.000011264738,0.0012130865,0.987111,0.011005928],"study_design_scores_gemma":[0.0000025325985,0.0000035971082,0.00046584752,0.00033572415,0.000002168421,0.000112401394,0.0021944274,0.000011211849,0.000021001759,0.00081195286,0.9960294,0.000009794596],"about_ca_topic_score_codex":0.07360554,"about_ca_topic_score_gemma":0.16108611,"teacher_disagreement_score":0.07360554,"about_ca_system_score_codex":0.0037924934,"about_ca_system_score_gemma":0.004871288,"threshold_uncertainty_score":0.17883128},"labels":[],"label_agreement":null},{"id":"W4379798052","doi":"10.32920/ifmj.v3i1.1674","title":"Messy Knowledge-Making with Korsakow","year":2023,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Filmmaking; Making-of; Sociology; Ethnography; Visual arts; Art; Management","score_opus":0.034398199641106804,"score_gpt":0.2693347444091259,"score_spread":0.23493654476801912,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379798052","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6144751,0.0024757874,0.023800733,0.0051580607,0.000249591,0.00018680481,0.000115991854,0.00030328837,0.3532347],"genre_scores_gemma":[0.97320414,0.0005507411,0.006706573,0.00023592485,0.000034171862,0.00004055842,0.000042065752,0.00017344851,0.01901246],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9949757,0.0028271095,0.00020385571,0.000651179,0.0008634033,0.00047881727],"domain_scores_gemma":[0.9953597,0.002748151,0.00043125218,0.0007572574,0.00024824814,0.00045548176],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004044601,0.0006298438,0.00039033458,0.001831627,0.010518809,0.009605555,0.0013524701,0.001068288,0.007788742],"category_scores_gemma":[0.007009143,0.00050249713,0.00027632067,0.0016091366,0.019637035,0.009315032,0.008507758,0.0022173063,0.001045456],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008532157,0.000057718855,0.0020336588,0.00023512996,0.000014249653,0.003263759,0.8641753,0.00033883002,0.0032045245,0.08821268,0.0028769132,0.035501905],"study_design_scores_gemma":[0.000017618831,0.000075744094,0.0030413854,0.0004528171,0.000025865005,0.0030824263,0.4716849,0.00063478167,0.004144367,0.023054525,0.49372122,0.0000643058],"about_ca_topic_score_codex":0.0049465164,"about_ca_topic_score_gemma":0.009810294,"teacher_disagreement_score":0.010518809,"about_ca_system_score_codex":0.0031646793,"about_ca_system_score_gemma":0.0023342718,"threshold_uncertainty_score":0.026055932},"labels":[],"label_agreement":null},{"id":"W4379801524","doi":"10.1215/03335372-10342169","title":"Cinema of Senescence: Old Age, Slow Cinema, and Form","year":2023,"lang":"en","type":"article","venue":"Poetics Today","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Trent University","funders":"","keywords":"Movie theater; Slowness; Aesthetics; Temporality; Phenomenology (philosophy); Symphony; Sociology; Literature; Realism; Philosophy; Epistemology; Art","score_opus":0.03448566870208211,"score_gpt":0.24099641621175796,"score_spread":0.20651074750967585,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4379801524","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.67150277,0.016610352,0.0092147635,0.026991684,0.0015370856,0.000051276023,0.00012403184,0.0001014699,0.27386656],"genre_scores_gemma":[0.99286664,0.0012575,0.00047920053,0.00037016612,0.0002423653,0.000008276044,0.000009653832,0.000011278394,0.0047549107],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99937254,0.0004024042,0.000020375834,0.000067197136,0.00009060007,0.000046942674],"domain_scores_gemma":[0.99779797,0.0011601185,0.00036172717,0.00014678725,0.00023394116,0.0002994408],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013037676,0.0002821664,0.00014195323,0.00071249687,0.0020410896,0.004669763,0.00037545344,0.00082052965,0.002565567],"category_scores_gemma":[0.004456103,0.00010028543,0.00010087364,0.00041145744,0.008762232,0.0036500061,0.0022403798,0.0014342839,0.00013341263],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013097415,0.000055442077,0.007772794,0.0003427191,0.00001627172,0.0012670279,0.5435336,0.00021006477,0.0038727757,0.39844766,0.012366773,0.03198385],"study_design_scores_gemma":[0.000032296986,0.00024054783,0.028667217,0.0008152791,0.00004541424,0.0028917415,0.33145088,0.000856548,0.0023627966,0.12556337,0.50700617,0.00006777002],"about_ca_topic_score_codex":0.0011022378,"about_ca_topic_score_gemma":0.0013072211,"teacher_disagreement_score":0.004669763,"about_ca_system_score_codex":0.0010424416,"about_ca_system_score_gemma":0.00041468063,"threshold_uncertainty_score":0.008582652},"labels":[],"label_agreement":null},{"id":"W4380230149","doi":"10.1515/9780773570054-004","title":"Documentary and the Early Years of Canadian Television, 1952–65","year":2002,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Media studies; Sociology","score_opus":0.01762039044022144,"score_gpt":0.16941676481918805,"score_spread":0.15179637437896662,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380230149","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.078641765,0.069515,0.00039786202,0.020944458,0.0016320582,0.00008400987,0.017286345,0.00010497789,0.8113937],"genre_scores_gemma":[0.58952725,0.035002664,0.00050234067,0.0017893589,0.0005419224,0.000050180508,0.0033230074,0.00009425001,0.36916903],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988367,0.000060064853,0.00003056126,0.00010744748,0.0005352567,0.00042996355],"domain_scores_gemma":[0.9973828,0.00037309364,0.00016974562,0.000072209616,0.0016007599,0.00040142154],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007290248,0.0006406118,0.00025303088,0.008375739,0.010009752,0.007313786,0.0008960936,0.0012860708,0.027070502],"category_scores_gemma":[0.0045634722,0.00036295233,0.00023854375,0.017098127,0.003238245,0.0018675668,0.0011857208,0.001772282,0.0016011313],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029908103,0.000068892856,0.014390826,0.00082812714,0.00005328869,0.0008891377,0.068113126,0.00056229596,0.0007763674,0.32062748,0.43678942,0.15660198],"study_design_scores_gemma":[0.000005230019,0.0000064519504,0.048688248,0.00029437774,0.00001523125,0.0000711017,0.0059951344,0.000049288577,0.00018159709,0.0010109353,0.943653,0.000029511544],"about_ca_topic_score_codex":0.99453133,"about_ca_topic_score_gemma":0.9974362,"teacher_disagreement_score":0.114052065,"about_ca_system_score_codex":0.114052065,"about_ca_system_score_gemma":0.070426844,"threshold_uncertainty_score":0.8275095},"labels":[],"label_agreement":null},{"id":"W4380230391","doi":"10.1515/9780773570054-001","title":"Preface","year":2002,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Philosophy","score_opus":0.03141414805025765,"score_gpt":0.18556680837254888,"score_spread":0.15415266032229125,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380230391","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005168358,0.0046733767,0.0022980205,0.0071648867,0.028299766,0.00017939482,0.0037092876,0.0007883695,0.95237017],"genre_scores_gemma":[0.0022902144,0.0022818625,0.0009807969,0.0014555844,0.0037650052,0.00007689665,0.002767927,0.0004034783,0.9859782],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994562,0.000059102633,0.000030497387,0.00009837864,0.00031079815,0.0000449865],"domain_scores_gemma":[0.9984365,0.00023269664,0.000051975734,0.00015555436,0.0008765212,0.000246732],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00055266876,0.0007093232,0.00059412164,0.001685907,0.001669781,0.0038389915,0.0012466089,0.0011112611,0.54992265],"category_scores_gemma":[0.0034809257,0.000302338,0.00041656083,0.0015572143,0.00053349324,0.002623292,0.0014656397,0.0025130312,0.3621433],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011376284,0.00001716145,0.00006177889,0.000076786004,0.0000010611566,0.00003298729,0.00008676765,0.00004789133,0.00009688977,0.007838094,0.9447986,0.046930593],"study_design_scores_gemma":[0.0000013736676,0.0000056716153,0.000121931276,0.00006651301,5.115111e-7,0.000033285458,0.00004022393,0.000013181005,0.000030162555,0.001300041,0.9983854,0.0000017305882],"about_ca_topic_score_codex":0.0029584037,"about_ca_topic_score_gemma":0.004195712,"teacher_disagreement_score":0.45007735,"about_ca_system_score_codex":0.001572883,"about_ca_system_score_gemma":0.0013955316,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4380230663","doi":"10.1515/9780773571907","title":"In Search of Cinema","year":2004,"lang":"en","type":"book","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Art history","score_opus":0.0257592505159367,"score_gpt":0.20832956833187408,"score_spread":0.18257031781593738,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380230663","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0071938285,0.040736355,0.0031985973,0.029178938,0.004510515,0.00005058937,0.0002822631,0.00008833315,0.9147607],"genre_scores_gemma":[0.2067661,0.04073337,0.0029387746,0.009439342,0.0083153825,0.0001466576,0.00044829023,0.00019624676,0.7310158],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991622,0.00036937685,0.000023751467,0.00015621587,0.00021386294,0.00007464368],"domain_scores_gemma":[0.9980725,0.0008775183,0.00017133294,0.00016201856,0.00049212604,0.000224544],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010793987,0.00043131912,0.00036666065,0.0016991721,0.0018020269,0.0076608197,0.00055607717,0.0009343085,0.01986819],"category_scores_gemma":[0.0056647034,0.00016895101,0.00020563806,0.0018736852,0.0030757734,0.004417126,0.0011249074,0.002040171,0.0036836416],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002748161,0.000044672357,0.0010108319,0.00021045405,0.000008383336,0.00006107898,0.0050580148,0.00019002064,0.00032085224,0.6794698,0.239607,0.07399135],"study_design_scores_gemma":[0.0000037412613,0.000013887248,0.0013851643,0.00026531846,0.000003905407,0.0000802368,0.0016470975,0.00016604787,0.00008997749,0.02104869,0.9752921,0.0000038153385],"about_ca_topic_score_codex":0.004402541,"about_ca_topic_score_gemma":0.0052455356,"teacher_disagreement_score":0.01986819,"about_ca_system_score_codex":0.0028675662,"about_ca_system_score_gemma":0.0020231947,"threshold_uncertainty_score":0.066465735},"labels":[],"label_agreement":null},{"id":"W4380232744","doi":"10.1515/9780228013273-009","title":"The Modern – and Transnational – Sweet Canadian Girl onstage in London … and new York … and Sydney … and auckland","year":2022,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Girl; Art history; Art; Cartography; Media studies; Geography; Sociology; Psychology","score_opus":0.024880699458968477,"score_gpt":0.17698261075452854,"score_spread":0.15210191129556005,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380232744","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06274955,0.012122012,0.00039950138,0.04723847,0.0017715236,0.000038263228,0.0006497491,0.000071663344,0.87495923],"genre_scores_gemma":[0.19550203,0.0035222662,0.00030191176,0.0025473393,0.00011168691,0.000017381477,0.000115021416,0.00020167857,0.7976806],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.999183,0.00011114568,0.000010430835,0.000089881396,0.00020495664,0.00040046364],"domain_scores_gemma":[0.99937963,0.000069342204,0.000024761443,0.000018340925,0.00015504606,0.00035288165],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006357075,0.00066231197,0.00045348366,0.0015570831,0.03875012,0.009657808,0.00094292004,0.0019553786,0.03759937],"category_scores_gemma":[0.0009803188,0.00058413186,0.0003567065,0.003406779,0.008891919,0.0033881296,0.0030646475,0.00480472,0.0024201677],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012507851,0.00002958923,0.0021112587,0.00009463877,0.000011533959,0.0008860163,0.2073604,0.00012658536,0.00037875408,0.40452564,0.3497507,0.034599777],"study_design_scores_gemma":[0.0000027794442,0.0000048817483,0.0031239272,0.00008388645,0.00000339493,0.00007901384,0.06486266,0.000022827342,0.00008954841,0.001494318,0.93021375,0.000019154202],"about_ca_topic_score_codex":0.9758271,"about_ca_topic_score_gemma":0.99624324,"teacher_disagreement_score":0.08042293,"about_ca_system_score_codex":0.08042293,"about_ca_system_score_gemma":0.05788989,"threshold_uncertainty_score":0.58351195},"labels":[],"label_agreement":null},{"id":"W4380233254","doi":"10.1515/9780228015703-fm","title":"Front Matter","year":2022,"lang":"en","type":"paratext","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill-Queen's University Press; Queen's University","funders":"","keywords":"Front (military); Geology; Oceanography","score_opus":0.020963336602996395,"score_gpt":0.19813384701575426,"score_spread":0.17717051041275786,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380233254","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00068699877,0.002148438,0.0009026278,0.0045742975,0.004232194,0.00008560946,0.0018866208,0.0014087711,0.98407435],"genre_scores_gemma":[0.0021738515,0.0013011869,0.00046460488,0.002135513,0.00065004115,0.000035395806,0.0011237387,0.00039207266,0.9917236],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987851,0.00011284413,0.00007038369,0.00037584302,0.00047834622,0.00017749555],"domain_scores_gemma":[0.99813014,0.00026923124,0.00010232324,0.00033097225,0.0005559,0.00061147125],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00076840643,0.001227618,0.0008796548,0.0019509484,0.002669378,0.00949475,0.0019346247,0.0059177554,0.8992341],"category_scores_gemma":[0.0033911304,0.0004939926,0.0008240702,0.0013330226,0.0012059628,0.004465297,0.0043611275,0.0029610489,0.85976505],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000074525655,0.000073141586,0.00051611266,0.0004407058,0.000010829721,0.00028105994,0.0001698447,0.000084933155,0.0010194016,0.012553888,0.79172766,0.19304787],"study_design_scores_gemma":[0.0000054656048,0.000008038809,0.00020465902,0.00009911596,0.0000016341319,0.00010960878,0.00007390899,0.000040921535,0.00011929472,0.0009096485,0.99842405,0.0000035715193],"about_ca_topic_score_codex":0.001606313,"about_ca_topic_score_gemma":0.002542268,"teacher_disagreement_score":0.8992341,"about_ca_system_score_codex":0.0016374423,"about_ca_system_score_gemma":0.002205626,"threshold_uncertainty_score":0.14373028},"labels":[],"label_agreement":null},{"id":"W4380249835","doi":"10.1515/9780228014980","title":"The Possession of Barbe Hallay","year":2022,"lang":"en","type":"book","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Possession (linguistics); Art; Genealogy; History; Philosophy; Linguistics","score_opus":0.01989177919828308,"score_gpt":0.19570437825786965,"score_spread":0.17581259905958657,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380249835","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8139128,0.0046979766,0.0013740417,0.014265758,0.0003971976,0.000086415435,0.00023594148,0.00007959543,0.16495028],"genre_scores_gemma":[0.9648041,0.0010487244,0.00031018216,0.0012323179,0.00003593922,0.00001916495,0.000036458623,0.000021682297,0.0324915],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990822,0.00030933373,0.00001614269,0.000121373996,0.00015181999,0.0003190727],"domain_scores_gemma":[0.99949074,0.0000982517,0.00012851838,0.000044634893,0.00007556517,0.00016220949],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00042274213,0.0004973746,0.00035775334,0.0007154758,0.023250967,0.0025432429,0.0010177454,0.002025684,0.008991485],"category_scores_gemma":[0.0018049334,0.00042094744,0.00024077023,0.00056753634,0.008641641,0.0017719108,0.0032796005,0.0029108108,0.00052990456],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013969613,0.0000558266,0.015345653,0.0003111009,0.000038532755,0.045667525,0.81094885,0.00019134958,0.0019396304,0.08192784,0.027783342,0.015650691],"study_design_scores_gemma":[0.000009236676,0.00007191277,0.02796815,0.00055396464,0.00003067734,0.017851524,0.6446768,0.00014537091,0.0007633063,0.0015288745,0.306326,0.000074103176],"about_ca_topic_score_codex":0.57008404,"about_ca_topic_score_gemma":0.7560709,"teacher_disagreement_score":0.57008404,"about_ca_system_score_codex":0.008732146,"about_ca_system_score_gemma":0.005518656,"threshold_uncertainty_score":0.86489564},"labels":[],"label_agreement":null},{"id":"W4380265228","doi":"10.1515/9780228014928-003","title":"Towards a Renewed Critical Optics for Contemporary Canadian Cinema","year":2023,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Optics; Sociology; Art; Art history; Physics","score_opus":0.06020629571498249,"score_gpt":0.22622892121855467,"score_spread":0.1660226255035722,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380265228","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014258817,0.025294427,0.008668281,0.29564807,0.00701859,0.00010675912,0.00031331278,0.0003768958,0.64831483],"genre_scores_gemma":[0.5729409,0.01946283,0.015178423,0.0301372,0.0029322386,0.000112875176,0.00020046557,0.00051365746,0.3585214],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99648154,0.00082979555,0.00006787498,0.00032042258,0.001280592,0.0010198064],"domain_scores_gemma":[0.99182206,0.0013807297,0.0001930732,0.00034578936,0.0041267406,0.0021316328],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0057844985,0.0009634115,0.0003949525,0.004243374,0.022496918,0.025275426,0.0020395527,0.0049294806,0.029330919],"category_scores_gemma":[0.010679621,0.000468785,0.0004123708,0.0032826115,0.023266977,0.0071596694,0.004077007,0.007323607,0.0017648108],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026011894,0.000019730634,0.0003354398,0.00009972472,0.00000558392,0.000076918855,0.017323252,0.00014183341,0.00035380546,0.73758286,0.19772255,0.046312343],"study_design_scores_gemma":[0.0000055019605,0.0000053658014,0.0007856618,0.00018306903,0.000007063451,0.00003410426,0.010631039,0.0002022451,0.00015552537,0.026607921,0.96135765,0.000024764407],"about_ca_topic_score_codex":0.955054,"about_ca_topic_score_gemma":0.97529185,"teacher_disagreement_score":0.13854857,"about_ca_system_score_codex":0.13854857,"about_ca_system_score_gemma":0.17137416,"threshold_uncertainty_score":0.99916154},"labels":[],"label_agreement":null},{"id":"W4380270801","doi":"10.1515/9780228013310-009","title":"Moving Image: Commissioned Quebec Cinema “à l'heure de l'Expo”","year":2022,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Visual arts; Art history; Humanities","score_opus":0.019659438538960503,"score_gpt":0.19513678438195076,"score_spread":0.17547734584299024,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380270801","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024324423,0.020594953,0.001024492,0.039358072,0.004634072,0.00007124546,0.0014081501,0.00018021585,0.9084044],"genre_scores_gemma":[0.13391526,0.0038457166,0.00059284095,0.0025397108,0.0004261363,0.000023117635,0.0003561645,0.00010689332,0.8581942],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996306,0.00005180043,0.000004708849,0.000041119536,0.00016144504,0.000110303525],"domain_scores_gemma":[0.99957424,0.00006338857,0.00001632806,0.000022287522,0.00021327173,0.000110490924],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004396501,0.00045427133,0.00015286218,0.00086652004,0.0049314434,0.0053313607,0.00070710306,0.0015283767,0.050113577],"category_scores_gemma":[0.0012474979,0.00021364052,0.00019912161,0.00094900554,0.0015832757,0.00135988,0.0007091839,0.0019016522,0.0024876937],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054171636,0.000034057168,0.0012080949,0.00009331704,0.0000066173616,0.00021466734,0.007276815,0.00023874949,0.0006240323,0.07747536,0.8353336,0.07744055],"study_design_scores_gemma":[0.000004848186,0.0000086620685,0.0063216924,0.00008623976,0.0000045002807,0.000064554624,0.0026430772,0.00019358328,0.00022102466,0.00071057753,0.9897288,0.000012251361],"about_ca_topic_score_codex":0.94657826,"about_ca_topic_score_gemma":0.9791398,"teacher_disagreement_score":0.053421736,"about_ca_system_score_codex":0.024017522,"about_ca_system_score_gemma":0.014332611,"threshold_uncertainty_score":0.17426014},"labels":[],"label_agreement":null},{"id":"W4380270847","doi":"10.1515/9780773576803-007","title":"Sexual Revolution, Canadian Cinemas, and Other Queer Paradoxes","year":2006,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Movie theater; Sexual revolution; Gender studies; Sociology; Psychoanalysis; Art; Human sexuality; Art history; Psychology","score_opus":0.0205976032929119,"score_gpt":0.18214591202064345,"score_spread":0.16154830872773154,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380270847","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.052941732,0.017602682,0.0003388125,0.062871635,0.00043691785,0.000021294027,0.00023317376,0.000025875182,0.8655278],"genre_scores_gemma":[0.884365,0.010570284,0.00036591289,0.00730625,0.00040421096,0.00001760848,0.00010651618,0.000032331063,0.096831925],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99878854,0.00022504093,0.000014783498,0.00009811575,0.00035951767,0.0005140422],"domain_scores_gemma":[0.99833435,0.0006899528,0.00013500673,0.00010394644,0.00041648225,0.0003202225],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012834613,0.0003547734,0.00032119823,0.002056989,0.016125683,0.008732757,0.00077774946,0.0031943014,0.015432266],"category_scores_gemma":[0.0044740983,0.00015728892,0.00022266843,0.0034050324,0.016593652,0.0035064246,0.001320372,0.0037337719,0.00033324765],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029265006,0.00001400729,0.0005609479,0.00003821538,0.0000048448683,0.0001367271,0.021642653,0.00008602759,0.000092279086,0.91609114,0.04766178,0.013642123],"study_design_scores_gemma":[0.000026740074,0.000011149665,0.008885076,0.00022921446,0.000018463334,0.00030023756,0.0394259,0.00026547688,0.00021588881,0.09837273,0.8522019,0.000047270325],"about_ca_topic_score_codex":0.92503995,"about_ca_topic_score_gemma":0.9552121,"teacher_disagreement_score":0.07496005,"about_ca_system_score_codex":0.03481054,"about_ca_system_score_gemma":0.020798152,"threshold_uncertainty_score":0.25256938},"labels":[],"label_agreement":null},{"id":"W4380450622","doi":"10.1162/octo_a_00483","title":"The <i>Wavelength</i> Papers","year":2023,"lang":"en","type":"article","venue":"October","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ephemera; Scholarship; Conceptualization; Art history; Film director; Art; Visual arts; Library science; Media studies; History; Computer science; Sociology; Movie theater; Law; Political science; Artificial intelligence","score_opus":0.02746855397823165,"score_gpt":0.21654338479545363,"score_spread":0.18907483081722198,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380450622","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007110552,0.036801383,0.0011045451,0.07712665,0.06872114,0.000086896136,0.00210612,0.00016768,0.80677503],"genre_scores_gemma":[0.050654396,0.0346718,0.0012164225,0.0134566305,0.02801704,0.00016584819,0.0015527909,0.00060569996,0.8696594],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986131,0.0001938864,0.000062999694,0.00022860353,0.00068903994,0.00021242391],"domain_scores_gemma":[0.99528706,0.0011419943,0.00030232978,0.0005340208,0.0015977208,0.0011368348],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013415113,0.00040639236,0.0002381815,0.0030796959,0.004279237,0.010575791,0.001082358,0.0010801171,0.07895369],"category_scores_gemma":[0.0062506264,0.00025758537,0.00033550969,0.005966655,0.0025429644,0.0035017792,0.0023956536,0.0025882872,0.014697072],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015590254,0.000014185129,0.00030376643,0.00015371805,0.0000044659328,0.0000644532,0.0014117495,0.000031795807,0.0003301787,0.032115437,0.93050057,0.035054125],"study_design_scores_gemma":[0.0000011119018,0.0000033457684,0.00049843703,0.0002001454,0.0000010994992,0.00002782184,0.00062964426,0.0000066668,0.000072925315,0.0012992603,0.99725693,0.000002684263],"about_ca_topic_score_codex":0.016980223,"about_ca_topic_score_gemma":0.024659883,"teacher_disagreement_score":0.07895369,"about_ca_system_score_codex":0.0076982407,"about_ca_system_score_gemma":0.005340408,"threshold_uncertainty_score":0.26412636},"labels":[],"label_agreement":null},{"id":"W4380569750","doi":"10.6000/1929-4409.2020.09.216","title":"Trends in Film Studies in the Context of Modern World Cinematography","year":2022,"lang":"en","type":"article","venue":"International Journal of Criminology and Sociology","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Kazakh; Cinematography; Context (archaeology); Flourishing; Political science; Film studies; Film industry; Central asia; Social science; Geography; Movie theater; History; Sociology; Ancient history; Psychology; Art; Visual arts; Art history; Social psychology","score_opus":0.13454188562501218,"score_gpt":0.3331908982075117,"score_spread":0.1986490125824995,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380569750","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8247901,0.066335626,0.00077961443,0.024382904,0.000635475,0.00003855926,0.00083456887,0.000054423763,0.08214875],"genre_scores_gemma":[0.9745901,0.018496461,0.0004372877,0.000628676,0.0005435494,0.000015287473,0.00031287267,0.0000170064,0.004958634],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986327,0.00050231523,0.00010764541,0.00022186163,0.0002711038,0.0002644169],"domain_scores_gemma":[0.99178195,0.0028057196,0.0024478796,0.0003723103,0.00144215,0.0011499795],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018401948,0.00013227348,0.00016843966,0.0055971546,0.0017695179,0.005428382,0.00044201766,0.0007130257,0.0060937805],"category_scores_gemma":[0.007471272,0.0001562083,0.00013861312,0.008856333,0.0021417812,0.004449381,0.0014640521,0.0013010286,0.00040621127],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003391078,0.00022239763,0.2872876,0.0019041644,0.000048861548,0.0011586437,0.2096178,0.00018240222,0.0041896533,0.14306808,0.023671443,0.3283098],"study_design_scores_gemma":[0.0000050497624,0.00009077086,0.58055586,0.0005878264,0.00001534447,0.0010678233,0.12584986,0.00017171502,0.00067917706,0.0024793618,0.2884673,0.000029923403],"about_ca_topic_score_codex":0.008296297,"about_ca_topic_score_gemma":0.014200075,"teacher_disagreement_score":0.008296297,"about_ca_system_score_codex":0.0024325347,"about_ca_system_score_gemma":0.0015475397,"threshold_uncertainty_score":0.020385683},"labels":[],"label_agreement":null},{"id":"W4380628957","doi":"10.2174/157016462001230614161437","title":"Preface","year":2023,"lang":"en","type":"article","venue":"Current Proteomics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Computer science","score_opus":0.08789949425744019,"score_gpt":0.27497152351827003,"score_spread":0.18707202926082983,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380628957","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012786882,0.009737507,0.0062615764,0.034650102,0.2199798,0.00052687776,0.014040527,0.0014416564,0.7120833],"genre_scores_gemma":[0.0046430803,0.003800745,0.002168991,0.0062065814,0.025005935,0.0002433547,0.007529186,0.00073165575,0.94967043],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930954,0.0001134359,0.00004130895,0.00011445889,0.00035597966,0.00006530447],"domain_scores_gemma":[0.99447507,0.00090571586,0.00018297402,0.0005144903,0.0030892333,0.0008326203],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0014705809,0.0007885345,0.0005448452,0.0031854697,0.0024644134,0.0033623243,0.0011404174,0.0009818508,0.44413158],"category_scores_gemma":[0.011818404,0.00024320943,0.00047404473,0.0021308144,0.0005627448,0.0021132303,0.0019554743,0.0026494635,0.29360655],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017275368,0.000012587385,0.00007075278,0.000054395943,0.0000011526212,0.000024703098,0.000048114805,0.000033676726,0.000066789704,0.004385133,0.96623623,0.029049108],"study_design_scores_gemma":[0.0000027459964,0.0000064480514,0.00020350369,0.00007899749,0.0000010888041,0.000022787952,0.00006195961,0.000017574635,0.00005126306,0.0024951028,0.99705565,0.0000028475529],"about_ca_topic_score_codex":0.005749797,"about_ca_topic_score_gemma":0.0072735706,"teacher_disagreement_score":0.5558684,"about_ca_system_score_codex":0.00191253,"about_ca_system_score_gemma":0.0023471832,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4380667857","doi":"10.1353/flm.2018.0009","title":"Music for Silent Film: A Guide to North American Resources by Kendra Preston Leonard (review)","year":2018,"lang":"en","type":"article","venue":"Film & history","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Silence; Movie theater; Exhibition; Media studies; Visual arts; History; Art history; Art; Sociology; Aesthetics","score_opus":0.030050736016400025,"score_gpt":0.23259614078886362,"score_spread":0.2025454047724636,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380667857","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00006135277,0.96669334,0.00035587812,0.0062229354,0.007361273,0.000108009044,0.00027799865,0.000115683455,0.018803576],"genre_scores_gemma":[0.0003715846,0.94171363,0.00068882474,0.007895559,0.0032191013,0.00027607108,0.0005796665,0.000053869586,0.045201667],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99907804,0.0001387442,0.00012009142,0.00011607845,0.0004789038,0.00006814867],"domain_scores_gemma":[0.99798834,0.00046423927,0.00025925742,0.000065533975,0.0009251336,0.0002975345],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011479296,0.0015652335,0.0016016298,0.003884019,0.0007648957,0.00410815,0.0020999787,0.0021589408,0.054366644],"category_scores_gemma":[0.0038987005,0.0008458626,0.0008247693,0.004514177,0.00069784216,0.004253284,0.0020066202,0.0044086543,0.055212155],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001498357,0.000018732302,0.000037155103,0.0049182046,0.000015286614,0.000057494668,0.000055533274,0.000042561052,0.00018385086,0.00062549155,0.7692127,0.22481799],"study_design_scores_gemma":[0.0000051338793,0.00000924957,0.00016349195,0.0032071818,0.0000095863925,0.0001322312,0.000037000536,0.00000856264,0.00002204377,0.00017023542,0.9962281,0.000007092439],"about_ca_topic_score_codex":0.0072986726,"about_ca_topic_score_gemma":0.014039733,"teacher_disagreement_score":0.054366644,"about_ca_system_score_codex":0.0018974943,"about_ca_system_score_gemma":0.004313854,"threshold_uncertainty_score":0.18187457},"labels":[],"label_agreement":null},{"id":"W4380873851","doi":"10.3138/ctr.103.fm","title":"Zine Theatre","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Commodification; Iconography; Meaning (existential); Art; Aesthetics; Visual arts; Performance art; Sociology; Media studies; Art history; Philosophy; Epistemology","score_opus":0.025572488076569415,"score_gpt":0.21819543938288757,"score_spread":0.19262295130631815,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380873851","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013504739,0.010412605,0.0047512096,0.011712371,0.003905593,0.00016479108,0.0006407209,0.00028565712,0.9546223],"genre_scores_gemma":[0.39161953,0.011289888,0.003646841,0.002970538,0.0012458917,0.0001447608,0.0006539513,0.00038541373,0.5880433],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988293,0.00032189937,0.000039835617,0.00013554402,0.00036759116,0.00030576033],"domain_scores_gemma":[0.99930465,0.00016020579,0.00005649975,0.0001056362,0.0001789529,0.00019411117],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00096239086,0.0005420289,0.0002954719,0.001527952,0.006170764,0.006809166,0.00072898593,0.00092063023,0.052899078],"category_scores_gemma":[0.0032975823,0.00023665333,0.00034017744,0.0011706175,0.0039235484,0.0030305076,0.0032799747,0.0023059282,0.0071667098],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019881874,0.000026453556,0.00076800835,0.00051867665,0.000014382795,0.0003772748,0.039733075,0.00016064451,0.0030936603,0.5144934,0.36258435,0.07803138],"study_design_scores_gemma":[0.000003279571,0.00000723111,0.0004730904,0.00007816178,0.0000019670622,0.00011851874,0.002992645,0.000026946174,0.0001982585,0.0015337955,0.99456006,0.0000061546166],"about_ca_topic_score_codex":0.032585092,"about_ca_topic_score_gemma":0.07053294,"teacher_disagreement_score":0.052899078,"about_ca_system_score_codex":0.005451133,"about_ca_system_score_gemma":0.0021645979,"threshold_uncertainty_score":0.17696506},"labels":[],"label_agreement":null},{"id":"W4380873896","doi":"10.3138/ctr.104.015","title":"Paradise by the River","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Paradise; The Renaissance; Event (particle physics); Visual arts; Work (physics); Movie theater; History; Art; Reflection (computer programming); Aesthetics; Art history; Sociology; Engineering; Computer science","score_opus":0.022201912884892712,"score_gpt":0.20974882069245407,"score_spread":0.18754690780756136,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380873896","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010104968,0.023282183,0.0021067702,0.08614428,0.015708718,0.000045770856,0.000636113,0.0004001754,0.86157095],"genre_scores_gemma":[0.09469801,0.010485958,0.0009430709,0.00644804,0.0018099358,0.000020377442,0.0002542738,0.00046803194,0.8848723],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991304,0.00024587568,0.000016439812,0.00013384127,0.0002899907,0.00018340872],"domain_scores_gemma":[0.9989549,0.0001815856,0.000049025282,0.0001324607,0.00038625486,0.00029566986],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011555573,0.00038034274,0.00030138457,0.00087357784,0.008552818,0.0076823058,0.0007569437,0.0012894486,0.089590885],"category_scores_gemma":[0.003336198,0.0002612531,0.00033604045,0.000838376,0.00326549,0.00427766,0.002583643,0.0034213671,0.012348382],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051538827,0.000013068117,0.00039068758,0.0001059143,0.000008186793,0.00025623283,0.008929752,0.000083693354,0.00030596773,0.11632451,0.8359247,0.037605748],"study_design_scores_gemma":[0.0000015167107,0.000003333998,0.00028005848,0.00005781416,0.0000012347268,0.00005186329,0.0024439446,0.000011232311,0.00003703686,0.0010359056,0.9960722,0.000003828153],"about_ca_topic_score_codex":0.15701249,"about_ca_topic_score_gemma":0.29183012,"teacher_disagreement_score":0.15701249,"about_ca_system_score_codex":0.0049753315,"about_ca_system_score_gemma":0.004203002,"threshold_uncertainty_score":0.31219715},"labels":[],"label_agreement":null},{"id":"W4380874059","doi":"10.3138/ctr.126.013","title":"Junk/Beauty/Respect","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Beauty; sort; Aesthetics; Art; Visual arts; Computer science","score_opus":0.02537455478871383,"score_gpt":0.2170060671462094,"score_spread":0.19163151235749556,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874059","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0024137807,0.009853791,0.0014479819,0.024635196,0.0069511984,0.000071103015,0.00078211946,0.0004937491,0.95335114],"genre_scores_gemma":[0.052007545,0.012357393,0.0017070856,0.017611552,0.0025060738,0.000059700684,0.00077992235,0.00075208966,0.9122188],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979242,0.00036253728,0.000048964892,0.00017585157,0.0010488563,0.00043942756],"domain_scores_gemma":[0.9974885,0.00015193179,0.0001381368,0.00025523428,0.0011432007,0.0008229656],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001385994,0.0006811763,0.00042800338,0.0013002787,0.0039135483,0.0057566185,0.00092590874,0.0015362266,0.16975103],"category_scores_gemma":[0.004208386,0.00025848605,0.0004168345,0.0010855736,0.0022142753,0.0034816107,0.0033959264,0.0022332624,0.069330275],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027099604,0.000014852674,0.00046960113,0.00021905375,0.000008707197,0.00010814091,0.0014149393,0.000036962534,0.00034744953,0.015613588,0.89440876,0.087330796],"study_design_scores_gemma":[0.0000021355295,0.0000053137023,0.0008043045,0.00010861978,0.0000021817918,0.00015531508,0.0010876528,0.000009777888,0.000058445352,0.0005923942,0.9971679,0.000006014379],"about_ca_topic_score_codex":0.06021317,"about_ca_topic_score_gemma":0.15259756,"teacher_disagreement_score":0.93978685,"about_ca_system_score_codex":0.0028546685,"about_ca_system_score_gemma":0.002796038,"threshold_uncertainty_score":0.5678738},"labels":[],"label_agreement":null},{"id":"W4380874192","doi":"10.3138/ctr.120.012","title":"The Matka King","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Agency (philosophy); Moral rights; Human rights; Law; Political science; History; Media studies; Sociology; Social science; Intellectual property","score_opus":0.03071758124868176,"score_gpt":0.222794299996161,"score_spread":0.19207671874747922,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874192","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018745534,0.015328407,0.00063074264,0.016075658,0.0065134796,0.00006069673,0.0007079238,0.00030713307,0.95850134],"genre_scores_gemma":[0.010359159,0.005779983,0.00038157857,0.0011601624,0.0004936068,0.00002168242,0.00029637784,0.000101479105,0.981406],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99948573,0.00005708763,0.000023425031,0.00012899615,0.00023359232,0.000071009374],"domain_scores_gemma":[0.99930215,0.00007343178,0.00005165103,0.0001480364,0.00029950042,0.00012520245],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006988342,0.00058480847,0.00034042206,0.0011911341,0.0029187652,0.0044150404,0.0007040939,0.0011096754,0.2520034],"category_scores_gemma":[0.0021453858,0.00027039667,0.00027314448,0.0011662468,0.0013974328,0.002655343,0.0020010609,0.0017006415,0.11074803],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032125845,0.000010648516,0.00029045975,0.00011626798,0.0000037152565,0.00008552395,0.0006181442,0.00003921708,0.0002719335,0.04754084,0.8455628,0.10542838],"study_design_scores_gemma":[0.0000010663323,0.0000023516711,0.00026654586,0.000033248383,7.554949e-7,0.000050491468,0.0001345248,0.000011508728,0.000036379224,0.0007091546,0.9987526,0.0000013010183],"about_ca_topic_score_codex":0.023092754,"about_ca_topic_score_gemma":0.03184249,"teacher_disagreement_score":0.2520034,"about_ca_system_score_codex":0.002664979,"about_ca_system_score_gemma":0.0036853498,"threshold_uncertainty_score":0.84303534},"labels":[],"label_agreement":null},{"id":"W4380874277","doi":"10.3138/ctr.124.020","title":"Heterogeneous Performances","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Visual arts; The arts; Foundation (evidence); Art; Action (physics); Performance art; Engineering; Art history; History; Archaeology","score_opus":0.02876165959839398,"score_gpt":0.22304546696967256,"score_spread":0.1942838073712786,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874277","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009634525,0.0010034428,0.003910709,0.0008717056,0.0002147326,0.00008035526,0.0007726464,0.00012591292,0.98338586],"genre_scores_gemma":[0.30525497,0.0020614066,0.004201309,0.0006079668,0.00032053218,0.000150942,0.0029443137,0.00030586764,0.68415266],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979462,0.00028988026,0.000049396727,0.0003824792,0.0007649632,0.0005670797],"domain_scores_gemma":[0.9984794,0.00020130152,0.00009439538,0.00041493465,0.00037720392,0.0004327466],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00154087,0.0006756886,0.00049898634,0.0019670378,0.0041552554,0.007014698,0.0015617708,0.0010540064,0.17975183],"category_scores_gemma":[0.004277796,0.00026383458,0.0003731037,0.0034293677,0.001446498,0.00237103,0.0038089084,0.0009106398,0.022660714],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003522345,0.00010895291,0.003500217,0.00025075127,0.000062921164,0.00048696768,0.003041987,0.0027040427,0.0013224744,0.5649456,0.22472939,0.19849448],"study_design_scores_gemma":[0.00003201804,0.0000388125,0.0064164065,0.00015720594,0.00002284598,0.00019323277,0.0022435316,0.00095149974,0.00032722467,0.02946689,0.9601252,0.000025118548],"about_ca_topic_score_codex":0.06514474,"about_ca_topic_score_gemma":0.12800013,"teacher_disagreement_score":0.17975183,"about_ca_system_score_codex":0.005700967,"about_ca_system_score_gemma":0.0030024627,"threshold_uncertainty_score":0.6013298},"labels":[],"label_agreement":null},{"id":"W4380874292","doi":"10.3138/ctr.110.015","title":"The Meeting","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Law; Copyright law; Political science; Freedom of expression; History; Sociology; Human rights; Intellectual property","score_opus":0.04160220832878911,"score_gpt":0.21276384836673393,"score_spread":0.17116164003794482,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874292","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009910666,0.0021263754,0.0012548332,0.047417417,0.037781022,0.00027226534,0.0017227979,0.0017716028,0.90666246],"genre_scores_gemma":[0.0028374903,0.00041746986,0.0003321799,0.006525826,0.0018099629,0.000054200715,0.0004605321,0.00034634062,0.98721594],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99871886,0.00015770401,0.000059900063,0.0002284148,0.00061379734,0.00022132853],"domain_scores_gemma":[0.9973508,0.0002444685,0.00009873437,0.00033105497,0.0013320462,0.00064284675],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010753737,0.0009290149,0.0005598096,0.0012552949,0.0051916656,0.0047101555,0.0013540747,0.0028270842,0.60732865],"category_scores_gemma":[0.007246428,0.0005149539,0.0005401907,0.00067867636,0.0006949757,0.0025082128,0.0031635105,0.0055639776,0.4709688],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001309403,0.0000036861975,0.00003331274,0.000016979908,9.1146205e-7,0.000037308393,0.00008484346,0.000005223697,0.000098993114,0.0009695956,0.989167,0.009568937],"study_design_scores_gemma":[0.0000020716514,0.0000024632648,0.00013365898,0.000019466239,4.754771e-7,0.000029048348,0.00014089602,0.000008900826,0.000029448922,0.00015614429,0.9994752,0.0000021712708],"about_ca_topic_score_codex":0.017213125,"about_ca_topic_score_gemma":0.036368735,"teacher_disagreement_score":0.60732865,"about_ca_system_score_codex":0.001996118,"about_ca_system_score_gemma":0.0025811386,"threshold_uncertainty_score":0.560098},"labels":[],"label_agreement":null},{"id":"W4380874360","doi":"10.3138/ctr.118.016","title":"2: from <i>Heaven</i>","year":2004,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Heaven; Copyright law; Moral rights; Law; Political science; Law and economics; Art; History; Sociology; Literature; Intellectual property","score_opus":0.026425259672666,"score_gpt":0.2170720098366865,"score_spread":0.1906467501640205,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874360","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012515967,0.014607678,0.0013582374,0.56060386,0.064506456,0.00014268684,0.001140317,0.00081186544,0.35557738],"genre_scores_gemma":[0.011423676,0.0045236894,0.0009076607,0.19820194,0.0076722694,0.00010981029,0.0004279028,0.000575341,0.7761577],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989353,0.00018480989,0.000068450456,0.00014531163,0.0004891679,0.00017694148],"domain_scores_gemma":[0.9975896,0.00046606956,0.000111855734,0.00022383899,0.0013117893,0.00029673905],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014468638,0.00070050283,0.00046455127,0.0012386823,0.0055141826,0.005128668,0.001356916,0.0049348,0.10675364],"category_scores_gemma":[0.008470248,0.00044982458,0.0005701108,0.0007617119,0.0023406358,0.0048657637,0.0021405118,0.008203716,0.07040505],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000051381185,9.574003e-7,0.000037466354,0.00003021453,7.030913e-7,0.000016382359,0.00021549832,0.0000032605344,0.000034798937,0.003698724,0.99272996,0.003226834],"study_design_scores_gemma":[0.0000015660685,0.000001937887,0.00020115796,0.00011679384,0.0000014357681,0.000043713273,0.00044990648,0.000009364733,0.0000597485,0.00081767014,0.9982918,0.0000049636265],"about_ca_topic_score_codex":0.147586,"about_ca_topic_score_gemma":0.20275983,"teacher_disagreement_score":0.147586,"about_ca_system_score_codex":0.0029883902,"about_ca_system_score_gemma":0.0038977966,"threshold_uncertainty_score":0.35712653},"labels":[],"label_agreement":null},{"id":"W4380874409","doi":"10.3138/ctr.139.014","title":"De/Constructing Queer Representation on the Rez","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Representation (politics); Politics; Key (lock); Aesthetics; Sociology; Art; Visual arts; Gender studies; Computer science; Computer security; Law; Political science","score_opus":0.04540168163867685,"score_gpt":0.2541908776881665,"score_spread":0.20878919604948964,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874409","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010807893,0.0032683904,0.0070771826,0.018094297,0.0004822039,0.000026675669,0.00010958166,0.000093819945,0.96004003],"genre_scores_gemma":[0.71396977,0.0032967106,0.002805835,0.002766962,0.00033912683,0.00005240938,0.00016142271,0.0001960594,0.27641177],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978035,0.001245479,0.000042062544,0.00021539522,0.0003484046,0.00034506302],"domain_scores_gemma":[0.998777,0.00043946138,0.00012706047,0.00023927169,0.00031634144,0.00010095213],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027143129,0.0004911295,0.00027269588,0.0013346386,0.0047889925,0.0077560022,0.00083337724,0.0017561886,0.02375592],"category_scores_gemma":[0.0045981784,0.00017982436,0.00025351578,0.0011388025,0.015100394,0.0053993817,0.00271733,0.0028523486,0.0024664775],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005487387,0.0000021058256,0.00005322498,0.000011176753,0.0000010929474,0.000038846683,0.00694229,0.000040755687,0.000049543196,0.97873896,0.00963066,0.004485842],"study_design_scores_gemma":[0.000009379108,0.000008408435,0.00062328146,0.00015912528,0.000007824485,0.00013792531,0.015594469,0.00037518094,0.00027067066,0.1841669,0.7986336,0.000013237312],"about_ca_topic_score_codex":0.09810977,"about_ca_topic_score_gemma":0.10298467,"teacher_disagreement_score":0.09810977,"about_ca_system_score_codex":0.009775001,"about_ca_system_score_gemma":0.0043125334,"threshold_uncertainty_score":0.19507742},"labels":[],"label_agreement":null},{"id":"W4380874450","doi":"10.3138/ctr.135.002","title":"Flirting with Zuppa Circus","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Chorus; Flirting; Thursday; Visual arts; Performance art; Art; Art history; Formative assessment; Sociology; Literature; Philosophy; Communication","score_opus":0.03947611676694731,"score_gpt":0.20793235569544197,"score_spread":0.16845623892849465,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874450","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0033674126,0.021522827,0.005338674,0.095168665,0.054378778,0.00018594267,0.0013275405,0.002986317,0.81572384],"genre_scores_gemma":[0.014269392,0.0053457813,0.0018421746,0.009272975,0.0053176577,0.000073843425,0.00045963842,0.0017116648,0.9617068],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99900264,0.00018711586,0.000021780415,0.00018385789,0.0004072248,0.0001974348],"domain_scores_gemma":[0.9981375,0.00018207697,0.00008223195,0.00016525008,0.0005971481,0.00083571096],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010299771,0.0011064686,0.0005938649,0.0018043495,0.008589456,0.0071163494,0.0007322734,0.0018320456,0.22363377],"category_scores_gemma":[0.004937725,0.000542119,0.00044505423,0.0011475392,0.0021506106,0.004872256,0.006220623,0.0056323083,0.12402787],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002366037,0.0000054035386,0.000060880433,0.000042292762,0.0000027727103,0.0000596088,0.000661642,0.0000134681395,0.00014042089,0.005310552,0.97705084,0.016628267],"study_design_scores_gemma":[0.0000015182668,0.000003625934,0.00013569402,0.00005151691,0.0000012558194,0.00005846801,0.0004042895,0.000014582444,0.00005397932,0.00048094982,0.9987901,0.0000038726325],"about_ca_topic_score_codex":0.018486254,"about_ca_topic_score_gemma":0.031917945,"teacher_disagreement_score":0.22363377,"about_ca_system_score_codex":0.0022360554,"about_ca_system_score_gemma":0.0021056512,"threshold_uncertainty_score":0.7481295},"labels":[],"label_agreement":null},{"id":"W4380874663","doi":"10.3138/ctr.137.005","title":"Accidental Encounters with Big Budget Ambush Art: <i>Slow Dancing</i> at Luminato","year":2009,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Midnight; Temporality; Evening; Art; Accidental; Performance art; Art history; Dew; History; Visual arts; Meteorology; Geography; Astronomy; Philosophy; Physics; Acoustics","score_opus":0.013121402356255186,"score_gpt":0.20254406120078766,"score_spread":0.18942265884453247,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380874663","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12165459,0.016377924,0.0041992664,0.06456738,0.0047616195,0.000079023375,0.000979579,0.00039496846,0.7869857],"genre_scores_gemma":[0.65471655,0.010112783,0.0018438458,0.012559614,0.0017137883,0.000049569222,0.0004937153,0.00044289915,0.31806722],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99818724,0.000656518,0.00004595307,0.00019083764,0.0004937326,0.00042575604],"domain_scores_gemma":[0.9974927,0.0005757086,0.0003849707,0.00030738412,0.00043374122,0.00080553116],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001860721,0.00071638596,0.00036398735,0.0015583638,0.013343612,0.008258309,0.0009701559,0.0022685544,0.02916273],"category_scores_gemma":[0.0066005844,0.0005103739,0.00034288544,0.0018993855,0.008636029,0.0039583747,0.0043693217,0.004997896,0.0046060793],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015498471,0.000043028343,0.0067211213,0.00033738694,0.00006753897,0.0022040587,0.16552097,0.00011685122,0.0011059511,0.10540604,0.658785,0.059537206],"study_design_scores_gemma":[0.00000664378,0.000017205148,0.007412995,0.00026781418,0.000014183877,0.0017938293,0.06215624,0.00007305152,0.00025890148,0.0029041306,0.9250639,0.000031101037],"about_ca_topic_score_codex":0.092821114,"about_ca_topic_score_gemma":0.25900087,"teacher_disagreement_score":0.9071789,"about_ca_system_score_codex":0.005276071,"about_ca_system_score_gemma":0.0030462965,"threshold_uncertainty_score":0.18456167},"labels":[],"label_agreement":null},{"id":"W4380880854","doi":"10.3138/ctr.124.001","title":"“At War with Commercial Entertainment Mediocrity”: Interview with High Performance Rodeo Founder and Curator Michael Green","year":2005,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Club; Art history; Mediocrity principle; Performance art; Art; Visual arts; Viola; Entertainment; Media studies; History; Sociology; Piano; Medicine","score_opus":0.022596517957511282,"score_gpt":0.20801145035258056,"score_spread":0.1854149323950693,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380880854","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07150074,0.0066232616,0.0007759263,0.7826351,0.006586589,0.00012609898,0.0001551757,0.00016289718,0.13143425],"genre_scores_gemma":[0.3748062,0.004838316,0.0007105291,0.44047996,0.0027248198,0.00028094562,0.00009531756,0.0005763173,0.1754876],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9933113,0.0027433352,0.00014306327,0.0005665667,0.0011685479,0.0020672462],"domain_scores_gemma":[0.9912395,0.0015007923,0.000551767,0.00025899004,0.0017007015,0.0047482997],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0056578023,0.00079680816,0.00062861055,0.0010625437,0.036792103,0.013711282,0.0027990392,0.007604466,0.015841234],"category_scores_gemma":[0.013966857,0.00085647707,0.00045058393,0.00122708,0.016073128,0.011125448,0.009365716,0.022924377,0.0031065086],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003121678,0.00007651384,0.002569481,0.00012550919,0.000009536847,0.0017456556,0.34608975,0.000033489057,0.0003431337,0.010224954,0.6293768,0.00937393],"study_design_scores_gemma":[0.0000064096384,0.000021205728,0.0014802826,0.00025243906,0.0000035726796,0.00047505824,0.46389803,0.00004332421,0.00009259993,0.00072342594,0.53296864,0.000034909688],"about_ca_topic_score_codex":0.16042237,"about_ca_topic_score_gemma":0.23227382,"teacher_disagreement_score":0.16042237,"about_ca_system_score_codex":0.01310265,"about_ca_system_score_gemma":0.009654457,"threshold_uncertainty_score":0.31897724},"labels":[],"label_agreement":null},{"id":"W4380881024","doi":"10.3138/ctr.127.005","title":"Unplugging the Evil Twin, the Dismantler, and the Singer of Songs: A De-mediatization of Video Art","year":2006,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Evening; Art; Visual arts; Performance art; Video art; Front (military); Art history; Geography","score_opus":0.012229410554550525,"score_gpt":0.19778662478707063,"score_spread":0.1855572142325201,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380881024","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.120695375,0.18274543,0.0072455388,0.062455863,0.002859312,0.00008890907,0.00030471623,0.000086993154,0.6235178],"genre_scores_gemma":[0.849139,0.06856514,0.0018583167,0.004200058,0.0023670194,0.000046433706,0.00015080375,0.00012088612,0.07355236],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99881005,0.00057703274,0.000030059748,0.000097115146,0.00030200562,0.00018384069],"domain_scores_gemma":[0.9982414,0.0009266363,0.00017945428,0.00014311477,0.00031925444,0.0001901221],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017548875,0.00032253092,0.00019202507,0.0020743278,0.003611352,0.0058667483,0.0006239247,0.000984329,0.0041920496],"category_scores_gemma":[0.004278974,0.00021364786,0.00013645389,0.0016105054,0.0075535327,0.0031735485,0.001591063,0.0016185228,0.00033291327],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015180557,0.000043244123,0.002225679,0.00040174343,0.000017397797,0.00050630217,0.06330621,0.0003015971,0.000867262,0.6810365,0.11620258,0.13493973],"study_design_scores_gemma":[0.000012772113,0.0000311247,0.009748776,0.0006705209,0.00001502836,0.000612882,0.027080465,0.00036905194,0.00063973677,0.01953887,0.94126076,0.000020002197],"about_ca_topic_score_codex":0.10546935,"about_ca_topic_score_gemma":0.1993756,"teacher_disagreement_score":0.10546935,"about_ca_system_score_codex":0.008620086,"about_ca_system_score_gemma":0.0034490053,"threshold_uncertainty_score":0.2097109},"labels":[],"label_agreement":null},{"id":"W4380925603","doi":"10.3138/ctr.110.016","title":"Half-Chinx Taking Over the World","year":2002,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Copyright law; Moral rights; Law; Media studies; Political science; Sociology; History; Visual arts; Art; Intellectual property","score_opus":0.05014958416353296,"score_gpt":0.23452354122282518,"score_spread":0.18437395705929222,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925603","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025640589,0.008953171,0.0011489977,0.078498036,0.012052342,0.000054632794,0.00036545884,0.00032691826,0.89603645],"genre_scores_gemma":[0.02854312,0.0039273207,0.000493182,0.016118659,0.0011772673,0.000049870818,0.00019094297,0.00029753463,0.9492021],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99873096,0.0003138119,0.00004006134,0.00016059478,0.0005173728,0.00023720815],"domain_scores_gemma":[0.99862003,0.00020478119,0.00006496011,0.00027022816,0.00052638527,0.00031348423],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001268875,0.0005488634,0.0003728518,0.00090878445,0.00677814,0.006987809,0.0008366207,0.0017977238,0.13247202],"category_scores_gemma":[0.0054366705,0.00025203315,0.00039327538,0.0008536092,0.003990297,0.0040992456,0.0036915094,0.004707863,0.033612408],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016920512,0.0000031288162,0.00012701463,0.000051250325,0.0000029527196,0.00007077295,0.003097192,0.000010693904,0.000081053724,0.06986975,0.90585285,0.020816464],"study_design_scores_gemma":[0.0000012598242,0.0000023177859,0.00016623402,0.000068792535,0.0000010524619,0.0000449843,0.0015075888,0.0000069050357,0.000030113855,0.0016706196,0.9964978,0.0000023995135],"about_ca_topic_score_codex":0.08258447,"about_ca_topic_score_gemma":0.16015886,"teacher_disagreement_score":0.13247202,"about_ca_system_score_codex":0.0032634577,"about_ca_system_score_gemma":0.004047149,"threshold_uncertainty_score":0.44316304},"labels":[],"label_agreement":null},{"id":"W4380925607","doi":"10.3138/ctr.133.012","title":"You Fancy Yourself","year":2008,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Law; Moral rights; Art; Political science; History; Intellectual property","score_opus":0.04650681987555585,"score_gpt":0.22719444778715298,"score_spread":0.18068762791159712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380925607","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0041534663,0.007983637,0.0042471057,0.28185806,0.08630793,0.00028535657,0.0009368616,0.004965346,0.6092623],"genre_scores_gemma":[0.011129713,0.0013863276,0.0009432855,0.056498386,0.004433998,0.00007730751,0.00021101456,0.0010824143,0.9242375],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99770135,0.0004467974,0.00008692756,0.00025486253,0.0012446379,0.0002654568],"domain_scores_gemma":[0.9913539,0.0013021614,0.00036436247,0.00089043204,0.0049791387,0.0011100216],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018805391,0.0011435607,0.00062372675,0.0011485805,0.007041179,0.00574633,0.0012178326,0.0039678654,0.23701951],"category_scores_gemma":[0.025696889,0.0004945655,0.00050771324,0.0006001522,0.002606891,0.004402988,0.0029173766,0.0063737817,0.2205452],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005731396,0.0000029454036,0.00005901783,0.0000138319165,9.502588e-7,0.000052971704,0.00046724273,0.0000035119017,0.00005494335,0.0011379794,0.991293,0.006907996],"study_design_scores_gemma":[0.0000021308124,0.000003950094,0.000104282786,0.00005684467,0.0000013059002,0.00013638656,0.0009993687,0.000014595577,0.00007854341,0.0003592651,0.9982358,0.0000075112257],"about_ca_topic_score_codex":0.027530322,"about_ca_topic_score_gemma":0.04074998,"teacher_disagreement_score":0.23701951,"about_ca_system_score_codex":0.001519263,"about_ca_system_score_gemma":0.0024228632,"threshold_uncertainty_score":0.79290926},"labels":[],"label_agreement":null},{"id":"W4380926006","doi":"10.3138/ctr.131.005","title":"A Piece of String and a Little Imagination: An Interview with Chris Wheeler","year":2007,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Visual arts; Set (abstract data type); Programmer; Art; Computer science; Computer graphics (images)","score_opus":0.03058726146152782,"score_gpt":0.23800607099785057,"score_spread":0.20741880953632275,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926006","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16185758,0.026337799,0.0050638863,0.6966299,0.007971106,0.00040668735,0.0002819195,0.0004967848,0.10095439],"genre_scores_gemma":[0.66977656,0.00971613,0.0046178754,0.19614117,0.0009243536,0.00072091096,0.00016905271,0.0008499139,0.117084],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.98162997,0.011018446,0.00035994672,0.0012021635,0.0030384744,0.0027509558],"domain_scores_gemma":[0.9861529,0.0048576677,0.000774711,0.00033369992,0.0023517928,0.005529263],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.012013948,0.0010359496,0.0013240952,0.0021676125,0.032630783,0.012715714,0.0034764127,0.0073172622,0.0094277],"category_scores_gemma":[0.021824546,0.0013958213,0.00071815774,0.0016312243,0.025488902,0.013336275,0.00809769,0.014892122,0.002558823],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043187163,0.00009023565,0.001002998,0.00015603728,0.000008637581,0.0021461206,0.7568057,0.00008312517,0.00086001697,0.012689511,0.21815996,0.007954464],"study_design_scores_gemma":[0.0000103933635,0.000032984335,0.0008207021,0.00029336958,0.000004549774,0.00083767716,0.70388675,0.00010078278,0.00012804853,0.0011287513,0.2926777,0.00007834784],"about_ca_topic_score_codex":0.16182971,"about_ca_topic_score_gemma":0.1785825,"teacher_disagreement_score":0.16182971,"about_ca_system_score_codex":0.0193678,"about_ca_system_score_gemma":0.011566149,"threshold_uncertainty_score":0.3217755},"labels":[],"label_agreement":null},{"id":"W4380926096","doi":"10.3138/ctr.114.010","title":"SHADOWS A ONE-ACT PLAY","year":2003,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pebble; Amateur; Permission; Law; Subject (documents); Art; Advertising; Visual arts; Political science; Business; Library science; Computer science","score_opus":0.043495708794702236,"score_gpt":0.2304581820587264,"score_spread":0.18696247326402415,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380926096","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002360653,0.0053893244,0.007972551,0.08273435,0.008713953,0.00013275817,0.00036097065,0.00068539113,0.89165],"genre_scores_gemma":[0.06723022,0.003430264,0.0026844316,0.019795487,0.0017997146,0.00015231091,0.00018004572,0.0006429651,0.9040845],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99525034,0.001693516,0.00015733403,0.00061961217,0.0016992625,0.0005799939],"domain_scores_gemma":[0.99569464,0.0011260709,0.00028813104,0.0009116343,0.0013108948,0.00066863705],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002963498,0.0012650226,0.0006846759,0.0012650972,0.009516776,0.010899104,0.0017861369,0.004452624,0.14074026],"category_scores_gemma":[0.016207898,0.0005997959,0.00066397066,0.0008029386,0.01181542,0.0087904725,0.0055879797,0.008284599,0.050798632],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006533574,0.000016371458,0.000195151,0.00013621645,0.0000106088155,0.00018565284,0.008312555,0.00007641721,0.00020485108,0.3144077,0.64511603,0.031273134],"study_design_scores_gemma":[0.000004281119,0.0000070479587,0.00013702578,0.00015419188,0.000003262306,0.00010969163,0.0027936392,0.00006434635,0.00007224429,0.0094132265,0.9872339,0.0000071650406],"about_ca_topic_score_codex":0.05097413,"about_ca_topic_score_gemma":0.073486395,"teacher_disagreement_score":0.14074026,"about_ca_system_score_codex":0.0052785794,"about_ca_system_score_gemma":0.00598853,"threshold_uncertainty_score":0.47082305},"labels":[],"label_agreement":null},{"id":"W4380929074","doi":"10.3138/ctr.102.014","title":"Confessions of a Virgin Bride Bride of Franken Fringe: Edmonton’s 18th Annual International Fringe Theatre Festival","year":2000,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Bride; Schedule; Visual arts; Art; History; Advertising; Management; Business; Economics","score_opus":0.01969351080691742,"score_gpt":0.23796172370666496,"score_spread":0.21826821289974754,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4380929074","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11359368,0.091094,0.00064668374,0.4292829,0.01636296,0.000092941635,0.0008510268,0.00010385995,0.34797186],"genre_scores_gemma":[0.40817684,0.036025573,0.00039953445,0.036704246,0.0034943824,0.000049897837,0.00030017295,0.00012397057,0.51472545],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99920446,0.00023438803,0.000013462153,0.00006027165,0.00024605388,0.00024140894],"domain_scores_gemma":[0.99773335,0.0005859905,0.00012942977,0.00007013599,0.00066749996,0.0008135564],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019279729,0.00030245277,0.0003222893,0.00077201537,0.00878968,0.003169528,0.00071917445,0.0023282964,0.012890526],"category_scores_gemma":[0.0047835824,0.00024097417,0.0002128364,0.000762977,0.0018703636,0.00088458863,0.0013614538,0.0040720766,0.0014379662],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006971954,0.000034329714,0.0013852144,0.00011730929,0.00002019191,0.0017456069,0.028798014,0.00008947131,0.00036987907,0.012765892,0.9294713,0.025132941],"study_design_scores_gemma":[0.0000033820022,0.000014838508,0.004053452,0.00018589124,0.000006165763,0.00025542354,0.026212445,0.000026686248,0.00011439732,0.00022242562,0.9688853,0.000019592324],"about_ca_topic_score_codex":0.52566713,"about_ca_topic_score_gemma":0.79083574,"teacher_disagreement_score":0.47433287,"about_ca_system_score_codex":0.010320552,"about_ca_system_score_gemma":0.0064580627,"threshold_uncertainty_score":0.9542526},"labels":[],"label_agreement":null},{"id":"W4381093452","doi":"10.32920/ifmj.v3i2.1740","title":"Matrix of Documentary VR","year":2023,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Virtual reality; Realm; Representation (politics); Style (visual arts); Computer science; Human–computer interaction; Field (mathematics); Matrix (chemical analysis); Multimedia; Visual arts; Art; History","score_opus":0.024064381988555504,"score_gpt":0.26952589529151116,"score_spread":0.24546151330295565,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4381093452","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016710876,0.0045286734,0.020339351,0.006059209,0.0015192031,0.00025100593,0.0014739879,0.00044289653,0.94867486],"genre_scores_gemma":[0.5816309,0.009914719,0.04134014,0.0011862557,0.0009961781,0.00041780423,0.0036126818,0.0008318904,0.3600695],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9967842,0.001140153,0.00021709647,0.00043667638,0.0011666724,0.00025521198],"domain_scores_gemma":[0.9969363,0.0011876288,0.00023844064,0.00038297955,0.00082760083,0.00042707776],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016154028,0.0006654984,0.000303701,0.0036997753,0.0030878773,0.013150775,0.0011326644,0.0013048067,0.0738504],"category_scores_gemma":[0.007163321,0.00029537416,0.0004539404,0.0034915826,0.0035323063,0.0043202983,0.0043634283,0.0022182728,0.008992756],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001380883,0.000045521105,0.0009388151,0.0008591586,0.00001720653,0.0007414163,0.019145587,0.000606144,0.0024611256,0.7519649,0.054458044,0.16862395],"study_design_scores_gemma":[0.000010071467,0.000039704286,0.0012642356,0.0003491314,0.000011981373,0.0006306736,0.008263096,0.00037327246,0.0006807797,0.01348131,0.9748769,0.000018877015],"about_ca_topic_score_codex":0.008052434,"about_ca_topic_score_gemma":0.007653338,"teacher_disagreement_score":0.0738504,"about_ca_system_score_codex":0.0038935926,"about_ca_system_score_gemma":0.002629976,"threshold_uncertainty_score":0.24705416},"labels":[],"label_agreement":null},{"id":"W4381093492","doi":"10.32920/ifmj.v3i2.1771","title":"New Virtuality","year":2023,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Virtuality (gaming); New media; Consciousness; Sociology; Virtual reality; Indexicality; Computer science; Epistemology; Aesthetics; Human–computer interaction; Art; World Wide Web; Artificial intelligence; Philosophy","score_opus":0.042535632117239146,"score_gpt":0.26575371687227084,"score_spread":0.2232180847550317,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4381093492","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007543535,0.005102228,0.011734827,0.016125273,0.003670995,0.000047246136,0.00019585855,0.00030206557,0.95527804],"genre_scores_gemma":[0.40787414,0.00970935,0.013546866,0.009567739,0.0039630486,0.00026750244,0.0007611059,0.00084533665,0.5534649],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973507,0.0011580733,0.00008971024,0.00040743136,0.00067024847,0.00032385948],"domain_scores_gemma":[0.9979936,0.00051327096,0.00014248311,0.0005110761,0.00027944767,0.0005600983],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001990924,0.00059064035,0.00028831602,0.0014813318,0.004494939,0.014968577,0.0013890801,0.002238377,0.058067348],"category_scores_gemma":[0.005759804,0.00025021323,0.00050474115,0.00091988273,0.007999872,0.01380606,0.010747748,0.003362572,0.010039665],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016714004,0.000014392084,0.00025436655,0.000087746586,0.000005358097,0.000111353766,0.00660393,0.000119175675,0.0002561343,0.8941336,0.055126723,0.043270398],"study_design_scores_gemma":[0.0000021007252,0.000008369957,0.00010115916,0.00007964395,0.0000019394727,0.00016935155,0.0014259281,0.000076517565,0.00010148731,0.03475141,0.9632758,0.0000062918075],"about_ca_topic_score_codex":0.0014178752,"about_ca_topic_score_gemma":0.0019097296,"teacher_disagreement_score":0.058067348,"about_ca_system_score_codex":0.003041997,"about_ca_system_score_gemma":0.0020034402,"threshold_uncertainty_score":0.19425464},"labels":[],"label_agreement":null},{"id":"W4381093535","doi":"10.32920/ifmj.v3i2.1758","title":"Age of Visible Machines is Over","year":2023,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Filmmaking; Film director; Context (archaeology); Animation; TRACE (psycholinguistics); Visual arts; Referent; Social media; Computer science; Variety (cybernetics); Aesthetics; Sociology; Multimedia; Media studies; Movie theater; Art; History; World Wide Web; Artificial intelligence","score_opus":0.030124592529543782,"score_gpt":0.270259849094868,"score_spread":0.24013525656532422,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4381093535","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023918428,0.020649154,0.006984299,0.073650666,0.0040602353,0.000024755585,0.00015214641,0.00024807925,0.8703122],"genre_scores_gemma":[0.71840656,0.011798432,0.002558742,0.0116632795,0.0027868836,0.00005552526,0.0001280174,0.00044391307,0.25215858],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984666,0.00049823103,0.00004122018,0.000430748,0.00033596167,0.00022726647],"domain_scores_gemma":[0.9981806,0.0007639103,0.00013910029,0.00041630457,0.00020924406,0.00029085425],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002256054,0.000525387,0.00038999945,0.0010962292,0.006508353,0.01062218,0.00086326763,0.0028666775,0.027509835],"category_scores_gemma":[0.0046083163,0.00028421133,0.0002918082,0.0007148358,0.01869376,0.015209962,0.0055975057,0.0054037315,0.0040507657],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003893824,0.000014250752,0.000243804,0.00007434261,0.00000493443,0.000090309135,0.020093631,0.000049613525,0.00033093622,0.93083245,0.026164098,0.022062678],"study_design_scores_gemma":[0.0000046963646,0.000015507667,0.00033808843,0.00015617248,0.0000037203704,0.00014090896,0.005521309,0.00007181081,0.000228,0.06928287,0.92422706,0.000009841708],"about_ca_topic_score_codex":0.0032526348,"about_ca_topic_score_gemma":0.003306647,"teacher_disagreement_score":0.027509835,"about_ca_system_score_codex":0.0034070378,"about_ca_system_score_gemma":0.0014023194,"threshold_uncertainty_score":0.09202957},"labels":[],"label_agreement":null},{"id":"W4381093537","doi":"10.32920/ifmj.v3i2.1800","title":"Lockdown Silver Linings","year":2023,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Filmmaking; Irish; Citizen journalism; Storytelling; Digital storytelling; Outreach; Interactivity; Media studies; Northern ireland; Visual arts; Sociology; Political science; Multimedia; Narrative; Art; Computer science; Movie theater; Law","score_opus":0.033086042011475275,"score_gpt":0.2504007158525302,"score_spread":0.21731467384105493,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4381093537","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013308428,0.0015502734,0.0024150193,0.008240967,0.014162616,0.00018154114,0.0009877448,0.0015513266,0.96957976],"genre_scores_gemma":[0.0037873113,0.00048581717,0.0006157487,0.0012580011,0.000583117,0.00003926089,0.0002716794,0.00045340045,0.9925057],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998528,0.00019587942,0.00007077247,0.00028331322,0.00064002356,0.00028193218],"domain_scores_gemma":[0.9964055,0.00047046324,0.0001235464,0.000626189,0.0014554416,0.00091899803],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0013326451,0.00091396295,0.00053281226,0.0017651351,0.004301095,0.008219596,0.0014740553,0.0023474,0.69263935],"category_scores_gemma":[0.0067930967,0.0005920917,0.00066268415,0.0011939388,0.001256979,0.004602393,0.00558612,0.003186422,0.41543442],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006684452,0.000027381473,0.00015021829,0.00008289798,0.0000024649175,0.00015219221,0.0004015917,0.00004738775,0.00035654815,0.011976229,0.92235345,0.06438287],"study_design_scores_gemma":[0.000002231381,0.000005882826,0.00006759482,0.000025353398,5.7553996e-7,0.00003286263,0.00015280377,0.000013395886,0.00004761031,0.00042341568,0.999226,0.0000023865982],"about_ca_topic_score_codex":0.0061621047,"about_ca_topic_score_gemma":0.012473983,"teacher_disagreement_score":0.69263935,"about_ca_system_score_codex":0.0017722853,"about_ca_system_score_gemma":0.0025622658,"threshold_uncertainty_score":0.43841267},"labels":[],"label_agreement":null},{"id":"W4381123397","doi":"10.32920/ifmj.v3i2.1767","title":"Convergence of Theatre, Cinema, Amusement Park, and Video Game Design to Explore Parallel Interactive Narratives in Cinematic Virtual Reality","year":2023,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Virtual reality; Narrative; Movie theater; Mixed reality; Artificial reality; Multimedia; Storytelling; Computer science; Reality television; Amusement; Video game; Human–computer interaction; Visual arts; Computer-mediated reality; Art; Psychology","score_opus":0.09407236983497043,"score_gpt":0.300771725997275,"score_spread":0.20669935616230456,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4381123397","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7992376,0.002406,0.09647156,0.0009443183,0.00013525858,0.00070356677,0.000073537136,0.00013852809,0.09988959],"genre_scores_gemma":[0.95160604,0.0007808296,0.039944824,0.00014463338,0.00001860619,0.00060695136,0.00005380056,0.00007045789,0.006773803],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9963152,0.0027453068,0.00008755214,0.00021281918,0.0004261089,0.00021307933],"domain_scores_gemma":[0.9972084,0.0020346858,0.00014495823,0.00014053131,0.00022846773,0.00024298448],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002716888,0.0005494145,0.0003621194,0.0020296315,0.0017227313,0.006353219,0.0008193026,0.00063554733,0.003250445],"category_scores_gemma":[0.005126209,0.0003552694,0.00055709603,0.0009856904,0.0044686724,0.0030002894,0.0033504951,0.0011721735,0.00024745666],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00047307255,0.00039509955,0.0094174985,0.0014131643,0.00008897844,0.0015788346,0.6517444,0.002149698,0.01932352,0.18272552,0.0023034594,0.12838678],"study_design_scores_gemma":[0.000155216,0.0014463782,0.034608632,0.0019297664,0.00023481874,0.004278213,0.59502226,0.020427557,0.014438074,0.040271908,0.28701302,0.00017414511],"about_ca_topic_score_codex":0.0027803143,"about_ca_topic_score_gemma":0.0042193187,"teacher_disagreement_score":0.006353219,"about_ca_system_score_codex":0.0019198495,"about_ca_system_score_gemma":0.0012962852,"threshold_uncertainty_score":0.014368415},"labels":[],"label_agreement":null},{"id":"W4381336959","doi":"10.3998/circus.4138","title":"From Cirque Global to Local Circus: the Québec Professional Circus Scene during the COVID-19 Pandemic","year":2023,"lang":"en","type":"article","venue":"Circus Arts Life and Sciences","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Coronavirus disease 2019 (COVID-19); Pandemic; Cirque; Humanities; Art history; Art; Sociology; Media studies; History; Geography; Medicine","score_opus":0.09948471022874154,"score_gpt":0.30041612143287566,"score_spread":0.2009314112041341,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4381336959","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8442275,0.0034736514,0.0006800933,0.017440913,0.0005302035,0.0001116826,0.0032685818,0.00010215638,0.13016526],"genre_scores_gemma":[0.94306433,0.0014142435,0.00035699242,0.0025516797,0.0000758466,0.00003304927,0.0010280926,0.000066176784,0.05140957],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990207,0.0001551205,0.000012148006,0.00010073169,0.00027542413,0.0004358784],"domain_scores_gemma":[0.99796236,0.00021924086,0.00015350708,0.00008980541,0.00086287764,0.00071222684],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001149871,0.00034301062,0.0003024101,0.0014251712,0.013198865,0.0069329757,0.0010041216,0.0013182366,0.010513201],"category_scores_gemma":[0.0023899816,0.0002334163,0.00019283993,0.0022243962,0.004077145,0.0016034929,0.0025734713,0.0020086274,0.00057080295],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00043414315,0.00020938284,0.18385418,0.00043963915,0.00009048773,0.0049445448,0.36911076,0.00096245494,0.0028548709,0.020282894,0.28274164,0.13407508],"study_design_scores_gemma":[0.00000840065,0.00006498013,0.22516052,0.00027210152,0.000022007762,0.0003165223,0.40567014,0.00037827232,0.00036433712,0.0004212225,0.36724368,0.00007785787],"about_ca_topic_score_codex":0.9850971,"about_ca_topic_score_gemma":0.99671644,"teacher_disagreement_score":0.04577109,"about_ca_system_score_codex":0.04577109,"about_ca_system_score_gemma":0.030514423,"threshold_uncertainty_score":0.33209407},"labels":[],"label_agreement":null},{"id":"W4382248446","doi":"10.1515/9780228013006-fm","title":"Front Matter","year":2022,"lang":"en","type":"paratext","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill-Queen's University Press","funders":"","keywords":"Front (military); Geology; Oceanography","score_opus":0.020963336602996395,"score_gpt":0.19813384701575426,"score_spread":0.17717051041275786,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382248446","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00068699877,0.002148438,0.0009026278,0.0045742975,0.004232194,0.00008560946,0.0018866208,0.0014087711,0.98407435],"genre_scores_gemma":[0.0021738515,0.0013011869,0.00046460488,0.002135513,0.00065004115,0.000035395806,0.0011237387,0.00039207266,0.9917236],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987851,0.00011284413,0.00007038369,0.00037584302,0.00047834622,0.00017749555],"domain_scores_gemma":[0.99813014,0.00026923124,0.00010232324,0.00033097225,0.0005559,0.00061147125],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00076840643,0.001227618,0.0008796548,0.0019509484,0.002669378,0.00949475,0.0019346247,0.0059177554,0.8992341],"category_scores_gemma":[0.0033911304,0.0004939926,0.0008240702,0.0013330226,0.0012059628,0.004465297,0.0043611275,0.0029610489,0.85976505],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000074525655,0.000073141586,0.00051611266,0.0004407058,0.000010829721,0.00028105994,0.0001698447,0.000084933155,0.0010194016,0.012553888,0.79172766,0.19304787],"study_design_scores_gemma":[0.0000054656048,0.000008038809,0.00020465902,0.00009911596,0.0000016341319,0.00010960878,0.00007390899,0.000040921535,0.00011929472,0.0009096485,0.99842405,0.0000035715193],"about_ca_topic_score_codex":0.001606313,"about_ca_topic_score_gemma":0.002542268,"teacher_disagreement_score":0.100765884,"about_ca_system_score_codex":0.0016374423,"about_ca_system_score_gemma":0.002205626,"threshold_uncertainty_score":0.14373028},"labels":[],"label_agreement":null},{"id":"W4382290654","doi":"10.1515/9780228013006-002","title":"Acknowledgments","year":2022,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Victoria","keywords":"Computer science","score_opus":0.029637072879194086,"score_gpt":0.19594452737747636,"score_spread":0.16630745449828227,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382290654","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0065452075,0.005158611,0.016677948,0.12215759,0.06811978,0.0012813879,0.05000179,0.0033055828,0.72675204],"genre_scores_gemma":[0.024684913,0.002003299,0.011349863,0.018119806,0.0041102055,0.00074186566,0.016671583,0.0021636188,0.9201548],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99634016,0.00084169634,0.00018487376,0.0005154474,0.0018589254,0.00025886355],"domain_scores_gemma":[0.9831729,0.0018530826,0.00044781098,0.0010684383,0.010640988,0.0028167337],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0038320906,0.00067680614,0.0006117046,0.0017154017,0.0021748627,0.0034366813,0.001697859,0.0011034475,0.3359994],"category_scores_gemma":[0.017985443,0.00022888958,0.00035248767,0.0013862461,0.0006448928,0.0018762596,0.0032028728,0.002396967,0.21767625],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037434365,0.000011152631,0.00034251195,0.00009460526,0.0000026745543,0.00010606498,0.00064016756,0.00004159189,0.0002920493,0.009292415,0.961922,0.027217316],"study_design_scores_gemma":[0.000004038279,0.0000032264911,0.00026689257,0.000066375345,0.0000017589971,0.00008511838,0.00037063728,0.00002742661,0.00008021252,0.0011086919,0.99798226,0.000003476138],"about_ca_topic_score_codex":0.005745873,"about_ca_topic_score_gemma":0.010055021,"teacher_disagreement_score":0.66400063,"about_ca_system_score_codex":0.0027008269,"about_ca_system_score_gemma":0.0041168053,"threshold_uncertainty_score":0.94711626},"labels":[],"label_agreement":null},{"id":"W4382457410","doi":"10.1515/9780773554399-008","title":"Updating the Canadian Road Movie with Hollywood Canucks","year":2018,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Advertising; Art; History; Visual arts; Art history; Business","score_opus":0.021883843471099867,"score_gpt":0.1796662517231292,"score_spread":0.15778240825202933,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382457410","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0032757558,0.03784322,0.002277974,0.059955142,0.06306697,0.000113959104,0.0052147005,0.0011050012,0.8271473],"genre_scores_gemma":[0.028778955,0.016808037,0.0025004323,0.0056205457,0.0064541628,0.00003901396,0.0017958143,0.001093903,0.9369092],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987502,0.000104070205,0.000020558977,0.00010884923,0.00078336813,0.00023289942],"domain_scores_gemma":[0.99675506,0.000154264,0.000028406075,0.00011014325,0.0023944566,0.0005576391],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016065569,0.0009041431,0.00045191034,0.0035127285,0.0059858826,0.0074597006,0.0010295955,0.0013549486,0.12612376],"category_scores_gemma":[0.0046601016,0.00037432715,0.00031993358,0.0031699468,0.0014398895,0.0026713973,0.0015548615,0.0021710868,0.021120554],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008408623,0.0000040075392,0.00007231497,0.00002022689,0.0000014706053,0.000013152188,0.00017097725,0.000036438792,0.000041631876,0.0026692506,0.971618,0.02534407],"study_design_scores_gemma":[0.0000011505834,0.0000011421554,0.0002496944,0.00004441753,0.000001934041,0.000008056175,0.00020892474,0.000033536075,0.000039677907,0.00021025815,0.9991955,0.0000057342822],"about_ca_topic_score_codex":0.87059855,"about_ca_topic_score_gemma":0.9624568,"teacher_disagreement_score":0.12940145,"about_ca_system_score_codex":0.019520937,"about_ca_system_score_gemma":0.017195065,"threshold_uncertainty_score":0.42192602},"labels":[],"label_agreement":null},{"id":"W4382808008","doi":"10.1525/fmh.2023.9.3.1","title":"Note from the Editor","year":2023,"lang":"en","type":"article","venue":"Feminist Media Histories","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Citation; Movie theater; Download; Social media; Media studies; Art history; Library science; Sociology; History; Computer science; World Wide Web","score_opus":0.02965406883833901,"score_gpt":0.22331180058772265,"score_spread":0.19365773174938364,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4382808008","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00010187863,0.0038101624,0.00021111009,0.21610826,0.7617939,0.000046224606,0.00018405801,0.0001370749,0.017607389],"genre_scores_gemma":[0.0022696971,0.0053235767,0.0005509668,0.37024367,0.34975365,0.00014803326,0.0002295647,0.0002796517,0.2712012],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9962651,0.0005011305,0.00032905457,0.0006878877,0.0018474291,0.00036942202],"domain_scores_gemma":[0.9836389,0.0027622054,0.0006294627,0.0007056758,0.009634822,0.0026290307],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032397122,0.0013613125,0.0011679333,0.0016295825,0.0038668518,0.007643704,0.0029262074,0.0096430285,0.103306964],"category_scores_gemma":[0.025846109,0.0005733146,0.0011938171,0.0011564961,0.0012773551,0.005912473,0.003693502,0.012646068,0.07357387],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005423338,0.0000034204108,0.000019448798,0.000037873662,0.0000012266269,0.000050318253,0.000022201548,0.0000048244865,0.000033166576,0.0003028996,0.99474084,0.004778374],"study_design_scores_gemma":[0.0000028362297,0.0000049600153,0.00007681435,0.000082437116,0.000001951496,0.00008171481,0.000068328634,0.000009579956,0.00004345925,0.00022658138,0.9993957,0.0000055361684],"about_ca_topic_score_codex":0.0029271063,"about_ca_topic_score_gemma":0.0053901426,"teacher_disagreement_score":0.103306964,"about_ca_system_score_codex":0.002409274,"about_ca_system_score_gemma":0.005656874,"threshold_uncertainty_score":0.3455962},"labels":[],"label_agreement":null},{"id":"W4383665360","doi":"10.59056/kbzf.2012.8.p328-338","title":"Rezension zu: Redner, Gregg: Deleuze and Film Music. Building a methodological bridge between film theory and music.","year":2023,"lang":"en","type":"article","venue":"Kieler Beiträge zur Filmmusikforschung","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Bridge (graph theory); Art; Art history; Aesthetics; Medicine","score_opus":0.18173574842342338,"score_gpt":0.30992804019945025,"score_spread":0.12819229177602687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4383665360","genre_codex":"review","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002594945,0.5351455,0.006414541,0.4021598,0.027262,0.000080756785,0.00088164327,0.00019900479,0.025261817],"genre_scores_gemma":[0.11416915,0.5968336,0.010546876,0.10629934,0.035111364,0.00035390112,0.001030872,0.00053519657,0.13511981],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992506,0.00026722462,0.000056711546,0.00012102028,0.00024290713,0.00006157965],"domain_scores_gemma":[0.9982102,0.0011285417,0.00011528345,0.00008053218,0.00036812245,0.000097265314],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001713615,0.00085714855,0.0008152222,0.0030172765,0.0013308218,0.0030855043,0.0015052547,0.0037455629,0.02323285],"category_scores_gemma":[0.0072730067,0.0003168683,0.00046856116,0.003077164,0.0027471557,0.0068180794,0.0025979152,0.004185679,0.0065506743],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005622409,0.00002759186,0.00040522905,0.00067869696,0.00003146756,0.00034674467,0.0025784913,0.00009672229,0.00031868368,0.05323985,0.86204076,0.08017968],"study_design_scores_gemma":[0.000034451918,0.000022853934,0.0028458012,0.0022068212,0.00005161286,0.0012259177,0.0031705028,0.00031179423,0.0013028015,0.07781422,0.91096616,0.000047278056],"about_ca_topic_score_codex":0.0063577024,"about_ca_topic_score_gemma":0.0069617447,"teacher_disagreement_score":0.02323285,"about_ca_system_score_codex":0.001215172,"about_ca_system_score_gemma":0.0013326934,"threshold_uncertainty_score":0.077721596},"labels":[],"label_agreement":null},{"id":"W4383739238","doi":"10.2139/ssrn.4495683","title":"An Anatomy of Cryptocurrency Sentiment","year":2023,"lang":"en","type":"article","venue":"SSRN Electronic Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Cryptocurrency; Anatomy; Computer science; Medicine; World Wide Web","score_opus":0.016399599761071144,"score_gpt":0.2647466505668171,"score_spread":0.24834705080574598,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4383739238","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.046980195,0.0016578557,0.07224513,0.013923649,0.00035461693,0.000061605504,0.00028834745,0.00027469476,0.8642139],"genre_scores_gemma":[0.89150196,0.0017351973,0.016873147,0.000915626,0.0005562863,0.000057691963,0.00017437337,0.00018521262,0.08800053],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.9995629,0.00014863673,0.000016083244,0.00006225419,0.00015231689,0.00005785842],"domain_scores_gemma":[0.999071,0.00042976075,0.00007624386,0.0001282003,0.000229438,0.000065415275],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006068858,0.00018011883,0.00016225393,0.0012231289,0.0010379421,0.0041187,0.00038757845,0.0012658475,0.013186753],"category_scores_gemma":[0.0039649624,0.00021165377,0.00018683082,0.0014000617,0.0030461156,0.0059013627,0.0009975563,0.0014695066,0.0020674584],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000060044176,0.0000030402978,0.00022099598,0.000009131386,0.0000015229778,0.0000592824,0.0005852609,0.0001044677,0.00031013478,0.98652947,0.0024957585,0.009674933],"study_design_scores_gemma":[0.0000066028338,0.000011109036,0.0012149638,0.000053226788,0.0000045176753,0.00021210706,0.00060708774,0.0022936363,0.00039603122,0.90455014,0.09064019,0.000010424336],"about_ca_topic_score_codex":0.0023644879,"about_ca_topic_score_gemma":0.0019003781,"teacher_disagreement_score":0.013186753,"about_ca_system_score_codex":0.0014908946,"about_ca_system_score_gemma":0.00071670243,"threshold_uncertainty_score":0.044114053},"labels":[],"label_agreement":null},{"id":"W4384254922","doi":"10.1515/9780773596757-005","title":"Uncovering Canada’s Amateur Film Tradition","year":2014,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Amateur; Art; History; Archaeology","score_opus":0.019077408021082813,"score_gpt":0.16764357820718181,"score_spread":0.148566170186099,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4384254922","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24892394,0.0075523173,0.00096098287,0.0342239,0.0005926624,0.000031609095,0.0009056599,0.000082051585,0.7067269],"genre_scores_gemma":[0.9456288,0.0018181896,0.00040042403,0.0013880811,0.000116875606,0.00001239021,0.0001414311,0.000105323816,0.050388437],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99845445,0.00029607522,0.00002565495,0.00020359531,0.0004690087,0.0005512261],"domain_scores_gemma":[0.9956156,0.0015306863,0.00026256224,0.0002452419,0.001434279,0.00091156067],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013057857,0.00028915232,0.00023608156,0.0033308293,0.016911123,0.013312584,0.0009935375,0.0017713954,0.01627853],"category_scores_gemma":[0.0066846833,0.00026929475,0.00013151937,0.0050076107,0.007602181,0.002725168,0.002579282,0.0025383797,0.00066570647],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002041409,0.000044164608,0.013069949,0.00021885055,0.00003412835,0.0008103779,0.27496663,0.00020708884,0.0014699084,0.4523179,0.16631764,0.09033927],"study_design_scores_gemma":[0.000008823725,0.000012428373,0.02871475,0.00045695258,0.000020693373,0.00019252425,0.10763502,0.00029353728,0.0004304924,0.0065952106,0.8555982,0.00004148916],"about_ca_topic_score_codex":0.9565592,"about_ca_topic_score_gemma":0.9843203,"teacher_disagreement_score":0.061188355,"about_ca_system_score_codex":0.061188355,"about_ca_system_score_gemma":0.03846878,"threshold_uncertainty_score":0.44395465},"labels":[],"label_agreement":null},{"id":"W4384255382","doi":"10.1515/9780773596757-002","title":"Canadian Cinema, Ephemeral Cinema","year":2014,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Ephemeral key; Art; Art history; Computer science; Computer security","score_opus":0.019374609007602326,"score_gpt":0.17935598679682815,"score_spread":0.15998137778922583,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4384255382","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015863646,0.01883037,0.00046719832,0.004230132,0.001280091,0.00002710997,0.00083290756,0.00008766775,0.9726582],"genre_scores_gemma":[0.051282857,0.0188193,0.0008946388,0.00084590167,0.0005334582,0.000025685433,0.00050115335,0.00014377949,0.92695326],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99933136,0.000054729695,0.0000113797505,0.000081675265,0.00038512863,0.00013565586],"domain_scores_gemma":[0.9992126,0.000095456235,0.000029982119,0.0000472837,0.00042713823,0.00018739862],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004057708,0.00088894,0.00027243135,0.0033228542,0.0071520945,0.009674771,0.0008771197,0.0014241915,0.09228292],"category_scores_gemma":[0.002026088,0.00038264156,0.00016343042,0.004612638,0.0028207547,0.0024431974,0.0010600853,0.0015829297,0.0068291374],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016670541,0.000012005531,0.00033704608,0.00014288902,0.0000034277161,0.00008172189,0.0038111843,0.00010063273,0.00028665573,0.20207056,0.7148859,0.078251325],"study_design_scores_gemma":[8.474911e-7,0.0000013036279,0.00067538,0.00005805151,0.0000015390901,0.000026115833,0.00063485117,0.000024796509,0.000041411888,0.0013441587,0.9971871,0.0000044885196],"about_ca_topic_score_codex":0.93181247,"about_ca_topic_score_gemma":0.97957075,"teacher_disagreement_score":0.09228292,"about_ca_system_score_codex":0.03242041,"about_ca_system_score_gemma":0.035347182,"threshold_uncertainty_score":0.30871713},"labels":[],"label_agreement":null},{"id":"W4384255907","doi":"10.1515/9780773570351-fm","title":"Front Matter","year":2002,"lang":"en","type":"paratext","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Windsor; McGill-Queen's University Press","funders":"","keywords":"Front (military); Physics; Meteorology","score_opus":0.023566669834376115,"score_gpt":0.1944738738831962,"score_spread":0.1709072040488201,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4384255907","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00052517623,0.0011624446,0.000513468,0.003928603,0.0017216,0.00003452148,0.0006772214,0.00027744094,0.9911595],"genre_scores_gemma":[0.0042009503,0.0011851103,0.00032698002,0.0014602895,0.00045833175,0.000027780368,0.0005262397,0.00014557234,0.9916688],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990096,0.00012310711,0.00004711782,0.00036189024,0.0003056639,0.0001525488],"domain_scores_gemma":[0.99852127,0.00035710653,0.00009340664,0.00023249169,0.00037876226,0.0004169724],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0006290388,0.0011061339,0.00082460704,0.0011156168,0.0023620955,0.008615112,0.0016916728,0.006538785,0.8887287],"category_scores_gemma":[0.0032740016,0.00029966002,0.000519169,0.0010853233,0.0017979874,0.0043266183,0.0031470829,0.001995514,0.79095966],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000111069625,0.00007769469,0.000684414,0.00050694525,0.000012968814,0.00045505445,0.00038857534,0.000118801865,0.00088662916,0.056783475,0.69831973,0.2416545],"study_design_scores_gemma":[0.0000069369157,0.000009372016,0.00027618423,0.00012150651,0.0000019082652,0.00014293978,0.00014746214,0.000053177315,0.000105864005,0.0024382123,0.99669373,0.000002882172],"about_ca_topic_score_codex":0.0014156455,"about_ca_topic_score_gemma":0.0026500092,"teacher_disagreement_score":0.11127132,"about_ca_system_score_codex":0.0014174572,"about_ca_system_score_gemma":0.001556788,"threshold_uncertainty_score":0.15871507},"labels":[],"label_agreement":null},{"id":"W4385247199","doi":"10.1177/17468477231188399","title":"The Classical Animated Documentary and Its Contemporary Evolution","year":2023,"lang":"en","type":"article","venue":"Animation","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Visual arts; Animation; Art; Aesthetics","score_opus":0.04822645027961932,"score_gpt":0.24742177989614803,"score_spread":0.1991953296165287,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385247199","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033127118,0.07587944,0.013886794,0.042861357,0.008744772,0.000100323465,0.0007624485,0.00021337063,0.8244243],"genre_scores_gemma":[0.70103204,0.0431739,0.01362365,0.005608943,0.010788794,0.0001833418,0.00068833114,0.0004819742,0.22441903],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99842024,0.0007225103,0.00008515265,0.0003249785,0.00034054497,0.00010668187],"domain_scores_gemma":[0.99543273,0.0023598925,0.00026993066,0.0005864162,0.00092724006,0.00042379153],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024407487,0.0005043352,0.00034583546,0.004892495,0.003169466,0.009668924,0.00080624805,0.0022890149,0.018797811],"category_scores_gemma":[0.009617728,0.00028586632,0.00019756253,0.0036296009,0.015145771,0.0042996327,0.0020208152,0.003073806,0.0017982628],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003415823,0.000016750204,0.000194649,0.00012722552,0.000004573237,0.000038398543,0.003603343,0.00013411575,0.0002492537,0.9326866,0.01976992,0.043140963],"study_design_scores_gemma":[0.000012400325,0.00004249796,0.0013826336,0.00044151078,0.000007833507,0.00031714042,0.0014598487,0.0004296231,0.00030233338,0.082343034,0.9132383,0.00002282714],"about_ca_topic_score_codex":0.006422754,"about_ca_topic_score_gemma":0.0051765074,"teacher_disagreement_score":0.018797811,"about_ca_system_score_codex":0.00631114,"about_ca_system_score_gemma":0.0019853285,"threshold_uncertainty_score":0.06288493},"labels":[],"label_agreement":null},{"id":"W4385362826","doi":"10.1080/23322551.2023.2211418","title":"Real-time lighting design: a pioneer, a work, and a collaboration","year":2023,"lang":"en","type":"article","venue":"Theatre & Performance Design","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Cybernetics; Process (computing); Computer science; Control (management); Work (physics); Architectural engineering; Artificial light; Human–computer interaction; Class (philosophy); Multimedia; Artificial intelligence; Engineering; Mechanical engineering","score_opus":0.04151956176356477,"score_gpt":0.22526200897122206,"score_spread":0.18374244720765728,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385362826","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1808591,0.048309,0.14835232,0.14654434,0.004648452,0.00026380218,0.000071812785,0.00062640564,0.47032475],"genre_scores_gemma":[0.8880695,0.013364317,0.038964197,0.0050597726,0.002087377,0.00019673033,0.000031222156,0.0004500441,0.051776823],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99048305,0.0069666086,0.00013438679,0.00064010144,0.0013385387,0.0004373588],"domain_scores_gemma":[0.9947699,0.0032180168,0.00030421582,0.000718999,0.0002834446,0.00070555776],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01087677,0.0010327105,0.0005296733,0.001480726,0.008773135,0.012895228,0.0014751737,0.0042573498,0.0027171979],"category_scores_gemma":[0.007356108,0.0006202343,0.0005424765,0.001123352,0.037525468,0.016103223,0.008022866,0.008345109,0.0007505875],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006750757,0.00009969097,0.0005462875,0.00018210035,0.00001021635,0.00065594685,0.14330134,0.00036107935,0.0010874222,0.8105439,0.011640533,0.031503934],"study_design_scores_gemma":[0.000044923643,0.00025351753,0.00047365186,0.0005243961,0.000011401246,0.0016041716,0.06654362,0.001167918,0.0014558253,0.10850811,0.8193507,0.0000617461],"about_ca_topic_score_codex":0.001189412,"about_ca_topic_score_gemma":0.0015192558,"teacher_disagreement_score":0.012895228,"about_ca_system_score_codex":0.0033889394,"about_ca_system_score_gemma":0.0016040908,"threshold_uncertainty_score":0.057522595},"labels":[],"label_agreement":null},{"id":"W4385523601","doi":"10.1515/9780228018698-fm","title":"Front Matter","year":2023,"lang":"de","type":"paratext","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Front (military); Geology; Oceanography","score_opus":0.024989880650463585,"score_gpt":0.20635953586247466,"score_spread":0.18136965521201107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385523601","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00068699877,0.002148438,0.0009026278,0.0045742975,0.004232194,0.00008560946,0.0018866208,0.0014087711,0.98407435],"genre_scores_gemma":[0.0021738515,0.0013011869,0.00046460488,0.002135513,0.00065004115,0.000035395806,0.0011237387,0.00039207266,0.9917236],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987851,0.00011284413,0.00007038369,0.00037584302,0.00047834622,0.00017749555],"domain_scores_gemma":[0.99813014,0.00026923124,0.00010232324,0.00033097225,0.0005559,0.00061147125],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00076840643,0.001227618,0.0008796548,0.0019509484,0.002669378,0.00949475,0.0019346247,0.0059177554,0.8992341],"category_scores_gemma":[0.0033911304,0.0004939926,0.0008240702,0.0013330226,0.0012059628,0.004465297,0.0043611275,0.0029610489,0.85976505],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000074525655,0.000073141586,0.00051611266,0.0004407058,0.000010829721,0.00028105994,0.0001698447,0.000084933155,0.0010194016,0.012553888,0.79172766,0.19304787],"study_design_scores_gemma":[0.0000054656048,0.000008038809,0.00020465902,0.00009911596,0.0000016341319,0.00010960878,0.00007390899,0.000040921535,0.00011929472,0.0009096485,0.99842405,0.0000035715193],"about_ca_topic_score_codex":0.001606313,"about_ca_topic_score_gemma":0.002542268,"teacher_disagreement_score":0.100765884,"about_ca_system_score_codex":0.0016374423,"about_ca_system_score_gemma":0.002205626,"threshold_uncertainty_score":0.14373028},"labels":[],"label_agreement":null},{"id":"W4385594550","doi":"10.59962/9780774830430-003","title":"Acknowledgments","year":2016,"lang":"en","type":"book-chapter","venue":"University of British Columbia Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; McMaster University","keywords":"History","score_opus":0.026831522306275037,"score_gpt":0.17042041570691038,"score_spread":0.14358889340063535,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385594550","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0039613233,0.007937624,0.022445614,0.08330269,0.08420511,0.0011002275,0.04365139,0.005009297,0.7483867],"genre_scores_gemma":[0.013604547,0.0032802578,0.0143895885,0.0149651095,0.005364762,0.00062726735,0.018369213,0.003281162,0.9261182],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99649626,0.00064512284,0.00015295009,0.00053860666,0.001970878,0.00019616605],"domain_scores_gemma":[0.98675203,0.0014251181,0.00032357,0.0008664254,0.008446022,0.0021867456],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0030616785,0.00079551194,0.00095251796,0.0016177216,0.0018107023,0.0031621694,0.0020157057,0.001129024,0.37342748],"category_scores_gemma":[0.018215436,0.00027525472,0.0005262869,0.0013364728,0.0006311502,0.0021276888,0.0030509925,0.002657119,0.30561417],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034642504,0.000014039549,0.00023809318,0.00013123848,0.000003669928,0.000102483595,0.00029366033,0.00007653607,0.00029607024,0.00837603,0.95499367,0.035440028],"study_design_scores_gemma":[0.0000046860646,0.000004700683,0.00018173267,0.00009420833,0.0000025483864,0.00010645811,0.00015618867,0.000036130536,0.00009884913,0.0015005964,0.99780947,0.0000043719847],"about_ca_topic_score_codex":0.0036872711,"about_ca_topic_score_gemma":0.0056060823,"teacher_disagreement_score":0.6265725,"about_ca_system_score_codex":0.0022597872,"about_ca_system_score_gemma":0.0033322368,"threshold_uncertainty_score":0.8937296},"labels":[],"label_agreement":null},{"id":"W4385598247","doi":"10.59962/9780774862394-001","title":"Foreword","year":2020,"lang":"en","type":"book-chapter","venue":"University of British Columbia Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Philosophy","score_opus":0.029659583297969583,"score_gpt":0.1618337410964713,"score_spread":0.13217415779850172,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385598247","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005823891,0.0066615003,0.002098082,0.04683172,0.08820027,0.00031110825,0.0038962776,0.0012769202,0.85014164],"genre_scores_gemma":[0.0037196376,0.0036919338,0.0009520424,0.017202161,0.01103961,0.000192327,0.0030936042,0.0008984889,0.95921034],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99855417,0.00022353677,0.00010921599,0.00028616376,0.0006595977,0.00016743952],"domain_scores_gemma":[0.99606293,0.0006833964,0.00016595228,0.00042339385,0.0020010776,0.0006632058],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010883912,0.0009193544,0.0008388602,0.0015752488,0.002993872,0.0065628695,0.0018558078,0.0032642519,0.62449235],"category_scores_gemma":[0.009699468,0.00034249632,0.00064671005,0.0017034261,0.0011549554,0.005350364,0.0031921992,0.0045030713,0.5767184],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012986418,0.000009242782,0.000036340127,0.00009091371,0.0000011704842,0.000035320616,0.00008823583,0.0000107271635,0.000060332386,0.0050065173,0.9685897,0.026058493],"study_design_scores_gemma":[0.0000018169784,0.000004523911,0.000059405174,0.00006711642,6.015703e-7,0.000043304328,0.00009349213,0.0000056333147,0.000028238035,0.00081060105,0.9988834,0.000001895444],"about_ca_topic_score_codex":0.0035707857,"about_ca_topic_score_gemma":0.0041754674,"teacher_disagreement_score":0.37550765,"about_ca_system_score_codex":0.002098117,"about_ca_system_score_gemma":0.0031936136,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4385656480","doi":"10.7202/1101788ar","title":"Sound and Fury. Lending an Ear to Francis Bacon in The Shout (dir. Jerzy Skolimowski, 1978, uk)","year":2023,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Queer; Narrative; Painting; Art; Studio; Art history; Sound (geography); Literature; Visual arts; Psychoanalysis; Acoustics; Psychology","score_opus":0.06429621894817077,"score_gpt":0.2601666231392741,"score_spread":0.1958704041911033,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656480","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015766548,0.6263698,0.001051928,0.2807009,0.024432639,0.000018976561,0.00013480822,0.000098933204,0.065615416],"genre_scores_gemma":[0.044244062,0.27723962,0.0016402488,0.057675768,0.031219944,0.000074469244,0.0001273775,0.00032082674,0.58745766],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99920803,0.0002560791,0.000046469962,0.00017155224,0.00023749602,0.00008040907],"domain_scores_gemma":[0.9990508,0.00044479023,0.00011573506,0.000035324945,0.00017929688,0.00017407823],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010347698,0.0009569277,0.0004449276,0.001499879,0.0031155637,0.005170806,0.00055145985,0.0032139993,0.017520849],"category_scores_gemma":[0.003724581,0.000463413,0.00017324538,0.0012580258,0.0041527105,0.0052138497,0.0016713977,0.0037888472,0.008193336],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033230826,0.000007900912,0.00016267694,0.00011620709,0.0000035744665,0.000121939825,0.0019361883,0.00001804478,0.00018129034,0.02095883,0.9346493,0.04181081],"study_design_scores_gemma":[0.0000023789823,0.000005632966,0.00063876295,0.0001384118,0.0000010701121,0.00011188604,0.00087522174,0.000014632234,0.00005223798,0.0015512937,0.9966017,0.0000066915263],"about_ca_topic_score_codex":0.03262823,"about_ca_topic_score_gemma":0.075668514,"teacher_disagreement_score":0.03262823,"about_ca_system_score_codex":0.0027690572,"about_ca_system_score_gemma":0.0012144274,"threshold_uncertainty_score":0.064876616},"labels":[],"label_agreement":null},{"id":"W4385656541","doi":"10.7202/1101791ar","title":"The Hole is the Untrue. The Art of Spinning a Broken Record","year":2023,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sculpture; Hegelianism; Art; Work of art; Ideology; Relation (database); Aesthetics; Philosophy; Art history; Politics; Literature; Law; Epistemology; Computer science","score_opus":0.04635938092642236,"score_gpt":0.22962076036853166,"score_spread":0.1832613794421093,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385656541","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.030297823,0.018062815,0.025162984,0.12692027,0.004678585,0.000040744577,0.0001741388,0.00017798775,0.7944847],"genre_scores_gemma":[0.82748145,0.007242995,0.0040597394,0.010399708,0.0032246255,0.00004998741,0.00007377543,0.00027710875,0.14719059],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99835336,0.0008111636,0.000043403285,0.00028940119,0.00033771404,0.00016486735],"domain_scores_gemma":[0.997451,0.0014744229,0.0002737349,0.0004321743,0.00017901642,0.00018962528],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016840853,0.00037627778,0.00031427672,0.0009618409,0.0044505913,0.009623104,0.0007642254,0.0022332466,0.009342778],"category_scores_gemma":[0.008614656,0.00021398526,0.00028230256,0.00069791736,0.025153104,0.0092663765,0.0027656697,0.0038766651,0.0014380134],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013614858,0.000005547461,0.00019877375,0.000036768637,0.0000028338034,0.00005629742,0.006064538,0.00005814263,0.000083945495,0.97058076,0.014022166,0.008876505],"study_design_scores_gemma":[0.000010658972,0.00004612013,0.0011753732,0.0003807588,0.000009981172,0.00041729477,0.014685015,0.00038910206,0.00032848184,0.3510434,0.63148993,0.000023904002],"about_ca_topic_score_codex":0.004482312,"about_ca_topic_score_gemma":0.0049244077,"teacher_disagreement_score":0.009623104,"about_ca_system_score_codex":0.0022186507,"about_ca_system_score_gemma":0.0014474143,"threshold_uncertainty_score":0.03125477},"labels":[],"label_agreement":null},{"id":"W4385833038","doi":"10.1017/9781911116844.018","title":"Flexible Sexism (1991)","year":2018,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Computer science","score_opus":0.04101674089570043,"score_gpt":0.23720192849429347,"score_spread":0.19618518759859305,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385833038","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004926705,0.013263246,0.0025878025,0.010423157,0.00047379028,0.000030314292,0.0001352551,0.000016428192,0.9681434],"genre_scores_gemma":[0.58082694,0.016372437,0.002339421,0.00587078,0.001275319,0.00017889822,0.00027695537,0.000064609005,0.39279467],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987348,0.00052215095,0.000043768094,0.000243352,0.00029894037,0.00015700211],"domain_scores_gemma":[0.9993156,0.00032629026,0.00007366804,0.00008300068,0.00013630577,0.00006524604],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010602438,0.0005179274,0.0003095982,0.0011284159,0.00306176,0.003922885,0.0006893352,0.0021747747,0.02718643],"category_scores_gemma":[0.00225341,0.00020866851,0.0003809324,0.0014764752,0.010918969,0.0038614096,0.002615552,0.0033383917,0.002975866],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000042147876,0.0000039104143,0.0001394385,0.000022569442,0.0000012306695,0.000030506355,0.0012401858,0.00003529059,0.000020322737,0.9852722,0.0070937895,0.0061362865],"study_design_scores_gemma":[0.0000074591762,0.000012326942,0.0007003687,0.00020808005,0.0000032161656,0.0002135008,0.0013239511,0.00009497308,0.00009596996,0.49720907,0.5001243,0.000006847772],"about_ca_topic_score_codex":0.0042236266,"about_ca_topic_score_gemma":0.004733385,"teacher_disagreement_score":0.02718643,"about_ca_system_score_codex":0.0041915043,"about_ca_system_score_gemma":0.001567117,"threshold_uncertainty_score":0.09094763},"labels":[],"label_agreement":null},{"id":"W4385833048","doi":"10.1017/9781911116844.013","title":"Masculinity, Dualisms and High Technology (1995)","year":2018,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Masculinity; Genealogy; History; Sociology; Gender studies","score_opus":0.02186566915070979,"score_gpt":0.22000523566164396,"score_spread":0.19813956651093417,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385833048","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16444433,0.028861197,0.0025745805,0.016878795,0.00037031816,0.000025270934,0.000046734964,0.000019330568,0.7867795],"genre_scores_gemma":[0.9600055,0.00394188,0.00041765146,0.0007025683,0.00010104452,0.000019813437,0.0000142225235,0.000009674235,0.034787618],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99893135,0.0004900541,0.00002456911,0.00013605715,0.00024029844,0.00017769786],"domain_scores_gemma":[0.9992974,0.00031293015,0.00011192056,0.000044339988,0.00009189414,0.00014149825],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013295398,0.00042226267,0.00022547824,0.001314513,0.0043676686,0.0049416344,0.00042931054,0.0012740113,0.007654892],"category_scores_gemma":[0.0015403559,0.0002068719,0.00013918385,0.0011439965,0.019517638,0.0027013393,0.0034516598,0.0011099835,0.0006733862],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023060848,0.000022287695,0.0017908061,0.000046195273,0.000002303402,0.00023099862,0.045424987,0.00003533544,0.00018438518,0.9340848,0.0033014447,0.014853547],"study_design_scores_gemma":[0.000030958883,0.000083008454,0.011603429,0.00044315887,0.000009942217,0.0017762026,0.05892455,0.00019388075,0.00057023973,0.37595856,0.5503829,0.000023120383],"about_ca_topic_score_codex":0.006051791,"about_ca_topic_score_gemma":0.007426274,"teacher_disagreement_score":0.007654892,"about_ca_system_score_codex":0.003393184,"about_ca_system_score_gemma":0.0016132917,"threshold_uncertainty_score":0.025608182},"labels":[],"label_agreement":null},{"id":"W4385886581","doi":"10.1177/000312240106600305","title":"Intellectualization and Art World Development: Film in the United States","year":2001,"lang":"en","type":"article","venue":"American Sociological Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":71,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; Harvard University","keywords":"Entertainment; Ideology; Art world; Intellectualization; Institutionalisation; Perception; Sociology; Film studies; Aesthetics; Media studies; Political science; Art; Visual arts; Psychology; Movie theater; Art history; Politics; Performance art; Law","score_opus":0.07780125865661522,"score_gpt":0.28974749721197707,"score_spread":0.21194623855536185,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385886581","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7905373,0.02892522,0.00022831775,0.018652938,0.00020924657,0.000019231444,0.00024588255,0.000007065036,0.16117479],"genre_scores_gemma":[0.9892207,0.008005819,0.000056042114,0.00031500382,0.00007516068,0.0000049842247,0.00005524966,0.0000020988202,0.0022649476],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.9994721,0.0002874785,0.000021289645,0.000040861403,0.00006337441,0.000114876806],"domain_scores_gemma":[0.99819726,0.0008141079,0.0004957721,0.00004711688,0.00017040836,0.00027546915],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008809663,0.00015045045,0.00015726853,0.0023156859,0.0025104866,0.0053936485,0.00036365006,0.0007928103,0.0047138836],"category_scores_gemma":[0.0027127655,0.00010379263,0.0001322461,0.0033924473,0.0029853287,0.002437972,0.0019642734,0.0011297459,0.00011245811],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00041445167,0.00075136265,0.18625972,0.0007175244,0.00015411293,0.0031227786,0.18621749,0.001188039,0.0008269523,0.35545808,0.03949638,0.22539313],"study_design_scores_gemma":[0.000021560669,0.00015668295,0.52966183,0.0010493551,0.00006260636,0.00070464984,0.22911227,0.0009491975,0.0004996894,0.01975381,0.21798922,0.000039074628],"about_ca_topic_score_codex":0.039786436,"about_ca_topic_score_gemma":0.06766417,"teacher_disagreement_score":0.039786436,"about_ca_system_score_codex":0.0037169626,"about_ca_system_score_gemma":0.0011347374,"threshold_uncertainty_score":0.07910967},"labels":[],"label_agreement":null},{"id":"W4385971235","doi":"10.18357/bigr42202321515","title":"One Hundred Years of US–Mexico Border Film","year":2023,"lang":"en","type":"article","venue":"Borders in Globalization Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Domestication; Enforcement; Law enforcement; Drug trafficking; Political science; History; Sociology; Criminology; Law","score_opus":0.03548379839043068,"score_gpt":0.29654150596633605,"score_spread":0.26105770757590535,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4385971235","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5813223,0.30784848,0.0009860885,0.011727299,0.0024443031,0.00018298264,0.0029393018,0.000057376878,0.09249184],"genre_scores_gemma":[0.64468205,0.30710915,0.0013467083,0.0029143125,0.0028949429,0.00027090788,0.004109377,0.00011702641,0.036555544],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.99956256,0.00012537226,0.000032832555,0.0000839396,0.00014898663,0.000046307247],"domain_scores_gemma":[0.9985001,0.0007644132,0.0002235021,0.00006269081,0.0003152528,0.00013397756],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011604445,0.0002850387,0.000269455,0.004502657,0.0025935487,0.0024729983,0.00034425486,0.00068895234,0.0037095607],"category_scores_gemma":[0.0028793842,0.00026384238,0.00016915717,0.0059810528,0.0010645504,0.0018480567,0.0016529473,0.0011755684,0.0003668196],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003414859,0.00018222761,0.02713574,0.0052925185,0.00015732419,0.0028668442,0.38004944,0.00018782968,0.0054168776,0.025175175,0.13245997,0.42073467],"study_design_scores_gemma":[0.000008417505,0.00011678087,0.15527296,0.0037124604,0.000049981514,0.0009491693,0.112467095,0.00005042889,0.00069732685,0.0006103369,0.72604465,0.000020313844],"about_ca_topic_score_codex":0.014746837,"about_ca_topic_score_gemma":0.048784517,"teacher_disagreement_score":0.014746837,"about_ca_system_score_codex":0.0025084217,"about_ca_system_score_gemma":0.0008795542,"threshold_uncertainty_score":0.029322028},"labels":[],"label_agreement":null},{"id":"W4386131408","doi":"10.59962/9780774850322","title":"Hollywood","year":2007,"lang":"en","type":"book","venue":"University of British Columbia Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Art; Art history","score_opus":0.02344610124328516,"score_gpt":0.17111281125041397,"score_spread":0.1476667100071288,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386131408","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005183516,0.008635533,0.0006097595,0.0019211642,0.001379053,0.000025787745,0.001167001,0.00039048688,0.98535293],"genre_scores_gemma":[0.0010660188,0.001354988,0.00015776517,0.0002354524,0.00004472964,0.000006232745,0.0001826429,0.0001024825,0.9968496],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99962735,0.000016095035,0.000008726734,0.000085368774,0.00020810965,0.000054455817],"domain_scores_gemma":[0.9995809,0.000047523,0.000012910855,0.000051839565,0.00022752206,0.00007936088],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001949774,0.00075132964,0.00047021575,0.0017233226,0.0035871745,0.0050622243,0.0008369201,0.0012406902,0.31804788],"category_scores_gemma":[0.0008594614,0.00041048703,0.00029203945,0.0024291568,0.00095536915,0.0022351067,0.0013467311,0.0019530023,0.12815908],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000122573665,0.0000102855765,0.00013316247,0.00009201779,0.000002033737,0.00009196577,0.00028036942,0.0000527672,0.00018178408,0.022218846,0.90018076,0.0767438],"study_design_scores_gemma":[6.1487236e-7,0.0000011789747,0.00020531216,0.000049221653,5.772023e-7,0.00003463665,0.00006229164,0.000016110978,0.000038568916,0.0005235814,0.99906605,0.0000018967961],"about_ca_topic_score_codex":0.2382191,"about_ca_topic_score_gemma":0.641488,"teacher_disagreement_score":0.31804788,"about_ca_system_score_codex":0.0062819794,"about_ca_system_score_gemma":0.0052466006,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4386131612","doi":"10.59962/9780774850322-004","title":"The Terms of Inclusion: British Columbia within the Political Economy of North American Film Production","year":2007,"lang":"en","type":"book-chapter","venue":"University of British Columbia Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Inclusion (mineral); Politics; Production (economics); Political science; History; Economics; Gender studies; Sociology; Macroeconomics; Law","score_opus":0.017981977846276146,"score_gpt":0.17727488158576635,"score_spread":0.1592929037394902,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386131612","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1845378,0.015739199,0.00040802787,0.042338226,0.00029321437,0.000042268115,0.00089144614,0.000036920417,0.7557129],"genre_scores_gemma":[0.81590784,0.0075780335,0.00026890117,0.0013994364,0.000070340866,0.000040646162,0.00025303,0.000057379457,0.17442442],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99881434,0.00019911434,0.000025002593,0.00010430243,0.00037704522,0.00048021233],"domain_scores_gemma":[0.9972857,0.00074263697,0.00016967699,0.0000983978,0.0009650567,0.0007384504],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00072654954,0.00025626284,0.0003568017,0.0025552304,0.009321071,0.012508115,0.0008749006,0.0013510109,0.020458251],"category_scores_gemma":[0.0042730137,0.0003697729,0.000116295996,0.008012271,0.0034090166,0.002610165,0.0020557295,0.002654241,0.0010677604],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027923533,0.00013612618,0.024092598,0.00023462709,0.000034602133,0.0010561321,0.085071236,0.00079982384,0.0007860927,0.4299215,0.26605758,0.19153048],"study_design_scores_gemma":[0.000022430439,0.00001859637,0.14754772,0.00097561267,0.000042444164,0.0001251179,0.089259446,0.0008851783,0.00032537317,0.034493163,0.7262253,0.00007957553],"about_ca_topic_score_codex":0.974213,"about_ca_topic_score_gemma":0.99322444,"teacher_disagreement_score":0.06227521,"about_ca_system_score_codex":0.06227521,"about_ca_system_score_gemma":0.04017003,"threshold_uncertainty_score":0.4518404},"labels":[],"label_agreement":null},{"id":"W4386131614","doi":"10.59962/9780774850322-006","title":"Locating British Columbia As Cinematic Place: Contending Regimes of Film Production","year":2007,"lang":"en","type":"book-chapter","venue":"University of British Columbia Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Production (economics); Art; Art history; Visual arts; Media studies; Sociology; Economics","score_opus":0.03165261268907115,"score_gpt":0.19010300803712193,"score_spread":0.15845039534805078,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386131614","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33893844,0.0053738765,0.0013607991,0.011699399,0.000083639934,0.000045749286,0.00037990356,0.000049972085,0.6420682],"genre_scores_gemma":[0.94874203,0.0015095648,0.00045317507,0.00032210557,0.000012917816,0.00001681138,0.00008113169,0.000044317785,0.04881798],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992029,0.00016153396,0.000018351378,0.00012058963,0.00017362603,0.00032292918],"domain_scores_gemma":[0.9980627,0.00056277413,0.00013074344,0.00011490959,0.00071234256,0.00041651423],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00076283165,0.00028417932,0.00023840733,0.003152049,0.012501185,0.014698053,0.0013374086,0.0016003143,0.016004995],"category_scores_gemma":[0.0042481152,0.00034820387,0.00011993799,0.007107575,0.0055183233,0.0028068707,0.0022539652,0.0021242504,0.0006138564],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034206203,0.00010677303,0.03745215,0.00025676645,0.00004262391,0.0012711134,0.28837767,0.0008173152,0.0029031576,0.3801705,0.07283833,0.21542154],"study_design_scores_gemma":[0.000024226922,0.000033273063,0.15715565,0.0009943743,0.00007660036,0.00026825402,0.42271733,0.001520655,0.0018822405,0.030507952,0.38470364,0.0001159267],"about_ca_topic_score_codex":0.95305854,"about_ca_topic_score_gemma":0.98827165,"teacher_disagreement_score":0.050133828,"about_ca_system_score_codex":0.050133828,"about_ca_system_score_gemma":0.028062494,"threshold_uncertainty_score":0.36374807},"labels":[],"label_agreement":null},{"id":"W4386320498","doi":"10.5117/9789463727136_ch01","title":"The Stock Exchange as a Space of Modernity and Labour of Representation","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Modernity; Movie theater; Parallels; Stock exchange; Representation (politics); Capital (architecture); Speculation; Context (archaeology); Aesthetics; History; Sociology; Political science; Art; Art history; Law; Economics; Visual arts; Finance","score_opus":0.07918484851992019,"score_gpt":0.2586927618324563,"score_spread":0.17950791331253613,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386320498","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06387361,0.016052986,0.0030741529,0.012114044,0.00038829373,0.000012805574,0.00007884807,0.000044558637,0.9043608],"genre_scores_gemma":[0.84440035,0.009503462,0.0011759555,0.00079850387,0.0006542313,0.000020918636,0.000055919063,0.00004192452,0.14334881],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99977106,0.00012958891,0.0000063016373,0.000025697356,0.00004032842,0.000027013113],"domain_scores_gemma":[0.9997342,0.00016300338,0.000026725618,0.000031227806,0.000020186082,0.000024747324],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004512904,0.00020033908,0.00009944209,0.0006521421,0.0016420683,0.005799114,0.00021907664,0.0006474544,0.0067124097],"category_scores_gemma":[0.00069342233,0.00009208034,0.00006681527,0.00095516385,0.0055544986,0.0039912243,0.000996012,0.0012233288,0.00044335937],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000063756747,0.0000036821323,0.00016589185,0.000013443066,6.4183206e-7,0.000029533723,0.0074757566,0.00004301691,0.00009805306,0.97769964,0.0045972196,0.009866842],"study_design_scores_gemma":[0.0000060236557,0.000025103953,0.0025861003,0.00022695879,0.000004898711,0.00024719033,0.012340889,0.0006022961,0.00052068493,0.1882303,0.795199,0.000010587523],"about_ca_topic_score_codex":0.0030407577,"about_ca_topic_score_gemma":0.0046119355,"teacher_disagreement_score":0.0067124097,"about_ca_system_score_codex":0.0020734437,"about_ca_system_score_gemma":0.0007329227,"threshold_uncertainty_score":0.022455215},"labels":[],"label_agreement":null},{"id":"W4386462201","doi":"10.5325/studamerhumor.9.2.0298","title":"The History of Stand-Up: From Mark Twain to Dave Chappelle","year":2023,"lang":"en","type":"article","venue":"Studies in American Humor","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Art history; Art","score_opus":0.08524654119796046,"score_gpt":0.29181860299462736,"score_spread":0.2065720617966669,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386462201","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0149391275,0.091667056,0.0030065374,0.17756075,0.013481462,0.000034728844,0.00016115035,0.0002988555,0.6988504],"genre_scores_gemma":[0.12071043,0.020136489,0.0010028993,0.014608027,0.0023037628,0.00003972151,0.00009466217,0.00040304137,0.8407009],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991001,0.00026406656,0.000017480676,0.00015155753,0.00030176275,0.0001650061],"domain_scores_gemma":[0.99927944,0.00022897759,0.000036735917,0.00005162366,0.0001679957,0.00023530152],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00066851854,0.00035295743,0.00024548976,0.00078804843,0.007865982,0.00620417,0.0009955586,0.0019528386,0.025427544],"category_scores_gemma":[0.0025291028,0.0002673836,0.00015223568,0.0011645516,0.0050974307,0.0056341025,0.004353632,0.0054449686,0.0045288447],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027451017,0.000025683143,0.00019053291,0.00010740068,0.0000022029833,0.0005230933,0.039233368,0.00004640391,0.00031819375,0.16757746,0.7265647,0.06538351],"study_design_scores_gemma":[6.0736164e-7,0.000004266793,0.00009613638,0.00008259621,4.8649434e-7,0.00010990654,0.0041124746,0.000011167825,0.00007959724,0.001966532,0.993533,0.0000032880848],"about_ca_topic_score_codex":0.05246774,"about_ca_topic_score_gemma":0.09967571,"teacher_disagreement_score":0.05246774,"about_ca_system_score_codex":0.005776031,"about_ca_system_score_gemma":0.002665538,"threshold_uncertainty_score":0.1043247},"labels":[],"label_agreement":null},{"id":"W4386504874","doi":"10.1515/9780888645289","title":"Great Canadian Film Directors","year":2007,"lang":"en","type":"book","venue":"University of Alberta Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Business; Accounting","score_opus":0.026330826250810745,"score_gpt":0.17549605913606486,"score_spread":0.14916523288525413,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386504874","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02770618,0.029633418,0.000524088,0.051861353,0.006193319,0.00016367201,0.006450236,0.00033939336,0.8771284],"genre_scores_gemma":[0.088296354,0.017692078,0.0007826546,0.0053364523,0.00064596697,0.00004954139,0.0017183175,0.00025173812,0.88522685],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985171,0.00007288715,0.00002305892,0.0001868591,0.0008320209,0.00036804407],"domain_scores_gemma":[0.9957321,0.0002179228,0.0000777706,0.000113063004,0.0027501627,0.0011089558],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010456836,0.00060686585,0.00033123346,0.0030497466,0.012636022,0.0069597773,0.0007639414,0.0009051998,0.052843943],"category_scores_gemma":[0.002962026,0.00038417085,0.00025023328,0.0047987048,0.0020987052,0.0015046312,0.001264228,0.0015944928,0.0051783198],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020727692,0.000009407917,0.0015094451,0.00011518388,0.0000045875545,0.00018750578,0.003632081,0.00003193274,0.00039525933,0.016894491,0.9392541,0.037945267],"study_design_scores_gemma":[0.0000012629105,0.0000016973457,0.0024332388,0.00004266307,0.0000025552813,0.00004984323,0.0016282753,0.000012899561,0.00010600387,0.00012257861,0.9955922,0.0000068889767],"about_ca_topic_score_codex":0.9672175,"about_ca_topic_score_gemma":0.990824,"teacher_disagreement_score":0.052843943,"about_ca_system_score_codex":0.052745204,"about_ca_system_score_gemma":0.06841935,"threshold_uncertainty_score":0.38269508},"labels":[],"label_agreement":null},{"id":"W4386546970","doi":"10.21622/ilcc.2023.03.2.174","title":"Freire in Midsommar (2019): performative critical consciousness as social ritual","year":2023,"lang":"en","type":"article","venue":"Insights into Language Culture and Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Performative utterance; Sociology; Consciousness; Aesthetics; Relation (database); Cult; Media studies; Art; Epistemology; Law; Philosophy; Political science","score_opus":0.021655159391120185,"score_gpt":0.28028043456758145,"score_spread":0.2586252751764613,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386546970","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.21707094,0.021189468,0.0076045464,0.053694304,0.0021615457,0.00007096891,0.000045073684,0.00010607404,0.6980571],"genre_scores_gemma":[0.9487522,0.0021891082,0.0010669726,0.0017818204,0.0003670038,0.00003785377,0.000010630864,0.000051633837,0.04574276],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9990214,0.0006626983,0.000016263686,0.000091443246,0.00010202642,0.00010605367],"domain_scores_gemma":[0.9990306,0.00068474386,0.000081335784,0.000054272223,0.00006218959,0.000086873944],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017635452,0.00034354572,0.00017968965,0.0007829921,0.005513346,0.0059000896,0.00044244254,0.0018110874,0.0034536056],"category_scores_gemma":[0.0030052785,0.00016066128,0.000128215,0.00031435734,0.012322529,0.005267279,0.0026415237,0.0026451792,0.0003858342],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000067759276,0.000024887291,0.00033838468,0.0001042584,0.0000039844776,0.00057896983,0.22874038,0.000057078192,0.0013499942,0.7336021,0.014064203,0.021068024],"study_design_scores_gemma":[0.000012117029,0.000087355416,0.0017915239,0.0004689741,0.00000784251,0.00084229617,0.11105254,0.00021677098,0.001572678,0.05575916,0.8281617,0.000027061962],"about_ca_topic_score_codex":0.0023997633,"about_ca_topic_score_gemma":0.004116598,"teacher_disagreement_score":0.0059000896,"about_ca_system_score_codex":0.0026522535,"about_ca_system_score_gemma":0.0007843998,"threshold_uncertainty_score":0.019243538},"labels":[],"label_agreement":null},{"id":"W4386636786","doi":"10.4324/9781003263234-18","title":"Pasts Refracted","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography","score_opus":0.06395646702192184,"score_gpt":0.2186314268159004,"score_spread":0.15467495979397855,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386636786","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01896973,0.0073086014,0.0053616064,0.02013384,0.0031722134,0.00004999345,0.00027979762,0.00013095017,0.9445933],"genre_scores_gemma":[0.4832127,0.008940753,0.002736448,0.0047823344,0.001640741,0.000095232375,0.00038233434,0.00034804054,0.49786144],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99800235,0.0008036203,0.00007412237,0.00035388372,0.00051503355,0.00025099394],"domain_scores_gemma":[0.9982743,0.0006254807,0.00011987392,0.00034461927,0.00034426255,0.0002914102],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023775501,0.0005398333,0.00040352732,0.0019058137,0.004706989,0.011451958,0.0010006536,0.001734823,0.02660995],"category_scores_gemma":[0.005642968,0.00028412978,0.0004924116,0.0012864051,0.007896409,0.009077927,0.005510034,0.0040444667,0.0037119037],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029057705,0.000017979746,0.00026196917,0.0000766712,0.00000579847,0.00022347676,0.025889417,0.000110249646,0.00027274303,0.9191732,0.028497623,0.025441783],"study_design_scores_gemma":[0.0000040890286,0.000014137835,0.00040152585,0.00023704852,0.000006069697,0.00013374617,0.007992571,0.0001228112,0.00017907307,0.029417053,0.96148205,0.000009764949],"about_ca_topic_score_codex":0.0141886845,"about_ca_topic_score_gemma":0.019333022,"teacher_disagreement_score":0.02660995,"about_ca_system_score_codex":0.008388604,"about_ca_system_score_gemma":0.003105942,"threshold_uncertainty_score":0.08901918},"labels":[],"label_agreement":null},{"id":"W4386902747","doi":"10.1123/shr.2023-0031","title":"A Runner’s Journey","year":2023,"lang":"en","type":"article","venue":"Sport History Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Manitoba","funders":"","keywords":"History","score_opus":0.11616638669187926,"score_gpt":0.25731757169397057,"score_spread":0.1411511850020913,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386902747","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00087753433,0.32723248,0.00060231274,0.5750612,0.075925834,0.000015962947,0.00021777725,0.00007630144,0.01999065],"genre_scores_gemma":[0.028332587,0.35341966,0.0026928522,0.32445872,0.09953903,0.00010568421,0.0006253821,0.00029749834,0.19052857],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99705696,0.0009463736,0.00023167589,0.0004086654,0.0007491095,0.00060720765],"domain_scores_gemma":[0.98496664,0.0030163738,0.00045939148,0.00058228825,0.0045573213,0.006418052],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0077133635,0.0009987811,0.0017331616,0.0039728605,0.0046460824,0.014619084,0.0019009726,0.011223004,0.04521273],"category_scores_gemma":[0.0188338,0.00038680682,0.0009889944,0.002800558,0.0044016466,0.01566631,0.007473394,0.012644443,0.014666596],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005365093,0.000053580472,0.00016653562,0.00037450244,0.000027763244,0.00013646351,0.0006221163,0.000059110425,0.000095115,0.037530206,0.8904495,0.07043141],"study_design_scores_gemma":[0.000004246076,0.000016975915,0.00013090996,0.00058791647,0.0000040876503,0.00005117344,0.0006660169,0.000013508138,0.000012040769,0.0069505204,0.99155504,0.0000074668283],"about_ca_topic_score_codex":0.009726565,"about_ca_topic_score_gemma":0.018825615,"teacher_disagreement_score":0.04521273,"about_ca_system_score_codex":0.0043714563,"about_ca_system_score_gemma":0.014945843,"threshold_uncertainty_score":0.15125161},"labels":[],"label_agreement":null},{"id":"W4386961435","doi":"10.3366/edinburgh/9781474497381.003.0004","title":"Close-ups and Gros Plans : Denis Villeneuve the Macrophage","year":2022,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Possession (linguistics); Art; Typology; Art history; History; Philosophy; Archaeology; Linguistics","score_opus":0.029468204729829042,"score_gpt":0.18283431157638697,"score_spread":0.15336610684655794,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386961435","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.101238,0.014515067,0.0036541405,0.021427352,0.0014177223,0.00003211987,0.00018773119,0.00017088263,0.8573571],"genre_scores_gemma":[0.71629703,0.0044034994,0.0010547782,0.0014732872,0.00017055692,0.0000257726,0.00008012526,0.00016042308,0.27633458],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99829024,0.00091920886,0.000014270615,0.00020118029,0.00031887266,0.00025631668],"domain_scores_gemma":[0.99911445,0.0004486131,0.00005363912,0.00004537729,0.00014097537,0.0001969341],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00096449204,0.00066950545,0.00028598733,0.0012424961,0.009318139,0.0073551056,0.00069055264,0.0015008184,0.013051295],"category_scores_gemma":[0.0026841995,0.00030412813,0.00022312556,0.0010937846,0.009136384,0.0028881663,0.0024979238,0.002947805,0.0012232122],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000075332995,0.000039897106,0.0019587926,0.000110962574,0.000011620357,0.0016306203,0.30121362,0.00035396853,0.0008415938,0.57069373,0.08120645,0.041863404],"study_design_scores_gemma":[0.0000026104833,0.000012594235,0.0014582147,0.00019858034,0.0000032108544,0.00042383766,0.048998296,0.00012649866,0.00024473693,0.0035927664,0.944922,0.000016699933],"about_ca_topic_score_codex":0.40158322,"about_ca_topic_score_gemma":0.5712564,"teacher_disagreement_score":0.5984168,"about_ca_system_score_codex":0.015164859,"about_ca_system_score_gemma":0.0043330984,"threshold_uncertainty_score":0.7984915},"labels":[],"label_agreement":null},{"id":"W4386974536","doi":"10.3366/edinburgh/9781474448628.003.0002","title":"Audiard’s triumphant neoliberal subjects","year":2022,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Precarity; Subjectivity; Neoliberalism (international relations); Subject (documents); Sociology; Gender studies; Order (exchange); Aesthetics; Political economy; Epistemology; Art; Philosophy","score_opus":0.036136776247053644,"score_gpt":0.1892202950507393,"score_spread":0.15308351880368568,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4386974536","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017794875,0.007525913,0.0025191815,0.01625512,0.0011275237,0.00002053699,0.00002605189,0.000061085455,0.9546698],"genre_scores_gemma":[0.51403433,0.007932477,0.0014559234,0.0044894037,0.0013833236,0.000060936865,0.000041885207,0.00021142799,0.4703903],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99844056,0.0006394843,0.000020752157,0.00017443109,0.00052224664,0.000202488],"domain_scores_gemma":[0.99856156,0.00089546794,0.000066825385,0.00010253973,0.0001615048,0.00021214937],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013718362,0.0005095925,0.0003107678,0.0015218924,0.006720971,0.010289967,0.000751378,0.0018175133,0.008534004],"category_scores_gemma":[0.0037742208,0.0003185758,0.00014198464,0.0012333944,0.01652744,0.0060968106,0.0032899962,0.004847544,0.0012373303],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011536264,0.000012688898,0.00009732224,0.000036510115,0.0000010488106,0.0001520347,0.03194796,0.00004368397,0.00012165546,0.93657655,0.021679386,0.009319473],"study_design_scores_gemma":[0.0000042359447,0.00001274261,0.00049044774,0.00014062993,0.000002399658,0.00019808106,0.012289373,0.00014180645,0.00018613494,0.057433356,0.9290916,0.000009292416],"about_ca_topic_score_codex":0.011661795,"about_ca_topic_score_gemma":0.020300698,"teacher_disagreement_score":0.011661795,"about_ca_system_score_codex":0.005657472,"about_ca_system_score_gemma":0.0023919437,"threshold_uncertainty_score":0.04104805},"labels":[],"label_agreement":null},{"id":"W4387017290","doi":"10.1017/jbr.2023.130","title":"Clive Nwonka and Anamik Saha, eds. Black Film British Cinema II. London: Goldsmiths Press, 2021. Pp. 248. £21.00 (cloth).","year":2023,"lang":"en","type":"article","venue":"Journal of British Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Movie theater; Art history; Art; Media studies; History; Sociology","score_opus":0.029304080098389848,"score_gpt":0.24180926056629443,"score_spread":0.21250518046790456,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387017290","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00037985633,0.97786385,0.00051562855,0.005092882,0.0019049786,0.000012891235,0.00033065924,0.00008117791,0.013817964],"genre_scores_gemma":[0.004368222,0.9317369,0.0011660072,0.00060195406,0.0011759888,0.000029155452,0.0004363305,0.00010064297,0.06038487],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99952257,0.00011395228,0.000043554603,0.00006594844,0.00020080798,0.00005316428],"domain_scores_gemma":[0.9987703,0.0005084741,0.00012557072,0.000042082385,0.00036226292,0.00019118801],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013598417,0.0023168747,0.0016891613,0.0035722617,0.0010364214,0.003248882,0.0010278407,0.0013744045,0.0581822],"category_scores_gemma":[0.002603688,0.0014636988,0.0005109534,0.0038050744,0.000871633,0.005510202,0.00086731295,0.0019226421,0.028302573],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000085102554,0.000024850315,0.00023015607,0.0017562858,0.000014443783,0.000080666425,0.0006299809,0.000102957885,0.00022290096,0.0020390972,0.7994486,0.19536503],"study_design_scores_gemma":[0.000008102613,0.000017806438,0.0022357956,0.0019081071,0.00002253359,0.00037458548,0.0008201886,0.00010414687,0.00022485064,0.0020964132,0.9921658,0.000021658689],"about_ca_topic_score_codex":0.037281636,"about_ca_topic_score_gemma":0.06579241,"teacher_disagreement_score":0.0581822,"about_ca_system_score_codex":0.0016330205,"about_ca_system_score_gemma":0.0022608698,"threshold_uncertainty_score":0.19463885},"labels":[],"label_agreement":null},{"id":"W4387119839","doi":"10.1093/oso/9780197556375.001.0001","title":"How Coppola Became Cage","year":2023,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"World Federation of Science Journalists","funders":"","keywords":"Cult; Las vegas; Art history; Movie theater; Art; Cage; John Cage; Performance art; German; Drama; Visual arts; Portrait; History; Engineering; Archaeology; Ancient history","score_opus":0.053406622962013185,"score_gpt":0.21107485009553725,"score_spread":0.15766822713352407,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387119839","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.193208,0.0024142158,0.0017192274,0.029375643,0.00060554704,0.00007158285,0.0003086529,0.00014055129,0.7721566],"genre_scores_gemma":[0.716303,0.0021930847,0.00058924925,0.0036276637,0.00019042497,0.00008059402,0.00021828854,0.00022742618,0.27657023],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99909425,0.00030479612,0.000013480067,0.00021176533,0.00015665057,0.00021915864],"domain_scores_gemma":[0.9990108,0.00020747236,0.0000776764,0.00009226218,0.00020738174,0.0004044508],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00067541114,0.00029708847,0.00017124908,0.0009043864,0.007102015,0.009441185,0.0009086334,0.0014339527,0.022268206],"category_scores_gemma":[0.0024316285,0.00037426664,0.00017224885,0.0009258902,0.0060959,0.0057237246,0.004435443,0.0030914093,0.002513862],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012988222,0.00012444021,0.00588308,0.00017333153,0.00001581375,0.003823691,0.252771,0.00024983843,0.0014521594,0.4520072,0.21745406,0.065915555],"study_design_scores_gemma":[0.0000040406394,0.000030776744,0.004152575,0.00019786422,0.0000052511036,0.000744933,0.054563854,0.000198444,0.00065018714,0.005176983,0.93425786,0.000017287517],"about_ca_topic_score_codex":0.040195804,"about_ca_topic_score_gemma":0.060963806,"teacher_disagreement_score":0.040195804,"about_ca_system_score_codex":0.007784918,"about_ca_system_score_gemma":0.0028638465,"threshold_uncertainty_score":0.07992363},"labels":[],"label_agreement":null},{"id":"W4387143866","doi":"10.59962/9780774868853-013","title":"Make Room for (Canadian) TV","year":2023,"lang":"en","type":"book-chapter","venue":"University of British Columbia Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science; Telecommunications","score_opus":0.03498394438280403,"score_gpt":0.17295119223980027,"score_spread":0.13796724785699624,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387143866","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001570263,0.0017155301,0.00021473422,0.006671298,0.0010812142,0.000026117628,0.0014185711,0.00018345675,0.98711884],"genre_scores_gemma":[0.018939411,0.002536528,0.00069558615,0.0016019193,0.00016108098,0.000014340939,0.0007185567,0.0001661668,0.9751663],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925846,0.000031942596,0.000008403911,0.00006696724,0.00035078186,0.00028329346],"domain_scores_gemma":[0.9990085,0.000047806483,0.000015226456,0.00004226942,0.00052407576,0.00036216323],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004221741,0.0007263896,0.00027881406,0.0018782072,0.008615793,0.0059062038,0.00080532045,0.0014740383,0.2857897],"category_scores_gemma":[0.0015999555,0.00031387756,0.0004114133,0.00283672,0.0012814166,0.0019333703,0.0016248178,0.0020481718,0.04928909],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020989632,0.000014966162,0.00047113514,0.00005311179,0.0000031610339,0.00006094723,0.00065736973,0.00006355716,0.00020115457,0.023381174,0.9219969,0.05307547],"study_design_scores_gemma":[0.000002242991,0.0000020819273,0.0010633956,0.000040821775,0.000002835985,0.000020948937,0.00090865925,0.00002766257,0.000079227044,0.0006752093,0.99716944,0.000007532841],"about_ca_topic_score_codex":0.9700627,"about_ca_topic_score_gemma":0.99255365,"teacher_disagreement_score":0.2857897,"about_ca_system_score_codex":0.021143954,"about_ca_system_score_gemma":0.038190093,"threshold_uncertainty_score":0.9560618},"labels":[],"label_agreement":null},{"id":"W4387261616","doi":"10.1007/s11002-023-09705-3","title":"On enjoying watching movies in a theatre versus at home: a comparative analysis","year":2023,"lang":"en","type":"article","venue":"Marketing Letters","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia; Simon Fraser University","funders":"","keywords":"Advertising; Window (computing); Movie theater; Product (mathematics); Business; Art; Computer science; Visual arts; World Wide Web; Mathematics","score_opus":0.045089636524470324,"score_gpt":0.25351891026057366,"score_spread":0.20842927373610334,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387261616","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9805598,0.0019029676,0.000076977485,0.000387338,0.000021040218,0.000015196062,0.0004173959,0.0000028270765,0.016616438],"genre_scores_gemma":[0.99493706,0.0013301023,0.000055398654,0.00010101009,0.00003368193,0.000014359981,0.00033471917,0.000010174267,0.0031834638],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9981845,0.0007767357,0.00008995596,0.00013101191,0.00039388155,0.00042395692],"domain_scores_gemma":[0.97574425,0.01657171,0.002496134,0.00037728943,0.0025187242,0.0022918642],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026940384,0.00023365278,0.00071969314,0.0047790622,0.0019738474,0.0036351406,0.0009923744,0.0011391644,0.026353933],"category_scores_gemma":[0.014581332,0.00019028355,0.00092598906,0.0066152303,0.0016020454,0.0031382632,0.0017473424,0.0009814608,0.0011050602],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0033092066,0.0015306098,0.8151984,0.0009623951,0.00056396716,0.0014239204,0.08388175,0.0003725447,0.001162206,0.008978571,0.004251597,0.07836482],"study_design_scores_gemma":[0.00002428257,0.00035991694,0.91783,0.0001832657,0.00015457354,0.00021235953,0.076543584,0.000086671025,0.00008939207,0.00023221484,0.0042631994,0.0000205922],"about_ca_topic_score_codex":0.025558077,"about_ca_topic_score_gemma":0.05341371,"teacher_disagreement_score":0.026353933,"about_ca_system_score_codex":0.002478796,"about_ca_system_score_gemma":0.0010911993,"threshold_uncertainty_score":0.08816266},"labels":[],"label_agreement":null},{"id":"W4387304890","doi":"10.4000/transtexts.2154","title":"The “New Collective Technoid Body”: Immersive Environments and the Im/mobile Refugee Subject in Gabo Arora and Chris Milk’s Virtual Reality Film Clouds Over Sidra (2015)","year":2022,"lang":"en","type":"article","venue":"Transtext(e)s Transcultures 跨文本跨文化","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal; Montreal Police Service","funders":"","keywords":"Refugee; Narrative; Citizen journalism; Context (archaeology); Subject (documents); Aesthetics; Premise; Sociology; Art; Visual arts; Computer science; Political science; History; Epistemology; Literature; Law; Philosophy","score_opus":0.00915321685843568,"score_gpt":0.21454842792726236,"score_spread":0.2053952110688267,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387304890","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66771966,0.012382837,0.009018631,0.01989752,0.0012771524,0.00009676149,0.000076308635,0.00010838984,0.28942275],"genre_scores_gemma":[0.981921,0.0018114322,0.0012060292,0.00077791867,0.00009333399,0.000031510273,0.000016251282,0.000045458124,0.014097112],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99884146,0.00082311453,0.000014994032,0.000065197855,0.00009473258,0.00016045225],"domain_scores_gemma":[0.9995233,0.0002623341,0.00004466811,0.000046584028,0.000026654647,0.000096397496],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001554731,0.0005671319,0.0002852804,0.0005083462,0.00707262,0.007095861,0.00063660304,0.0015903701,0.0036695304],"category_scores_gemma":[0.0013460495,0.00025149854,0.00032397316,0.0003635712,0.018861681,0.004128171,0.006604447,0.0024959892,0.00039505737],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050288494,0.00002501186,0.0005651045,0.00016625057,0.00000810536,0.0015258082,0.91565275,0.00011338114,0.0021762992,0.0649445,0.003819708,0.010952762],"study_design_scores_gemma":[0.00001650882,0.00010167624,0.0017353465,0.00047226227,0.000017348333,0.002043564,0.7399201,0.0001428825,0.0008690202,0.0065548713,0.24809855,0.000027857828],"about_ca_topic_score_codex":0.0044029546,"about_ca_topic_score_gemma":0.010409208,"teacher_disagreement_score":0.007095861,"about_ca_system_score_codex":0.001466883,"about_ca_system_score_gemma":0.00087543187,"threshold_uncertainty_score":0.012275815},"labels":[],"label_agreement":null},{"id":"W4387429483","doi":"10.33137/pbsc.v60i1.41069","title":"BOOK REVIEW : American Little Magazines of the Fin de Siècle: Art, Protest, and Cultural Transformation","year":2023,"lang":"en","type":"article","venue":"Papers of The Bibliographical Society of Canada","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Victoria","funders":"","keywords":"Fin de siecle; Transformation (genetics); Art; Humanities; Sociology; History; Chemistry","score_opus":0.011141612043937443,"score_gpt":0.21064728914435793,"score_spread":0.1995056771004205,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387429483","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00025632523,0.8829555,0.00015484115,0.018207608,0.022062441,0.000055635326,0.0025292605,0.00013648457,0.07364187],"genre_scores_gemma":[0.0027702365,0.7180423,0.00039256713,0.008277871,0.013144012,0.00010863538,0.0035387878,0.00012180993,0.25360385],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99909115,0.0000661687,0.00007379139,0.00010557376,0.00056853594,0.0000946821],"domain_scores_gemma":[0.9947267,0.0009417455,0.00037764205,0.00009910639,0.0032088493,0.0006459818],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00097579707,0.0014771727,0.00214435,0.006989093,0.001392886,0.0054831817,0.0017029714,0.0021333243,0.13734749],"category_scores_gemma":[0.0047759092,0.0007770094,0.0005813401,0.01618953,0.0008715683,0.0032052228,0.0013177559,0.0023451152,0.072516285],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000064691335,0.0000046755044,0.000043853095,0.0005699202,0.0000036439546,0.000008959909,0.000020841793,0.000013517916,0.000019505622,0.00027887287,0.96788734,0.031142386],"study_design_scores_gemma":[0.0000035326132,0.0000037035313,0.00054619485,0.001470527,0.000007000427,0.000035629233,0.000049152124,0.0000069882135,0.000011762505,0.00013310023,0.9977271,0.000005379487],"about_ca_topic_score_codex":0.06664834,"about_ca_topic_score_gemma":0.17190728,"teacher_disagreement_score":0.13734749,"about_ca_system_score_codex":0.0047664107,"about_ca_system_score_gemma":0.009116324,"threshold_uncertainty_score":0.45947313},"labels":[],"label_agreement":null},{"id":"W4387565591","doi":"10.1515/9781772840148-002","title":"A Short History of the Winnipeg Film Group","year":2023,"lang":"en","type":"book-chapter","venue":"University of Manitoba Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Group (periodic table); History; Art; Chemistry","score_opus":0.06661198156507284,"score_gpt":0.16987687605326318,"score_spread":0.10326489448819035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387565591","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0103280535,0.067026004,0.000476138,0.021899398,0.005947949,0.00017523605,0.0017130802,0.00014299867,0.8922912],"genre_scores_gemma":[0.030141305,0.029097976,0.0008193738,0.0015768919,0.0009445809,0.00005066545,0.0008371504,0.00025981353,0.93627214],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953544,0.00005408084,0.00001284094,0.00006226412,0.00017747161,0.0001579611],"domain_scores_gemma":[0.9992343,0.00008817352,0.000033634173,0.000038403625,0.00029374135,0.0003117514],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00067997735,0.000772554,0.0002624324,0.0038878932,0.004767404,0.0073443633,0.0010025224,0.0009721243,0.09998867],"category_scores_gemma":[0.001558406,0.0004526001,0.00016503522,0.0058590444,0.0011944995,0.0019113,0.0018980516,0.0014492467,0.013463359],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006795588,0.00006545607,0.0008513897,0.00028474475,0.000008162139,0.00021908243,0.00399025,0.000094383024,0.0008060211,0.053783413,0.7656139,0.1742153],"study_design_scores_gemma":[0.0000012052573,0.0000028533484,0.0006905743,0.0000480361,0.0000010841663,0.000018705177,0.00049851753,0.000008549118,0.000078157005,0.00020140826,0.9984487,0.0000021535595],"about_ca_topic_score_codex":0.43189567,"about_ca_topic_score_gemma":0.68624026,"teacher_disagreement_score":0.5681043,"about_ca_system_score_codex":0.010276059,"about_ca_system_score_gemma":0.00944337,"threshold_uncertainty_score":0.8587635},"labels":[],"label_agreement":null},{"id":"W4387565594","doi":"10.1515/9781772840148","title":"Establishing Shots","year":2023,"lang":"en","type":"book","venue":"University of Manitoba Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.06642950796336101,"score_gpt":0.18730159464491947,"score_spread":0.12087208668155845,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387565594","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014685579,0.0009774059,0.0057044085,0.002751152,0.0007709967,0.00030586464,0.00068748306,0.00032049115,0.9737966],"genre_scores_gemma":[0.17808881,0.0026701668,0.008563528,0.00084614486,0.00019136947,0.00014605501,0.0012510637,0.0005764948,0.8076663],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99841094,0.00023130454,0.000037148544,0.00016376363,0.00073779246,0.00041903378],"domain_scores_gemma":[0.9981501,0.00024044783,0.000045527682,0.00018570144,0.00086814066,0.00051008794],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011780844,0.00060449156,0.00024044128,0.00338754,0.012850111,0.009099532,0.0018890324,0.0010292797,0.040220417],"category_scores_gemma":[0.004103238,0.0003714724,0.00030012065,0.0032029047,0.005248925,0.0032305445,0.0033574686,0.0024515244,0.00626372],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028752927,0.00004322323,0.0013525643,0.00013757002,0.000004206243,0.0010758919,0.067809336,0.0002767581,0.0020561102,0.5681122,0.25469178,0.10441165],"study_design_scores_gemma":[0.0000014777166,0.000007260319,0.0013591507,0.00009435819,0.0000022855065,0.00014432266,0.017446367,0.000116296345,0.0004031836,0.0030068287,0.9774065,0.000011922653],"about_ca_topic_score_codex":0.59674764,"about_ca_topic_score_gemma":0.80834854,"teacher_disagreement_score":0.40325236,"about_ca_system_score_codex":0.022670167,"about_ca_system_score_gemma":0.01714127,"threshold_uncertainty_score":0.8112544},"labels":[],"label_agreement":null},{"id":"W4387579879","doi":"10.5070/c312161505","title":"Inhabiting Zenobia","year":2023,"lang":"en","type":"article","venue":"California Italian Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Thursday; Art; Movie theater; Visual arts; Art history","score_opus":0.09049952856286611,"score_gpt":0.276984751667066,"score_spread":0.18648522310419988,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387579879","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11375217,0.004281905,0.0029066415,0.011710141,0.0014883877,0.0000360984,0.00019862056,0.00019204775,0.86543405],"genre_scores_gemma":[0.8486888,0.002112123,0.0011541069,0.0037034424,0.00031668885,0.00003216175,0.00016995339,0.00011724677,0.14370553],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99891555,0.00038551545,0.00002033172,0.00014199832,0.000145944,0.00039065204],"domain_scores_gemma":[0.9995703,0.000049176662,0.00003498329,0.000033665056,0.00004379924,0.0002680044],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006642146,0.00043732132,0.0002407294,0.0005744023,0.01085968,0.0067233304,0.0004085419,0.0012587066,0.020541767],"category_scores_gemma":[0.0008537007,0.00017072116,0.00029743084,0.0005859341,0.0084755,0.00331871,0.008033507,0.0028191898,0.0018326917],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001314907,0.00005232973,0.0077654393,0.00015939718,0.000013935808,0.001859762,0.2573286,0.00009713916,0.001998409,0.5406331,0.11779891,0.07216147],"study_design_scores_gemma":[0.0000032783691,0.000026429163,0.003555251,0.00012697992,0.000003895373,0.00088652497,0.064529315,0.000054273514,0.0001840604,0.0116477795,0.91896516,0.000017068867],"about_ca_topic_score_codex":0.014453761,"about_ca_topic_score_gemma":0.045909375,"teacher_disagreement_score":0.020541767,"about_ca_system_score_codex":0.0039168675,"about_ca_system_score_gemma":0.0018843245,"threshold_uncertainty_score":0.06871903},"labels":[],"label_agreement":null},{"id":"W4387585448","doi":"10.1111/jpcu.13292","title":"Changes, comings &amp; goings","year":2023,"lang":"en","type":"article","venue":"The Journal of Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Citation; Library science; History; Art history; Media studies; Sociology; Computer science","score_opus":0.05632821877814303,"score_gpt":0.2514905752428484,"score_spread":0.19516235646470537,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387585448","genre_codex":"editorial","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018086269,0.0053132675,0.0015672174,0.17539039,0.58190787,0.00029603927,0.0012145488,0.0026818605,0.22982018],"genre_scores_gemma":[0.011859197,0.0062070913,0.0047127083,0.11314795,0.10628415,0.0004976459,0.0013858117,0.00299925,0.7529063],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.984263,0.001857614,0.0014230302,0.0015575,0.009064437,0.0018343497],"domain_scores_gemma":[0.9409825,0.0047755204,0.0024465122,0.005004922,0.025591766,0.02119873],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.014505693,0.0010487629,0.0008407892,0.0042061866,0.00954995,0.022795275,0.002471157,0.0052230903,0.17746733],"category_scores_gemma":[0.08752446,0.0007326018,0.0012309614,0.0038750945,0.0028341396,0.015393031,0.00624451,0.008078597,0.13400571],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017046848,0.000027497015,0.00012770477,0.00007988283,0.0000020419661,0.00007829624,0.00026007858,0.000009437877,0.00013350812,0.0027665412,0.9556004,0.040897556],"study_design_scores_gemma":[0.0000031041698,0.000007618722,0.00018890332,0.000042823714,0.0000011487796,0.000044547713,0.00032292696,0.0000068289555,0.000028768913,0.0005276107,0.998818,0.000007745234],"about_ca_topic_score_codex":0.0030512896,"about_ca_topic_score_gemma":0.006799151,"teacher_disagreement_score":0.17746733,"about_ca_system_score_codex":0.0039651073,"about_ca_system_score_gemma":0.01042203,"threshold_uncertainty_score":0.59368736},"labels":[],"label_agreement":null},{"id":"W4387604996","doi":"10.1515/9789048555895-fm","title":"Frontmatter","year":2023,"lang":"en","type":"book-chapter","venue":"Amsterdam University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"Université de Lausanne; Université de Montréal; York University","keywords":"Computer science","score_opus":0.0498033662512108,"score_gpt":0.19151881811088423,"score_spread":0.14171545185967344,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387604996","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003391283,0.0011033047,0.0007114183,0.00067099306,0.0012097578,0.000030547642,0.00076138106,0.0010079386,0.9941654],"genre_scores_gemma":[0.00084109674,0.00029727313,0.00015703829,0.00015800347,0.00010879924,0.000007704635,0.00021805975,0.00018125711,0.9980307],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99974567,0.000024961073,0.000010430817,0.000072122224,0.000107400534,0.00003941388],"domain_scores_gemma":[0.9996301,0.00006397423,0.000023238312,0.00005755378,0.000114980125,0.00011016313],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002502223,0.0007850631,0.00055167224,0.0014987469,0.0010604378,0.0045171566,0.0008826295,0.0016339857,0.8934374],"category_scores_gemma":[0.0010377181,0.00038110127,0.00037894302,0.0010452843,0.00037394228,0.0031783397,0.0023318245,0.0014028416,0.7886128],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035466797,0.000027379183,0.00011980848,0.00014235385,0.000002296965,0.00009162578,0.0001570051,0.00004997548,0.00063144835,0.011878581,0.81689054,0.16997361],"study_design_scores_gemma":[0.0000025914526,0.0000065170425,0.00011000668,0.000034391414,6.849308e-7,0.000064836444,0.000032862743,0.000027732385,0.0000787895,0.00055777706,0.99908185,0.0000019154113],"about_ca_topic_score_codex":0.0010204425,"about_ca_topic_score_gemma":0.0031558778,"teacher_disagreement_score":0.8934374,"about_ca_system_score_codex":0.00065780786,"about_ca_system_score_gemma":0.00041687026,"threshold_uncertainty_score":0.15199858},"labels":[],"label_agreement":null},{"id":"W4387629638","doi":"10.1515/9780887553547","title":"Playing with Memories","year":2009,"lang":"en","type":"book","venue":"University of Manitoba Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.03549803094254271,"score_gpt":0.16922137676450438,"score_spread":0.13372334582196166,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387629638","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006108594,0.005746941,0.0021402393,0.014913064,0.0025172576,0.000055384713,0.00027132197,0.00029841802,0.967949],"genre_scores_gemma":[0.07289157,0.0038310953,0.001149652,0.0034116202,0.0007087639,0.000041287396,0.00019394772,0.00033880744,0.91743314],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99926335,0.00021559808,0.000017157392,0.000102400045,0.00022881063,0.00017266494],"domain_scores_gemma":[0.99869615,0.00026003877,0.00006647859,0.00025808995,0.00034940385,0.00036985934],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010529602,0.0006849856,0.000312443,0.0013291112,0.011068579,0.010312553,0.0012071604,0.0013806636,0.08690864],"category_scores_gemma":[0.004232128,0.0003068021,0.00031590697,0.0014188477,0.007918518,0.0079162745,0.005306577,0.0030920324,0.019441947],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005430038,0.000021349273,0.00043670984,0.00014626776,0.000009941504,0.00058911945,0.080179855,0.00006795923,0.00061565056,0.25788626,0.59097195,0.069020666],"study_design_scores_gemma":[0.0000018905312,0.000003951427,0.00015020584,0.000092467766,0.00000220172,0.00016451826,0.01227559,0.00001322918,0.00010024234,0.0044158357,0.9827743,0.000005438407],"about_ca_topic_score_codex":0.044213288,"about_ca_topic_score_gemma":0.12277634,"teacher_disagreement_score":0.08690864,"about_ca_system_score_codex":0.0053188284,"about_ca_system_score_gemma":0.004062134,"threshold_uncertainty_score":0.29073834},"labels":[],"label_agreement":null},{"id":"W4387664068","doi":"10.3138/utq.92.3.hr.051","title":"Stephen Broomer and Michael Zyrd. <i>Moments of Perception: Experimental Film in Canada</i>","year":2023,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Perception; Art; Art history; History; Philosophy; Epistemology","score_opus":0.01237756840510383,"score_gpt":0.18139588333634607,"score_spread":0.16901831493124225,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387664068","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12315969,0.22935033,0.004561514,0.40352124,0.0065999953,0.00028848826,0.01517142,0.0003288731,0.21701843],"genre_scores_gemma":[0.6826199,0.10656945,0.002634157,0.014704132,0.001360674,0.00014496584,0.0043987758,0.00032548254,0.18724239],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994585,0.000075136115,0.000017943205,0.00005610507,0.00027286654,0.00011941342],"domain_scores_gemma":[0.9966959,0.0011073488,0.00025222375,0.000072530995,0.0015011878,0.00037083475],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008694001,0.0006854887,0.00040718555,0.0028582215,0.0051043155,0.0038792568,0.001366537,0.002171964,0.021246813],"category_scores_gemma":[0.0059523387,0.00058068335,0.00027937762,0.00466685,0.0024065454,0.0026339316,0.001136249,0.0018423322,0.0018553592],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022289556,0.000107073705,0.011193867,0.00046846032,0.000049702,0.00029206724,0.011273583,0.0004731399,0.00061343994,0.027596863,0.89870405,0.049004883],"study_design_scores_gemma":[0.000118906486,0.00009037917,0.16640286,0.0013481703,0.00018634483,0.00020415723,0.06515097,0.0019716045,0.0030229539,0.022549836,0.738758,0.00019574455],"about_ca_topic_score_codex":0.91697174,"about_ca_topic_score_gemma":0.96777916,"teacher_disagreement_score":0.08302826,"about_ca_system_score_codex":0.011432957,"about_ca_system_score_gemma":0.0068350066,"threshold_uncertainty_score":0.16703439},"labels":[],"label_agreement":null},{"id":"W4387777932","doi":"10.1515/9780887553516-002","title":"Introduction","year":2004,"lang":"en","type":"book-chapter","venue":"University of Manitoba Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.03580097966799308,"score_gpt":0.1658657216173028,"score_spread":0.13006474194930973,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387777932","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007973153,0.0035900343,0.0016125054,0.0065582837,0.0039940276,0.00011097389,0.0019007805,0.00042993377,0.98100615],"genre_scores_gemma":[0.0043535866,0.0024869838,0.0010143982,0.002715097,0.00066788134,0.00007503697,0.0014714669,0.00015786407,0.98705775],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990613,0.00009491378,0.000043896292,0.00023954369,0.0004173702,0.00014296103],"domain_scores_gemma":[0.9991122,0.00009663135,0.00003828306,0.00011521729,0.00043594913,0.0002018146],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0007147313,0.0007196921,0.0004886169,0.0013034298,0.0024184333,0.005869505,0.0016676974,0.0026869886,0.52755404],"category_scores_gemma":[0.002404352,0.00029334627,0.00051512447,0.0015245047,0.00090466917,0.0037940699,0.003054758,0.0020676325,0.33231583],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030268482,0.00004663086,0.00039747483,0.00017032852,0.0000033346412,0.00013925521,0.0005822033,0.00006882596,0.0002618641,0.0580253,0.80172044,0.13855402],"study_design_scores_gemma":[0.0000012845971,0.000005328591,0.00016813884,0.00006354883,6.5306915e-7,0.000059020986,0.00011146011,0.000009856654,0.000030290095,0.001732408,0.9978157,0.0000021533992],"about_ca_topic_score_codex":0.0081059355,"about_ca_topic_score_gemma":0.010804695,"teacher_disagreement_score":0.47244596,"about_ca_system_score_codex":0.002665671,"about_ca_system_score_gemma":0.0032590197,"threshold_uncertainty_score":0.6738868},"labels":[],"label_agreement":null},{"id":"W4387791554","doi":"10.1515/9780887553516","title":"One Man’s Documentary","year":2004,"lang":"en","type":"book","venue":"University of Manitoba Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; History","score_opus":0.04203731794023563,"score_gpt":0.1752513144576997,"score_spread":0.13321399651746407,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387791554","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013007162,0.01371509,0.000546438,0.060707483,0.020323535,0.000031790765,0.00048825584,0.0003024332,0.90258425],"genre_scores_gemma":[0.0039962884,0.0018825572,0.00014575248,0.005106695,0.0010792316,0.000008497455,0.00007963927,0.00012569071,0.98757553],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99913484,0.00011472824,0.000023434206,0.00018334325,0.00038799553,0.00015562928],"domain_scores_gemma":[0.9986118,0.00016993728,0.000054060965,0.00018040318,0.00065535126,0.00032841973],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00078203203,0.00065536675,0.00039013664,0.0012435835,0.007067455,0.006665149,0.0010996012,0.0021639678,0.13053003],"category_scores_gemma":[0.0029618205,0.0003451382,0.00031541134,0.001048252,0.0023001386,0.004061565,0.0022863138,0.0045256107,0.060269665],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000073409597,0.0000073269784,0.00006938138,0.000026685973,0.0000010682321,0.000076138,0.0011825984,0.000008994306,0.00007652586,0.028533468,0.95542014,0.0145903705],"study_design_scores_gemma":[3.0639535e-7,0.0000012122009,0.000038013473,0.000020557036,3.185202e-7,0.00003932251,0.00017723732,0.0000024834253,0.000017520593,0.0002256243,0.99947625,0.0000012131502],"about_ca_topic_score_codex":0.036513362,"about_ca_topic_score_gemma":0.09069183,"teacher_disagreement_score":0.13053003,"about_ca_system_score_codex":0.004225275,"about_ca_system_score_gemma":0.0038065477,"threshold_uncertainty_score":0.43666643},"labels":[],"label_agreement":null},{"id":"W4387829900","doi":"10.3138/jeunesse-2022-0019","title":"<i>Jojo Rabbit</i>, or On Education: Taika Waititi’s Take on Childhood, Democracy, and Hope","year":2023,"lang":"en","type":"article","venue":"Jeunesse Young People Texts Cultures","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Nazism; Fanaticism; Humiliation; Democracy; Racism; Prejudice (legal term); Covert; Psychoanalysis; Aesthetics; Sociology; Politics; Psychology; Law; Social psychology; Political science; Art; Gender studies; Philosophy","score_opus":0.018543620684853067,"score_gpt":0.24934683208506908,"score_spread":0.230803211400216,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387829900","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3398864,0.0099467,0.0015187676,0.20901667,0.0070773205,0.000065748995,0.00035379315,0.00014117561,0.4319935],"genre_scores_gemma":[0.8277753,0.0050345934,0.0008040628,0.007943164,0.0011856478,0.000033458506,0.0001346232,0.000084915024,0.1570042],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99994135,0.000020983985,0.0000018936516,0.0000069820685,0.00000730245,0.000021505939],"domain_scores_gemma":[0.99982435,0.00006889893,0.000025334733,0.000008074132,0.00001804906,0.00005531879],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029009613,0.00025449126,0.00011066541,0.00023327128,0.0024190547,0.0025521903,0.00019643123,0.0008050623,0.006013361],"category_scores_gemma":[0.00066850736,0.00010527064,0.00016151622,0.00026064005,0.0018015149,0.0017908068,0.0009122334,0.0019319638,0.000454007],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022442089,0.00022149355,0.020323299,0.0005327576,0.00003711635,0.0037968974,0.19063945,0.00031490985,0.005550467,0.20637302,0.5152688,0.056717373],"study_design_scores_gemma":[0.000012997961,0.00005810745,0.025434505,0.0003741742,0.000026001835,0.0007607827,0.09548985,0.0003624925,0.00088675343,0.0047814436,0.87178564,0.000027225375],"about_ca_topic_score_codex":0.012443916,"about_ca_topic_score_gemma":0.037941966,"teacher_disagreement_score":0.012443916,"about_ca_system_score_codex":0.0011190035,"about_ca_system_score_gemma":0.00069436204,"threshold_uncertainty_score":0.02474302},"labels":[],"label_agreement":null},{"id":"W4387934267","doi":"10.1386/fm_00294_5","title":"My Little Pony: A New Generation (2021)","year":2023,"lang":"en","type":"article","venue":"Film Matters","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pony; Political science; Virology; Library science; History; Medicine; Computer science; Archaeology","score_opus":0.04593868572388359,"score_gpt":0.2268082968830938,"score_spread":0.18086961115921021,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387934267","genre_codex":"commentary","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009407353,0.10142439,0.000724477,0.45392796,0.2944612,0.00022489917,0.0012314628,0.0006089562,0.14645587],"genre_scores_gemma":[0.008804472,0.039169613,0.0013161965,0.1398617,0.0992325,0.00024303251,0.0018257005,0.0006225644,0.70892423],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99597484,0.0006596436,0.00015177649,0.00032884764,0.0020602955,0.00082466466],"domain_scores_gemma":[0.98411405,0.0008687181,0.00052299025,0.00039390428,0.0053991736,0.00870112],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004521936,0.0012229617,0.0009160187,0.0019834843,0.0034590783,0.012049549,0.0015842099,0.00836262,0.23186506],"category_scores_gemma":[0.014194074,0.00065218343,0.00090815825,0.0013132347,0.0015180042,0.008818341,0.0058414615,0.0056992723,0.09206814],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005129121,0.0000035420258,0.000028960238,0.000035479337,7.769735e-7,0.000016422237,0.000020327898,0.0000036239828,0.000021946207,0.00037902815,0.9913555,0.008129307],"study_design_scores_gemma":[0.000004547114,0.000009417455,0.00023208333,0.000106900705,0.0000017523013,0.00003682163,0.00010960039,0.0000056533645,0.000012933697,0.00028877702,0.99918777,0.0000038384137],"about_ca_topic_score_codex":0.013184154,"about_ca_topic_score_gemma":0.03423827,"teacher_disagreement_score":0.23186506,"about_ca_system_score_codex":0.005037949,"about_ca_system_score_gemma":0.011324806,"threshold_uncertainty_score":0.7756659},"labels":[],"label_agreement":null},{"id":"W4387974186","doi":"10.1080/17411548.2023.2264602","title":"Sublime aesthetics in Philippe Grandrieux’s <i>Un lac</i>","year":2023,"lang":"en","type":"article","venue":"Studies in European Cinema","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University; University of Northern British Columbia","funders":"","keywords":"Sublime; Movie theater; Aesthetics; Narrative; Film theory; Filmmaking; Art; Aestheticism; Anthropocentrism; Reverence; Philosophy; Art history; Literature; Epistemology","score_opus":0.0851761046448577,"score_gpt":0.27653654963589686,"score_spread":0.19136044499103916,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4387974186","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17553271,0.0076331585,0.02145858,0.044525735,0.00073491316,0.000049184775,0.00011464117,0.0002780134,0.74967307],"genre_scores_gemma":[0.9675838,0.00090122974,0.0016157428,0.0009823041,0.00019855003,0.000025664564,0.000017949504,0.00008335644,0.028591348],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9983908,0.0011442447,0.000017583357,0.0001676812,0.00016460112,0.000115126306],"domain_scores_gemma":[0.9983777,0.001091617,0.00012933895,0.000102847924,0.00017974891,0.00011871051],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001764794,0.00039293338,0.00014475577,0.0007553689,0.0030700953,0.009665455,0.0005329954,0.0010824074,0.005114083],"category_scores_gemma":[0.004094925,0.00015185078,0.00017579367,0.00061919005,0.011515827,0.003453102,0.002089313,0.0019919996,0.00031368702],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031990774,0.000016582671,0.00070585386,0.00006961176,0.000004546582,0.00032536293,0.0792836,0.00018617047,0.00032515137,0.89826524,0.010421786,0.01036418],"study_design_scores_gemma":[0.000013455423,0.000047810507,0.005041039,0.00022418477,0.000011518992,0.00092691614,0.053327143,0.0016667389,0.00072507345,0.09736864,0.8406049,0.00004253644],"about_ca_topic_score_codex":0.010782547,"about_ca_topic_score_gemma":0.011049962,"teacher_disagreement_score":0.010782547,"about_ca_system_score_codex":0.0053641535,"about_ca_system_score_gemma":0.0009037003,"threshold_uncertainty_score":0.038919806},"labels":[],"label_agreement":null},{"id":"W4388145044","doi":"10.1007/978-3-031-40548-8_5","title":"Juncture 2: Clouds of Sils Maria","year":2023,"lang":"en","type":"book-chapter","venue":"Geocriticism and spatial literary studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Human multitasking; Juncture; Ambivalence; Identity (music); Psychology; Engineering; Art; Social psychology; Aesthetics; Cognitive psychology; Structural engineering","score_opus":0.04317050839801986,"score_gpt":0.2392823111608067,"score_spread":0.19611180276278684,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388145044","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006110216,0.005001704,0.0028555165,0.013091663,0.0044647055,0.00004020776,0.0001901902,0.0002245695,0.9680213],"genre_scores_gemma":[0.19029427,0.003010263,0.0018518943,0.0038250491,0.0044708503,0.00011510181,0.00019823428,0.0010537179,0.79518074],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99921966,0.0002890968,0.00002097296,0.00013517633,0.00018321478,0.00015184448],"domain_scores_gemma":[0.99905473,0.0003912447,0.00006923206,0.00015567472,0.00015322554,0.000175886],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00090030854,0.00063151005,0.0004656967,0.0023410933,0.010259403,0.01007958,0.0008111646,0.0020938036,0.059354328],"category_scores_gemma":[0.0031502857,0.00042107305,0.0004390447,0.0014751267,0.006714095,0.0068177143,0.0057722065,0.004490209,0.011140468],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002681767,0.000010369152,0.00013906929,0.000071407885,0.0000033534611,0.00020277347,0.021447869,0.00007153453,0.00021585598,0.8568425,0.110092476,0.01087596],"study_design_scores_gemma":[0.0000031437307,0.0000059620443,0.00017239536,0.0001438177,0.000002478722,0.00014041612,0.00557916,0.00006587249,0.00013561167,0.041207816,0.9525364,0.000006985562],"about_ca_topic_score_codex":0.00456542,"about_ca_topic_score_gemma":0.013352817,"teacher_disagreement_score":0.059354328,"about_ca_system_score_codex":0.0036165512,"about_ca_system_score_gemma":0.0013683185,"threshold_uncertainty_score":0.19856006},"labels":[],"label_agreement":null},{"id":"W4388504431","doi":"10.7202/1106559ar","title":"Watch me sleep: Self-surveillance and aging queer performance anxiety","year":2023,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"McGill University","funders":"","keywords":"Conversation; Exhibition; Queer; The arts; Sleep (system call); Media studies; Visual arts; Broadcasting (networking); Psychology; Sociology; Art; Gender studies; Computer science; Communication","score_opus":0.026607927512203523,"score_gpt":0.25762512973681123,"score_spread":0.2310172022246077,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388504431","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9119825,0.007609085,0.00033381232,0.021196445,0.00023722387,0.000034800636,0.00045943368,0.00003454865,0.05811232],"genre_scores_gemma":[0.9900898,0.002061784,0.000057011235,0.00095299154,0.0001241107,0.000011356776,0.00007358148,0.000010944623,0.0066184234],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99960905,0.0001626859,0.000015142756,0.00004057408,0.00007349021,0.00009900069],"domain_scores_gemma":[0.99769634,0.0007718327,0.00073189405,0.00009077683,0.00023648742,0.000472691],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010184912,0.00016087959,0.00019226673,0.0009403989,0.0022858342,0.002874628,0.00034100638,0.00077779684,0.006009717],"category_scores_gemma":[0.005398025,0.0001023503,0.00019885844,0.00078214455,0.0023709903,0.0019793154,0.0011559157,0.0012380277,0.00038091533],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002307422,0.00039188404,0.25470233,0.00021773338,0.00010581591,0.0015947759,0.5713047,0.00013179304,0.0010003884,0.02282795,0.044271078,0.10322073],"study_design_scores_gemma":[0.00001530217,0.00015299856,0.5660301,0.00019519785,0.000044032542,0.0006509646,0.38994068,0.00021041196,0.00021972497,0.0025006144,0.03998571,0.000054293963],"about_ca_topic_score_codex":0.060672253,"about_ca_topic_score_gemma":0.09101846,"teacher_disagreement_score":0.060672253,"about_ca_system_score_codex":0.0020768,"about_ca_system_score_gemma":0.00066447514,"threshold_uncertainty_score":0.12063819},"labels":[],"label_agreement":null},{"id":"W4388524326","doi":"10.4324/9781315619811-25","title":"Documentary filmmaking","year":2020,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Documentary film; Art; Materials science; Visual arts; Art history","score_opus":0.05210898420283794,"score_gpt":0.2185542486271465,"score_spread":0.16644526442430857,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388524326","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019038368,0.0026921763,0.02034302,0.005203402,0.002651669,0.00029270336,0.0006988334,0.0004018535,0.94867796],"genre_scores_gemma":[0.4305372,0.0060752397,0.037281048,0.0021535452,0.0021725437,0.00047167612,0.0015667321,0.0010006112,0.5187414],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972396,0.0011435963,0.00017601154,0.00044553244,0.0006836356,0.00031150822],"domain_scores_gemma":[0.9960018,0.0017742893,0.00028000903,0.00097573956,0.0006164191,0.0003517],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002997676,0.00075055246,0.00029964032,0.0022957155,0.005608241,0.010829298,0.0018355665,0.0019308389,0.044352602],"category_scores_gemma":[0.008669541,0.0003327346,0.00039904608,0.0021815838,0.0046304893,0.0068051913,0.0061079483,0.002691009,0.0066577527],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013068109,0.00008885792,0.0007240327,0.0008167935,0.000022124477,0.00085140124,0.06391264,0.0003376464,0.004175624,0.6336356,0.13013469,0.16516992],"study_design_scores_gemma":[0.0000094764255,0.000029074094,0.0003484633,0.00035822336,0.000007710262,0.00035091312,0.0072865444,0.00017118522,0.0016505459,0.012257134,0.97751766,0.000013026371],"about_ca_topic_score_codex":0.002188867,"about_ca_topic_score_gemma":0.00507789,"teacher_disagreement_score":0.044352602,"about_ca_system_score_codex":0.002575935,"about_ca_system_score_gemma":0.0014379867,"threshold_uncertainty_score":0.1483742},"labels":[],"label_agreement":null},{"id":"W4388546612","doi":"10.1515/9781552388723","title":"The Documentary Art of Filmmaker Michael Rubbo","year":2017,"lang":"en","type":"book","venue":"University of Calgary Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Documentary film; Art; Art history; Visual arts; Movie theater","score_opus":0.025413516261267328,"score_gpt":0.18878086319453377,"score_spread":0.16336734693326643,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388546612","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005982815,0.043392576,0.003559002,0.029580686,0.005495509,0.00007237566,0.00028165165,0.00032352802,0.9113118],"genre_scores_gemma":[0.09315636,0.033545278,0.0028633738,0.005172277,0.002876765,0.000107228545,0.00026015332,0.000637773,0.86138064],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915683,0.0002595726,0.00002874658,0.00012465696,0.00033315484,0.00009709376],"domain_scores_gemma":[0.9988883,0.0005393575,0.000083618215,0.000106876825,0.00025884042,0.00012296732],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00083327043,0.0004225389,0.00026069075,0.0013563412,0.0037814444,0.0068310713,0.0006635332,0.0010612473,0.018786566],"category_scores_gemma":[0.00391729,0.0003153918,0.00014085245,0.0015766699,0.003421351,0.004021758,0.0015966767,0.0031679722,0.0053219474],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034369707,0.00002723266,0.00017072663,0.00018367282,0.000005017934,0.00015658377,0.0088361995,0.00013724172,0.0006820051,0.2425601,0.6861783,0.061028488],"study_design_scores_gemma":[0.0000019975635,0.0000031319125,0.00020290479,0.00013765083,0.0000011765635,0.0000906775,0.000728178,0.00003933091,0.00016222571,0.002173967,0.9964545,0.00000442458],"about_ca_topic_score_codex":0.020452524,"about_ca_topic_score_gemma":0.027580103,"teacher_disagreement_score":0.9795475,"about_ca_system_score_codex":0.0053076013,"about_ca_system_score_gemma":0.0023945393,"threshold_uncertainty_score":0.062847376},"labels":[],"label_agreement":null},{"id":"W4388547591","doi":"10.1515/9781552386408","title":"John C. Parkin, Archives and Photography","year":2013,"lang":"en","type":"book","venue":"University of Calgary Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Parkin; Photography; Art; Art history; Computer graphics (images); Visual arts; Computer science; Medicine","score_opus":0.02133178305266823,"score_gpt":0.16159171846478235,"score_spread":0.14025993541211412,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388547591","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0027120833,0.2988307,0.00070545415,0.05210201,0.0027335288,0.00003582453,0.00044385908,0.0001094866,0.6423271],"genre_scores_gemma":[0.02545788,0.10647347,0.00078392046,0.004054667,0.0005859758,0.000018013747,0.00015344605,0.00008310049,0.86238956],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953187,0.00004561349,0.0000128817865,0.000059648286,0.00029783783,0.000052153682],"domain_scores_gemma":[0.9994765,0.00017272498,0.000029826258,0.000023629957,0.00021893744,0.00007835797],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00037090247,0.00039227036,0.00019922112,0.0018814461,0.00502364,0.0052407654,0.0006391811,0.0013225053,0.016064849],"category_scores_gemma":[0.001412193,0.00037413876,0.000108953835,0.0036499368,0.0030163974,0.0029614447,0.0008210905,0.001553946,0.0030775927],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006032919,0.000011177465,0.0005692499,0.000097088676,0.0000020239377,0.000097575255,0.002472254,0.00012341034,0.000063188556,0.094460174,0.8339237,0.068174094],"study_design_scores_gemma":[6.821596e-7,0.0000010342895,0.0010302465,0.00009042217,9.414692e-7,0.000057299327,0.0008326646,0.000020044674,0.00002367299,0.0019028496,0.9960366,0.0000034969016],"about_ca_topic_score_codex":0.71149,"about_ca_topic_score_gemma":0.8951039,"teacher_disagreement_score":0.71149,"about_ca_system_score_codex":0.014205889,"about_ca_system_score_gemma":0.013185048,"threshold_uncertainty_score":0.5804182},"labels":[],"label_agreement":null},{"id":"W4388728994","doi":"10.1080/17503280.2023.2270957","title":"Making room for empathy in contemporary virtual reality cinema","year":2023,"lang":"en","type":"article","venue":"Studies in Documentary Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Movie theater; Empathy; Virtual reality; Aesthetics; Art; Visual arts; Mixed reality; Sociology; Media studies; Psychology; Computer science; Social psychology; Human–computer interaction","score_opus":0.21856955698704292,"score_gpt":0.37256781227159447,"score_spread":0.15399825528455155,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388728994","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53063303,0.013750282,0.01822624,0.028694194,0.0006514071,0.000044498618,0.000079071084,0.0000944007,0.40782684],"genre_scores_gemma":[0.9912697,0.0017728158,0.0009874322,0.00045750375,0.00015280659,0.000015366082,0.000012161299,0.000021314798,0.005310913],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9961941,0.0029567725,0.00006974667,0.00020834446,0.00030730732,0.00026370457],"domain_scores_gemma":[0.9961099,0.0028413825,0.00043487665,0.00021014185,0.00017401065,0.00022979965],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003382084,0.00028066445,0.00023153293,0.001216899,0.0036303592,0.008872688,0.0005507058,0.0017188387,0.004964652],"category_scores_gemma":[0.0077994955,0.00025203984,0.00015498222,0.0008985457,0.009674606,0.0059310887,0.0035570613,0.0017203907,0.0003166865],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007070528,0.000055538563,0.0016492633,0.00024199739,0.00001525405,0.00073995395,0.34307677,0.00030150166,0.00143406,0.6161805,0.006214738,0.030019825],"study_design_scores_gemma":[0.000032347434,0.00015037495,0.0116727855,0.0008601384,0.000033452066,0.0018736316,0.29955247,0.0008895579,0.0012164068,0.09323939,0.5904138,0.00006555959],"about_ca_topic_score_codex":0.0012181074,"about_ca_topic_score_gemma":0.0018719854,"teacher_disagreement_score":0.008872688,"about_ca_system_score_codex":0.0018450419,"about_ca_system_score_gemma":0.00059419696,"threshold_uncertainty_score":0.0178864},"labels":[],"label_agreement":null},{"id":"W4388769200","doi":"10.1515/9781552383407","title":"Filming Politics","year":2007,"lang":"en","type":"book","venue":"University of Calgary Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Political science; Law","score_opus":0.03679276794487711,"score_gpt":0.19091693428582004,"score_spread":0.15412416634094295,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388769200","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013983046,0.00828216,0.0008707287,0.014296485,0.0027685335,0.00006192439,0.0006443083,0.00011967479,0.95897305],"genre_scores_gemma":[0.28401166,0.016772592,0.0017917801,0.0056594596,0.0012201464,0.000054158983,0.0007180026,0.00030155457,0.68947065],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99918824,0.00015783125,0.000016434871,0.00009414456,0.0003167386,0.00022662964],"domain_scores_gemma":[0.99893504,0.00024104919,0.00004429349,0.000073690135,0.00045988287,0.00024605042],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00075247785,0.00046276677,0.0001790838,0.0014794103,0.00948798,0.007845538,0.00062362896,0.0009009448,0.030196903],"category_scores_gemma":[0.0027185357,0.00016477736,0.00015982946,0.0018511438,0.003810443,0.0018772155,0.0014537238,0.0014156003,0.0023512219],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051427116,0.000031466076,0.0016636348,0.0002508925,0.000009174571,0.00042581942,0.047898315,0.00012385516,0.0017419271,0.19993904,0.6410442,0.10682024],"study_design_scores_gemma":[0.0000014344331,0.0000030033896,0.0019309075,0.00009944361,0.0000022472775,0.000054718013,0.008811006,0.000023255952,0.00021483323,0.0009106903,0.98794425,0.000004328652],"about_ca_topic_score_codex":0.56849617,"about_ca_topic_score_gemma":0.7323936,"teacher_disagreement_score":0.56849617,"about_ca_system_score_codex":0.016405372,"about_ca_system_score_gemma":0.009502703,"threshold_uncertainty_score":0.8680901},"labels":[],"label_agreement":null},{"id":"W4388769235","doi":"10.1515/9781552383407-004","title":"Canadian Film Culture Before the NFB","year":2007,"lang":"en","type":"book-chapter","venue":"University of Calgary Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.031104440045442633,"score_gpt":0.1788951291009263,"score_spread":0.14779068905548368,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388769235","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.032621294,0.021897916,0.00037121115,0.05482066,0.0018564002,0.000036113743,0.0015657636,0.000118236814,0.88671243],"genre_scores_gemma":[0.39080828,0.014337097,0.0005840383,0.0037266954,0.00036720512,0.00002584705,0.000429206,0.00018770329,0.589534],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99873847,0.0001395981,0.000023973284,0.00017742363,0.00052000384,0.00040057],"domain_scores_gemma":[0.998002,0.00024872564,0.00006747462,0.00007443652,0.0011856544,0.00042167012],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009021982,0.00057829346,0.00034904637,0.0026761424,0.012657708,0.010430768,0.00079809426,0.0016733739,0.05070252],"category_scores_gemma":[0.003397544,0.00037778445,0.00024187373,0.0041923802,0.0038816307,0.002279812,0.0012931167,0.0029618174,0.0021760685],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001100328,0.000030573836,0.001990215,0.00020013016,0.000015828315,0.0003211776,0.020845493,0.00023593019,0.00049786724,0.35360628,0.53431326,0.08783328],"study_design_scores_gemma":[0.0000039754814,0.0000040651685,0.005098927,0.00011074787,0.0000046032774,0.000036160272,0.0046445527,0.000054372682,0.0001694831,0.0015155083,0.9883432,0.000014497065],"about_ca_topic_score_codex":0.9890743,"about_ca_topic_score_gemma":0.9936156,"teacher_disagreement_score":0.11321979,"about_ca_system_score_codex":0.11321979,"about_ca_system_score_gemma":0.068305075,"threshold_uncertainty_score":0.8214709},"labels":[],"label_agreement":null},{"id":"W4388769285","doi":"10.1515/9781552383407-003","title":"Social Class and the NFB’s Early Films in Canadian Film Studies","year":2007,"lang":"en","type":"book-chapter","venue":"University of Calgary Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Class (philosophy); Art; Computer science; Artificial intelligence","score_opus":0.059983480323724,"score_gpt":0.21432424924431578,"score_spread":0.1543407689205918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388769285","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29632765,0.031078225,0.00031458383,0.027965095,0.0004909872,0.00006249987,0.0009217985,0.000037216243,0.6428019],"genre_scores_gemma":[0.9301432,0.009081206,0.0002588019,0.0005306982,0.00009547358,0.00001635073,0.00014836225,0.00005070225,0.059675205],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989409,0.0001755784,0.000023200862,0.00007891562,0.0003140686,0.00046743228],"domain_scores_gemma":[0.99723154,0.00077644945,0.00014703308,0.00006883367,0.00092738745,0.000848703],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013556405,0.00043645588,0.00031423717,0.0050152335,0.01661208,0.010245328,0.000964339,0.0010637307,0.017032212],"category_scores_gemma":[0.0046150405,0.000327008,0.00020378728,0.0080302395,0.006225716,0.0022943136,0.001266164,0.0021119476,0.00039525196],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022763497,0.000112641275,0.019635446,0.0003284446,0.000033216995,0.0009232194,0.3935287,0.00026563424,0.00092441356,0.32041052,0.110440165,0.15316992],"study_design_scores_gemma":[0.00001366162,0.000021530082,0.14687102,0.00063035556,0.00002960553,0.00016690372,0.19078846,0.00017736961,0.00033627477,0.0062853554,0.65461755,0.00006190232],"about_ca_topic_score_codex":0.9908867,"about_ca_topic_score_gemma":0.9961236,"teacher_disagreement_score":0.109571174,"about_ca_system_score_codex":0.109571174,"about_ca_system_score_gemma":0.054821763,"threshold_uncertainty_score":0.7949982},"labels":[],"label_agreement":null},{"id":"W4388769760","doi":"10.1515/9781552382660-005","title":"Moving Pictures at the Opera House: The Introduction of Motion Pictures to the Town of Truro, Nova Scotia, 1897–1914","year":2008,"lang":"en","type":"book-chapter","venue":"University of Calgary Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nova scotia; Art; Visual arts; Opera; Opera house; Nova (rocket); Computer graphics (images); Art history; Cartography; Geography; Archaeology; Computer science; Engineering; Aeronautics","score_opus":0.02538305632358703,"score_gpt":0.18242517449157192,"score_spread":0.15704211816798488,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388769760","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.044549,0.080132395,0.0010826935,0.010391136,0.004487165,0.000120399935,0.0024696721,0.00008501283,0.85668254],"genre_scores_gemma":[0.18940245,0.038413018,0.0011377945,0.00071871094,0.0005882945,0.0000418178,0.00063297426,0.00010635629,0.7689587],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998759,0.000017478074,0.000006204152,0.000019743888,0.000037109574,0.000043555876],"domain_scores_gemma":[0.9998747,0.000032871892,0.000014625133,0.000008796919,0.00004068861,0.000028307468],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000135124,0.0005187075,0.00014856028,0.0013753964,0.0032107686,0.0016470687,0.00038096073,0.000527541,0.022872346],"category_scores_gemma":[0.0006258091,0.00031679097,0.00011920078,0.0019676941,0.001233798,0.0007275801,0.0007087944,0.0010019562,0.0019745512],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000114925366,0.000028812836,0.0034683032,0.0008026762,0.000013854762,0.0026151855,0.04523063,0.00063465914,0.0017439551,0.13328107,0.5757424,0.23632358],"study_design_scores_gemma":[0.0000019641602,0.0000068239174,0.011061159,0.00018112718,0.0000038645326,0.0002676797,0.0027133967,0.00003610145,0.00010704109,0.00054847205,0.9850647,0.00000766892],"about_ca_topic_score_codex":0.74379456,"about_ca_topic_score_gemma":0.9385733,"teacher_disagreement_score":0.25620544,"about_ca_system_score_codex":0.008895739,"about_ca_system_score_gemma":0.0065977587,"threshold_uncertainty_score":0.51542854},"labels":[],"label_agreement":null},{"id":"W4388769974","doi":"10.1515/9781552382660","title":"Rain/Drizzle/Fog","year":2008,"lang":"it","type":"book","venue":"University of Calgary Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Drizzle; Environmental science; Meteorology; Atmospheric sciences; Geography; Geology; Precipitation","score_opus":0.03472061643435304,"score_gpt":0.180063782552753,"score_spread":0.14534316611839995,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388769974","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004381518,0.02710612,0.00074230897,0.03288385,0.016128937,0.00010244093,0.0023065428,0.0006585524,0.9156897],"genre_scores_gemma":[0.024871143,0.019410787,0.0010378303,0.0070136366,0.002139883,0.000042631236,0.0011489148,0.0007872307,0.9435479],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.997959,0.000102633356,0.000028160266,0.00013388517,0.0014136893,0.0003625558],"domain_scores_gemma":[0.9981501,0.0001229728,0.00005312952,0.00012745243,0.0011044942,0.00044181448],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007709563,0.000890965,0.00061865826,0.0031226152,0.011244916,0.008370893,0.0010568902,0.0011193762,0.09130049],"category_scores_gemma":[0.0028389976,0.0004676085,0.00049339305,0.0044745184,0.003590778,0.0024072314,0.0028797677,0.002725943,0.018475637],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011229824,0.000005360063,0.000361299,0.000081941034,0.0000033066324,0.00006782146,0.0016554755,0.000017023332,0.00020106565,0.007975097,0.95445514,0.035165228],"study_design_scores_gemma":[8.5118694e-7,0.0000020864356,0.0011371679,0.000058685513,0.000001974744,0.000034046847,0.0010726289,0.000009391249,0.00005922509,0.00025105706,0.9973666,0.0000062748254],"about_ca_topic_score_codex":0.8635259,"about_ca_topic_score_gemma":0.9584174,"teacher_disagreement_score":0.8635259,"about_ca_system_score_codex":0.027508222,"about_ca_system_score_gemma":0.024743063,"threshold_uncertainty_score":0.30543053},"labels":[],"label_agreement":null},{"id":"W4388770200","doi":"10.1515/9781399511223","title":"ReFocus: The Films of Claire Denis","year":2023,"lang":"en","type":"book","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Computer graphics (images); Art history; Computer science","score_opus":0.04077670198936264,"score_gpt":0.19838609812408287,"score_spread":0.15760939613472022,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388770200","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.094307125,0.093827285,0.0017504646,0.16613857,0.009049325,0.00006540266,0.0004261829,0.00015696346,0.6342788],"genre_scores_gemma":[0.5800218,0.031153046,0.0015086995,0.0151239075,0.0039591407,0.000063041385,0.00025028837,0.00019454556,0.36772552],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990268,0.0004628735,0.000016652159,0.00009378741,0.0002578644,0.00014205274],"domain_scores_gemma":[0.9980015,0.0010301335,0.00011929587,0.00008964464,0.0004990535,0.00026023758],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016670211,0.0006186247,0.0003057279,0.0016322293,0.0056565413,0.005687042,0.00054069894,0.001414257,0.010484252],"category_scores_gemma":[0.005526253,0.0001999048,0.00023005312,0.0011641347,0.0033749728,0.0026086336,0.0016349085,0.0030062248,0.0010678718],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013601994,0.0000528758,0.0031071706,0.00036400752,0.000019239971,0.0007658666,0.121050425,0.00033506323,0.001000814,0.22267002,0.5553251,0.09517345],"study_design_scores_gemma":[0.0000031914808,0.000014599442,0.0020928518,0.00023455564,0.0000035520825,0.00017141059,0.017439468,0.00007277561,0.0002044524,0.0018832944,0.97786874,0.000011059192],"about_ca_topic_score_codex":0.08902273,"about_ca_topic_score_gemma":0.12193589,"teacher_disagreement_score":0.08902273,"about_ca_system_score_codex":0.009964877,"about_ca_system_score_gemma":0.0022857438,"threshold_uncertainty_score":0.1770091},"labels":[],"label_agreement":null},{"id":"W4388780559","doi":"10.1515/9781399511223-fm","title":"Frontmatter","year":2023,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Queen's University; Queen's University Belfast; University of Glasgow; Falmouth University","keywords":"Environmental science","score_opus":0.04918783794309073,"score_gpt":0.19178553869280057,"score_spread":0.14259770074970984,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388780559","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00024529395,0.0009788822,0.00062457856,0.0013927663,0.002309303,0.000030873107,0.0008646052,0.000848399,0.9927053],"genre_scores_gemma":[0.0006255081,0.00023563669,0.00014398895,0.00029908645,0.00016732122,0.000007969798,0.0002689006,0.00019840954,0.9980533],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999655,0.000033612538,0.000012880205,0.00008236954,0.00017252548,0.000043527612],"domain_scores_gemma":[0.9993988,0.00011731506,0.000028651797,0.00009395359,0.00021277825,0.00014850152],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00034289196,0.0005869508,0.00057649415,0.0015157589,0.0014765862,0.0049365424,0.0010982424,0.0018284015,0.87406564],"category_scores_gemma":[0.001719866,0.00033759346,0.00039572982,0.0011776199,0.00046341258,0.003254135,0.0023192281,0.0017215589,0.78092915],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016518963,0.000014663798,0.000058813268,0.000072066454,0.0000011484643,0.00005692657,0.0000753657,0.000023229715,0.00020370932,0.00803487,0.8766755,0.11476718],"study_design_scores_gemma":[0.000001614973,0.0000043426903,0.000069959126,0.000027817627,4.2415883e-7,0.00003936586,0.000028617784,0.000020956915,0.000052867574,0.00063810404,0.99911433,0.0000016120492],"about_ca_topic_score_codex":0.0016479542,"about_ca_topic_score_gemma":0.0054365336,"teacher_disagreement_score":0.12593436,"about_ca_system_score_codex":0.0009843389,"about_ca_system_score_gemma":0.0005688198,"threshold_uncertainty_score":0.17962998},"labels":[],"label_agreement":null},{"id":"W4388870200","doi":"10.1525/9780520382367","title":"Maverick Movies","year":2023,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Curtin University of Technology; Ohio State University; York University; Academy of Motion Picture Arts and Sciences; General Mills","keywords":"Art","score_opus":0.05049386373608774,"score_gpt":0.2156414783000716,"score_spread":0.16514761456398386,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388870200","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00016612565,0.0020047505,0.0004320283,0.00046944397,0.00063480646,0.0000380345,0.0021068184,0.0009952355,0.99315274],"genre_scores_gemma":[0.0005461483,0.00090601,0.00025221234,0.00021024853,0.00010932022,0.000016154916,0.0011058977,0.00024619253,0.9966079],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997675,0.000015246411,0.00000770726,0.00004327063,0.00014468456,0.00002156111],"domain_scores_gemma":[0.99963677,0.00005556471,0.000018657449,0.00005829016,0.00015214273,0.00007845639],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00017984219,0.00095600967,0.00051145727,0.0024239223,0.0013563656,0.0041124187,0.0009968636,0.0009965926,0.7397862],"category_scores_gemma":[0.00095107657,0.00039314153,0.00036159265,0.0026772881,0.0002836707,0.0028175146,0.0014940305,0.0017310138,0.5773851],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001198713,0.000019015903,0.00003505638,0.00008678026,0.0000012024186,0.000045721565,0.000057201905,0.000028367866,0.00026516343,0.0054545784,0.94218326,0.0518118],"study_design_scores_gemma":[0.0000014783902,0.0000025726524,0.00012595466,0.000042647738,5.787494e-7,0.000050693277,0.000015096385,0.00001721899,0.000047193418,0.00044049555,0.9992545,0.0000016069398],"about_ca_topic_score_codex":0.004059214,"about_ca_topic_score_gemma":0.015837979,"teacher_disagreement_score":0.7397862,"about_ca_system_score_codex":0.0009251786,"about_ca_system_score_gemma":0.0007576578,"threshold_uncertainty_score":0.37116337},"labels":[],"label_agreement":null},{"id":"W4388883241","doi":"10.4000/filmj.452","title":"Questions of Intimacy and Distance in Three Films by Sarah Polley","year":2020,"lang":"en","type":"article","venue":"Film journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Uken (Canada)","funders":"","keywords":"Sociology; Art","score_opus":0.026278322239607972,"score_gpt":0.22298596304096677,"score_spread":0.1967076408013588,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388883241","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26168805,0.013243654,0.0003745037,0.52273744,0.003020736,0.000052310887,0.0002967843,0.0000249599,0.19856155],"genre_scores_gemma":[0.93640876,0.0063498947,0.00021166386,0.017385421,0.0007700205,0.000023067743,0.00006764616,0.000058619404,0.038724933],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9971722,0.0009080705,0.0000448623,0.00019504289,0.0007906736,0.00088925124],"domain_scores_gemma":[0.99079776,0.0042216615,0.00046796072,0.00017773383,0.002381407,0.0019535087],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024790743,0.00050212105,0.00045215507,0.0017156369,0.042479824,0.01418287,0.0019295784,0.005311197,0.005742398],"category_scores_gemma":[0.012563221,0.0005797924,0.00029940845,0.002530276,0.011727472,0.0048287115,0.002928763,0.012454533,0.00052027847],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018468864,0.00012906658,0.010044959,0.000121007935,0.00004913375,0.0021060319,0.63918686,0.0001755598,0.0005057454,0.069920875,0.2553683,0.022207726],"study_design_scores_gemma":[0.000013541265,0.00001676383,0.016389003,0.00027847505,0.000028564167,0.00026507114,0.6753751,0.00007445367,0.0003381419,0.004010035,0.30314532,0.0000654988],"about_ca_topic_score_codex":0.88219064,"about_ca_topic_score_gemma":0.94308084,"teacher_disagreement_score":0.88219064,"about_ca_system_score_codex":0.038165264,"about_ca_system_score_gemma":0.01456448,"threshold_uncertainty_score":0.27690965},"labels":[],"label_agreement":null},{"id":"W4388985090","doi":"10.1515/9781552383674-010","title":"Film and Film Culture in Canada","year":2003,"lang":"en","type":"book-chapter","venue":"University of Calgary Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Media studies; Art; Sociology","score_opus":0.019314732549382777,"score_gpt":0.15208209116528523,"score_spread":0.13276735861590244,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4388985090","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4828616,0.03159143,0.00023026612,0.045490153,0.0006799238,0.0000780508,0.0022585944,0.00005904723,0.436751],"genre_scores_gemma":[0.8956714,0.012820334,0.00021751043,0.0012541236,0.000065544584,0.000021268783,0.00034355716,0.00004299396,0.08956316],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986266,0.00012677436,0.000039582923,0.00014654617,0.00049828616,0.0005620896],"domain_scores_gemma":[0.99635774,0.00043719448,0.00017233452,0.000057281733,0.0016770681,0.0012983648],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000774061,0.000313513,0.000429599,0.0032549873,0.015454169,0.010682026,0.0012685915,0.0010996384,0.023028204],"category_scores_gemma":[0.0039256345,0.00038761835,0.00022982291,0.008332349,0.0038785418,0.0019162263,0.0018154209,0.002334735,0.0006056403],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039899556,0.0003200821,0.07801756,0.00058872194,0.00010730777,0.0013387536,0.1726612,0.0010583649,0.001178339,0.29276845,0.21702139,0.2345408],"study_design_scores_gemma":[0.000029751618,0.00003675327,0.20844755,0.0007201434,0.000047209956,0.000169403,0.16812664,0.00075286604,0.00046431852,0.005036007,0.6160642,0.00010519294],"about_ca_topic_score_codex":0.99770254,"about_ca_topic_score_gemma":0.9989115,"teacher_disagreement_score":0.15856062,"about_ca_system_score_codex":0.15856062,"about_ca_system_score_gemma":0.15517189,"threshold_uncertainty_score":0.9759504},"labels":[],"label_agreement":null},{"id":"W4389207169","doi":"10.1515/9781474474238","title":"Exotic Cinema","year":2023,"lang":"it","type":"book","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Geography; Art; Art history","score_opus":0.06101584500905543,"score_gpt":0.20442201619220515,"score_spread":0.14340617118314972,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389207169","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0264148,0.0049396497,0.004668979,0.005687712,0.0039891694,0.00008742121,0.00049208,0.00043239407,0.95328784],"genre_scores_gemma":[0.3765322,0.005607263,0.006818804,0.0041669896,0.002582187,0.0001044886,0.0010376038,0.0006892474,0.60246116],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994804,0.00017764098,0.000019684874,0.00010743934,0.00014268122,0.0000721068],"domain_scores_gemma":[0.99944896,0.0001419486,0.000035544257,0.00009261178,0.00012256682,0.0001583716],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007551692,0.00040162954,0.0002183482,0.0010283509,0.002878188,0.0049715512,0.00060905004,0.0008943872,0.06526468],"category_scores_gemma":[0.00156941,0.00017896431,0.00030339425,0.0005658209,0.0013990406,0.0036119404,0.0036089693,0.0018167044,0.00643085],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001688406,0.0000895125,0.0020105129,0.00095613755,0.000028567434,0.0019997738,0.062743254,0.00024549605,0.009572574,0.2921752,0.42741007,0.20260009],"study_design_scores_gemma":[0.0000021836756,0.000017570715,0.0007559407,0.000104095154,0.000004114394,0.0006652097,0.003225988,0.00007162909,0.00022555813,0.0015272809,0.993393,0.000007367045],"about_ca_topic_score_codex":0.0014800126,"about_ca_topic_score_gemma":0.00460177,"teacher_disagreement_score":0.06526468,"about_ca_system_score_codex":0.0010460848,"about_ca_system_score_gemma":0.00046930273,"threshold_uncertainty_score":0.21833205},"labels":[],"label_agreement":null},{"id":"W4389490555","doi":"10.46697/001c.90395","title":"Design Thinking Approach in International Markets: Implications for the Movie Industry","year":2023,"lang":"en","type":"article","venue":"AIB Insights","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Internationalization; Revenue; Advertising; Business; Content (measure theory); Production (economics); Marketing; Industrial organization; Economics; Microeconomics; International trade","score_opus":0.10772608573296015,"score_gpt":0.27180843091957396,"score_spread":0.1640823451866138,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389490555","genre_codex":"methods","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07360785,0.001727086,0.6076863,0.028694697,0.00034801845,0.000567528,0.00011328057,0.00019880221,0.28705648],"genre_scores_gemma":[0.80888504,0.00080258126,0.17803769,0.0019253402,0.00015716048,0.0009826841,0.000052395946,0.000062929,0.009094126],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99477357,0.0039387695,0.00014923152,0.00038293068,0.00047017986,0.00028534906],"domain_scores_gemma":[0.9841293,0.012108067,0.0010319109,0.0008724378,0.001085812,0.0007725192],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.011267513,0.0010096927,0.000542484,0.0020023154,0.002165622,0.007828282,0.0017241612,0.002546191,0.011990595],"category_scores_gemma":[0.011430876,0.00044492187,0.0009959779,0.0015422014,0.012962275,0.0066755586,0.002328984,0.0028079548,0.0008056336],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018912064,0.00010254105,0.0007720068,0.00008053952,0.000008905323,0.00008262815,0.0016956838,0.0022939974,0.00015216017,0.98427594,0.0005746658,0.009942023],"study_design_scores_gemma":[0.000041550047,0.000058721496,0.0006564631,0.000112258334,0.000009069356,0.00007973559,0.003733331,0.008757279,0.00025409975,0.9728855,0.0133986175,0.000013353866],"about_ca_topic_score_codex":0.001817264,"about_ca_topic_score_gemma":0.0020100533,"teacher_disagreement_score":0.011990595,"about_ca_system_score_codex":0.0056003937,"about_ca_system_score_gemma":0.0045165406,"threshold_uncertainty_score":0.05958903},"labels":[],"label_agreement":null},{"id":"W4389633339","doi":"10.1525/fq.2023.77.2.5","title":"Stepping Up, and Out","year":2023,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Icon; Citation; Surprise; Enthusiasm; Computer science; World Wide Web; Library science; History; Sociology; Psychology","score_opus":0.04419065750418365,"score_gpt":0.2352623839503474,"score_spread":0.19107172644616377,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389633339","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017044561,0.01215495,0.01660077,0.41097897,0.09370746,0.00036978273,0.00045362022,0.00338265,0.44530725],"genre_scores_gemma":[0.12218117,0.007066114,0.014956849,0.19814265,0.013637487,0.00039612685,0.0005571985,0.004788014,0.63827443],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.98564065,0.005182758,0.00045016943,0.0024277607,0.0042937244,0.002004982],"domain_scores_gemma":[0.9792132,0.0023480647,0.0010436177,0.0025151782,0.005806901,0.009073119],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.010076346,0.0018460485,0.0010261739,0.0020721399,0.019695794,0.032675304,0.0022727079,0.0057967333,0.061055418],"category_scores_gemma":[0.04259152,0.0013278219,0.0010825188,0.0012916138,0.013813275,0.026137717,0.018300295,0.019655114,0.049959905],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007572691,0.00008620789,0.0013002097,0.00020938362,0.000026817592,0.0005047977,0.03129166,0.00005384287,0.0013091869,0.039018832,0.8609272,0.06519617],"study_design_scores_gemma":[0.000007644219,0.00002964486,0.00037976826,0.0002596272,0.000008593758,0.00019464125,0.018546779,0.000050788425,0.00024087304,0.007869582,0.9723831,0.000029018185],"about_ca_topic_score_codex":0.006382905,"about_ca_topic_score_gemma":0.010567043,"teacher_disagreement_score":0.061055418,"about_ca_system_score_codex":0.0043027676,"about_ca_system_score_gemma":0.011267183,"threshold_uncertainty_score":0.20425075},"labels":[],"label_agreement":null},{"id":"W4389679454","doi":"10.1515/9780889776579","title":"Performing Turtle Island","year":2019,"lang":"en","type":"book","venue":"University of Regina Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Turtle (robot); Geography; Fishery; Biology","score_opus":0.03026495274375741,"score_gpt":0.17724445102692843,"score_spread":0.14697949828317103,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389679454","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005517409,0.0112586,0.00086655,0.01932676,0.015629953,0.0001096478,0.00060311356,0.00041760062,0.94627047],"genre_scores_gemma":[0.007423204,0.0017327843,0.0003915661,0.0007638184,0.0006757593,0.000025289753,0.0002631749,0.00014710578,0.98857725],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994843,0.00007840478,0.000014829902,0.00007348987,0.00025278883,0.00009615942],"domain_scores_gemma":[0.9994935,0.000043517462,0.000019288394,0.000044074965,0.00023044263,0.0001692206],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00069033913,0.0013388481,0.00030517316,0.0014705816,0.006806081,0.0035320441,0.0006546367,0.00081136555,0.08635385],"category_scores_gemma":[0.0010876304,0.0002384021,0.00031468566,0.00087213365,0.001716363,0.0016791672,0.0029797915,0.0018219356,0.017807215],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011609573,0.000010711347,0.00016159985,0.0000783669,0.0000016847898,0.00009157765,0.0031250692,0.000029814271,0.0002500178,0.010692268,0.93099856,0.05454865],"study_design_scores_gemma":[5.30103e-7,0.0000063350367,0.00043560675,0.000050775092,7.352048e-7,0.000058719877,0.0008232416,0.000010653528,0.000062141924,0.000118113734,0.99843043,0.0000025904098],"about_ca_topic_score_codex":0.09853546,"about_ca_topic_score_gemma":0.35863766,"teacher_disagreement_score":0.09853546,"about_ca_system_score_codex":0.0038078013,"about_ca_system_score_gemma":0.0042423103,"threshold_uncertainty_score":0.28888243},"labels":[],"label_agreement":null},{"id":"W4389695730","doi":"10.1515/9781474480932-fm","title":"Frontmatter","year":2023,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Queen's University; Queen's University Belfast; University of Glasgow; Falmouth University","keywords":"Medicine","score_opus":0.04918783794309073,"score_gpt":0.19178553869280057,"score_spread":0.14259770074970984,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389695730","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002426691,0.00094256445,0.0006138519,0.0013303747,0.0021323063,0.000030378555,0.0008755885,0.00086271483,0.99296945],"genre_scores_gemma":[0.0006215106,0.00023479424,0.00014649646,0.00029466848,0.00015930181,0.000007966837,0.0002736006,0.00020228872,0.99805933],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99965477,0.000033207438,0.000013144792,0.00008469358,0.00017114432,0.000043107226],"domain_scores_gemma":[0.9994042,0.00011642138,0.0000296381,0.00009598533,0.00020506242,0.0001486674],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00034251297,0.0005982649,0.0005803862,0.0015070962,0.001442589,0.005062395,0.0011010226,0.0018602427,0.8797598],"category_scores_gemma":[0.0016995101,0.00034877012,0.00040448995,0.0011925714,0.00046955736,0.0033138683,0.0023337866,0.0017238633,0.79287004],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016988122,0.000015432013,0.000061641455,0.00007492131,0.000001220005,0.000058183457,0.00007547148,0.0000244126,0.00021962855,0.008255464,0.8709038,0.120292835],"study_design_scores_gemma":[0.0000016690124,0.0000044501903,0.00007227661,0.000027875296,4.39404e-7,0.00003959582,0.000027853905,0.000021293326,0.000054487264,0.0006372871,0.9991111,0.0000016438138],"about_ca_topic_score_codex":0.0016112699,"about_ca_topic_score_gemma":0.005260116,"teacher_disagreement_score":0.8797598,"about_ca_system_score_codex":0.0009775087,"about_ca_system_score_gemma":0.0005662652,"threshold_uncertainty_score":0.17150801},"labels":[],"label_agreement":null},{"id":"W4389786173","doi":"10.1353/mnt.2023.a914929","title":"Edward S. Curtis in the Pacific Northwest: Photography, Films, and Financial Failure","year":2023,"lang":"en","type":"article","venue":"Montana","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Oceanography; Photography; Art history; History; Art; Geology; Visual arts","score_opus":0.015093376966955369,"score_gpt":0.19877138823658946,"score_spread":0.1836780112696341,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389786173","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00665572,0.2444661,0.00028772018,0.2167425,0.011610065,0.000031633845,0.00041279785,0.000105800325,0.5196877],"genre_scores_gemma":[0.06414244,0.24010566,0.0006035868,0.016401934,0.004723223,0.0000737054,0.00031549006,0.00017839897,0.6734555],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99957925,0.000088051165,0.000010528243,0.000031700805,0.0001991726,0.00009143569],"domain_scores_gemma":[0.9990226,0.0001975996,0.00006730481,0.000032850206,0.0003195131,0.00036017716],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00068821345,0.00059975905,0.00023323324,0.0012841895,0.0077738985,0.006758427,0.00076873746,0.001455424,0.047706466],"category_scores_gemma":[0.0020781483,0.0002996126,0.00012297793,0.0025234264,0.0026205322,0.0049570114,0.002338025,0.0029742843,0.0046550413],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000030544459,0.0000068918716,0.00026768076,0.00004134358,8.306e-7,0.000086698514,0.0020682982,0.000009856261,0.00002226517,0.0039246595,0.9679994,0.025568912],"study_design_scores_gemma":[0.0000010335764,0.000001923234,0.0015817039,0.0003693393,0.0000015319079,0.00013400204,0.009157466,0.000007646614,0.000030214145,0.0008141541,0.98789597,0.0000049882324],"about_ca_topic_score_codex":0.2307547,"about_ca_topic_score_gemma":0.4535399,"teacher_disagreement_score":0.2307547,"about_ca_system_score_codex":0.004420336,"about_ca_system_score_gemma":0.0065726535,"threshold_uncertainty_score":0.45882314},"labels":[],"label_agreement":null},{"id":"W4389794759","doi":"10.1177/09504222231222257","title":"Embracing collaborations between festivals and higher education: A case study of the ‘Decolonising film festivals and curating African cinemas’ networking event at King’s College London","year":2023,"lang":"en","type":"article","venue":"Industry and Higher Education","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"King's College London; Government of Canada","keywords":"Sociology; Brainstorming; Movie theater; Reflexivity; Higher education; Public relations; Action research; Event (particle physics); Session (web analytics); Action (physics); Media studies; Pedagogy; Political science; Social science; Visual arts; Marketing; Advertising","score_opus":0.08251182174507397,"score_gpt":0.3121973070232025,"score_spread":0.2296854852781285,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389794759","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.955859,0.0009027146,0.0025836942,0.00940705,0.0002865727,0.00032788297,0.00012015907,0.000042253516,0.030470673],"genre_scores_gemma":[0.9862732,0.0008741425,0.0016977172,0.001287034,0.00012027205,0.0001637746,0.000056607627,0.00006289889,0.009464213],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.97944206,0.015819026,0.00035861362,0.0008092094,0.0011125836,0.0024585144],"domain_scores_gemma":[0.9793137,0.0136963315,0.0013326585,0.00073495915,0.0009066438,0.0040157423],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.011628642,0.0010870203,0.00086947385,0.002426915,0.027171798,0.009697494,0.003866082,0.006047485,0.006324731],"category_scores_gemma":[0.02085513,0.00093136664,0.00084752217,0.0022774304,0.015314989,0.0074135787,0.011386755,0.0063983803,0.00085504923],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000059781047,0.00026967243,0.0017983341,0.0002125746,0.000013908917,0.009849295,0.9735458,0.00012256498,0.0005142461,0.0054129967,0.0022261941,0.0059745745],"study_design_scores_gemma":[0.000011641052,0.00009871765,0.0014385487,0.00015900505,0.000005718711,0.0014564834,0.96848375,0.00011016668,0.00021990082,0.0005947049,0.02740007,0.000021374979],"about_ca_topic_score_codex":0.017013438,"about_ca_topic_score_gemma":0.047772083,"teacher_disagreement_score":0.027171798,"about_ca_system_score_codex":0.006940281,"about_ca_system_score_gemma":0.004214373,"threshold_uncertainty_score":0.06149888},"labels":[],"label_agreement":null},{"id":"W4389886595","doi":"10.1093/oxfordhb/9780198829324.013.0030","title":"An Artist Unpacks the Archives","year":2023,"lang":"en","type":"book-chapter","venue":"Archives","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Kazakh; Visual arts; History; Art; Media studies; Sociology","score_opus":0.04133180036516316,"score_gpt":0.22332147630931606,"score_spread":0.1819896759441529,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389886595","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02389293,0.0133833485,0.007578579,0.0266547,0.0027074881,0.000041085128,0.00016608863,0.00028971923,0.9252861],"genre_scores_gemma":[0.62184405,0.011464303,0.0040246136,0.0025486203,0.0034283958,0.000055295706,0.000112768175,0.0004238288,0.35609812],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976653,0.0012156825,0.00005727076,0.00021896105,0.0005994108,0.00024338717],"domain_scores_gemma":[0.9963678,0.0021293613,0.00019388025,0.0006412376,0.0003956277,0.0002721125],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024676025,0.0005289942,0.00039959062,0.00279713,0.00824232,0.016782492,0.0010154156,0.0019098169,0.022500359],"category_scores_gemma":[0.0056744744,0.00033678787,0.0003597039,0.0029889657,0.0153484335,0.010197623,0.0055807936,0.004612014,0.0025981215],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002927127,0.000020706457,0.00046926577,0.0000842628,0.000004222939,0.00026556008,0.026094899,0.00033045467,0.00021640075,0.9013523,0.03927448,0.03185817],"study_design_scores_gemma":[0.0000039157862,0.000016146003,0.00042952926,0.00032761286,0.000004994706,0.00025937808,0.012890759,0.00026302185,0.00026963672,0.050128497,0.9353959,0.000010634489],"about_ca_topic_score_codex":0.0058000516,"about_ca_topic_score_gemma":0.007409253,"teacher_disagreement_score":0.022500359,"about_ca_system_score_codex":0.0045587053,"about_ca_system_score_gemma":0.0025390175,"threshold_uncertainty_score":0.07527125},"labels":[],"label_agreement":null},{"id":"W4389939204","doi":"10.1080/00085006.2023.2271795","title":"“Wounded” in revolution: the postwar intelligentsia and their self-distinction in Czechoslovak cinema (1956–1968)","year":2023,"lang":"en","type":"article","venue":"Canadian Slavonic Papers","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"European Commission","keywords":"Intelligentsia; Denunciation; Communism; Socialism; Movie theater; Political science; Working class; Sociology; Political economy; Gender studies; Economic history; Law; Politics; History; Art history","score_opus":0.021541664220159393,"score_gpt":0.2000576020942088,"score_spread":0.1785159378740494,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389939204","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9385475,0.002079824,0.00024988267,0.0013119243,0.0001713479,0.000017430742,0.00008949073,0.00002273302,0.05750991],"genre_scores_gemma":[0.99653983,0.00034325806,0.000052884247,0.000069831505,0.000020122005,0.000002213825,0.00002486879,0.000011873852,0.002935065],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9994979,0.00014758353,0.000019093584,0.00006482887,0.00010544685,0.00016516706],"domain_scores_gemma":[0.99950135,0.00016136323,0.00011886168,0.000037309466,0.00006766621,0.00011339795],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009192664,0.00028699278,0.00015840797,0.0016325729,0.0048521697,0.0051336777,0.00042950278,0.00068510015,0.002208782],"category_scores_gemma":[0.0018907584,0.0002090969,0.00017339892,0.0011185617,0.0061159944,0.0020157672,0.0021835547,0.0019777957,0.0001728746],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00036553037,0.000065484506,0.018701497,0.00029484543,0.000054762324,0.0016361537,0.8822896,0.0002826529,0.006428401,0.052560344,0.008914381,0.02840641],"study_design_scores_gemma":[0.00003317307,0.00007711815,0.17140266,0.00035749917,0.00005530846,0.000710545,0.44863358,0.00031919774,0.0025783882,0.0022784804,0.3734708,0.00008317366],"about_ca_topic_score_codex":0.03310712,"about_ca_topic_score_gemma":0.06395588,"teacher_disagreement_score":0.03310712,"about_ca_system_score_codex":0.005034064,"about_ca_system_score_gemma":0.0012645045,"threshold_uncertainty_score":0.06582886},"labels":[],"label_agreement":null},{"id":"W4389960438","doi":"10.51313/freeside-2023-07","title":"Breaking the Celluloid Ceiling: Exploring the Unique Female Inuit Perspective in Before Tomorrow (Marie-Hélène Cousineau and Madeline Ivalu 2008)","year":2023,"lang":"en","type":"article","venue":"Freeside Europe Online Academic Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Movie theater; Indigenous; Mainstream; Film industry; Context (archaeology); Perspective (graphical); Sociology; Media studies; Gender studies; Art; Visual arts; Aesthetics; History; Political science; Law; Archaeology","score_opus":0.07821976004469004,"score_gpt":0.2750522384217802,"score_spread":0.19683247837709017,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389960438","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8401224,0.0033188162,0.001853084,0.019811312,0.0002793624,0.00004307279,0.00006578147,0.000020450123,0.13448574],"genre_scores_gemma":[0.983539,0.0008942562,0.00027223356,0.00059160043,0.00005124555,0.000012810153,0.000013085865,0.0000160095,0.014609851],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99909604,0.0005277646,0.000009431132,0.00011005556,0.00007466131,0.00018204006],"domain_scores_gemma":[0.9992198,0.00044397096,0.00009416262,0.00002466176,0.000068247966,0.0001491324],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0012069575,0.00038790208,0.00026246795,0.00081963366,0.012050231,0.0062431404,0.00079029356,0.0009959001,0.00431818],"category_scores_gemma":[0.002074155,0.00020157956,0.00013337727,0.00060292333,0.008230378,0.0027769662,0.002417865,0.0019583977,0.00025151367],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019677042,0.000015141394,0.001825332,0.0000405726,0.0000036953033,0.00071192055,0.9478106,0.00003210907,0.0005285917,0.039041482,0.002417154,0.007553757],"study_design_scores_gemma":[0.0000021229548,0.000026171041,0.0054457635,0.00014022485,0.0000063789457,0.00040873443,0.9030858,0.00014286091,0.00039653588,0.0017424639,0.0885894,0.000013550891],"about_ca_topic_score_codex":0.13732925,"about_ca_topic_score_gemma":0.26376,"teacher_disagreement_score":0.9879498,"about_ca_system_score_codex":0.006640235,"about_ca_system_score_gemma":0.0027133345,"threshold_uncertainty_score":0.2730598},"labels":[],"label_agreement":null},{"id":"W4389965030","doi":"10.16995/pr.9171","title":"‘Information, Please’: Brian O’Nolan and the Radio","year":2023,"lang":"en","type":"article","venue":"The Parish Review Journal of Flann O Brien Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Irish; Context (archaeology); Scholarship; Radio program; Amateur; Audience measurement; Media studies; History; Art; Literature; Art history; Sociology; Philosophy; Political science; Law","score_opus":0.0536641511392219,"score_gpt":0.27982296828311715,"score_spread":0.22615881714389524,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4389965030","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.026246544,0.013500298,0.0026244405,0.3106655,0.007500173,0.00003055008,0.000080645485,0.00012793337,0.63922393],"genre_scores_gemma":[0.5332365,0.008372078,0.0021008076,0.052687544,0.0048358683,0.00007177889,0.00006597677,0.00056261965,0.39806694],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99640536,0.0021418163,0.000045596873,0.00029789578,0.0007296599,0.00037968688],"domain_scores_gemma":[0.9964275,0.0022395733,0.00017934357,0.00015914527,0.0005240395,0.00047041776],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029009255,0.00045255804,0.00025303886,0.0012495475,0.010821878,0.011157269,0.001139719,0.002469176,0.009926356],"category_scores_gemma":[0.007191888,0.00028948992,0.00015638862,0.0011369268,0.016826877,0.006465272,0.0029095197,0.0054479595,0.0028860536],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007453323,0.0000342469,0.00058954814,0.00013374782,0.000005327144,0.00047095216,0.20317592,0.000078316836,0.00041640733,0.2849482,0.47626814,0.03380456],"study_design_scores_gemma":[0.0000033278145,0.000009298358,0.00027589896,0.00013627361,0.0000016819827,0.00014932256,0.04202213,0.000041248295,0.0000940084,0.0062217945,0.9510313,0.0000136926465],"about_ca_topic_score_codex":0.034700066,"about_ca_topic_score_gemma":0.054271284,"teacher_disagreement_score":0.034700066,"about_ca_system_score_codex":0.006602357,"about_ca_system_score_gemma":0.0035193826,"threshold_uncertainty_score":0.06899619},"labels":[],"label_agreement":null},{"id":"W4390031132","doi":"10.25071/2369-7326.40350","title":"Dangerous or in Danger?","year":2023,"lang":"en","type":"article","venue":"Pivot A Journal of Interdisciplinary Studies and Thought","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"White (mutation); Storytelling; Context (archaeology); Character (mathematics); Space (punctuation); Art; Aesthetics; Sociology; History; Literature; Philosophy; Narrative; Linguistics; Archaeology","score_opus":0.07678313137218273,"score_gpt":0.3307587265999595,"score_spread":0.25397559522777674,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390031132","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017693397,0.037337996,0.0033102666,0.5703593,0.010659611,0.000043999815,0.00015698848,0.00009274192,0.36034572],"genre_scores_gemma":[0.5316015,0.027547589,0.0026437463,0.12877229,0.003741207,0.00011825469,0.00014384618,0.00026105734,0.3051705],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9981652,0.0010706092,0.000030162604,0.00021727599,0.00026532804,0.00025149924],"domain_scores_gemma":[0.99796605,0.0008533918,0.00016175969,0.000077972,0.0003425416,0.0005982706],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020453774,0.0006453955,0.00035334256,0.0011436385,0.008448439,0.007958591,0.00081518764,0.0033109512,0.015148765],"category_scores_gemma":[0.0066774692,0.0002455986,0.00026785693,0.00055994675,0.012264827,0.00932366,0.0035605324,0.0059369258,0.003035172],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052320407,0.00003136159,0.0010313967,0.000112315305,0.000008989299,0.00042261396,0.05623656,0.00004884124,0.0001686083,0.36977878,0.54081625,0.03129204],"study_design_scores_gemma":[0.000005114205,0.000014066432,0.000684893,0.00026258902,0.000004007767,0.00039921462,0.04367201,0.00006891225,0.00010170952,0.037336793,0.91743666,0.000014093704],"about_ca_topic_score_codex":0.018185653,"about_ca_topic_score_gemma":0.032175973,"teacher_disagreement_score":0.018185653,"about_ca_system_score_codex":0.0049694832,"about_ca_system_score_gemma":0.0029059004,"threshold_uncertainty_score":0.050677657},"labels":[],"label_agreement":null},{"id":"W4390048362","doi":"10.2478/bsmr-2023-0007","title":"Embodied Figuration and Character Emotion in Cinema: The Role of Embodied Affective Cues","year":2023,"lang":"en","type":"article","venue":"Baltic screen media review./Baltic screen media review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Embodied cognition; Movie theater; Literal and figurative language; Psychology; Feeling; Character (mathematics); Aesthetics; Affect (linguistics); Metaphor; Meaning (existential); Framing (construction); Metonymy; Cognitive psychology; Social psychology; Communication; Art; Linguistics; Visual arts; Computer science","score_opus":0.03679766711169493,"score_gpt":0.2671063892414697,"score_spread":0.23030872212977474,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390048362","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13078474,0.69108236,0.0056782966,0.016636163,0.0015667891,0.00005675235,0.00014636993,0.000034092758,0.15401441],"genre_scores_gemma":[0.8241499,0.16641589,0.0014038626,0.0017038883,0.0010647328,0.000036145146,0.000060014634,0.000015182875,0.0051504252],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.99892706,0.00078759727,0.000034121553,0.000067046865,0.0001332222,0.000050801948],"domain_scores_gemma":[0.99685585,0.0022340692,0.00044901625,0.00008326896,0.00029330078,0.00008440049],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013513004,0.00017329412,0.0002393151,0.0010541019,0.00032402936,0.003578685,0.00032540047,0.0008442554,0.003787062],"category_scores_gemma":[0.005240139,0.0000961367,0.0002148699,0.0007209899,0.0020488075,0.001966611,0.0009456483,0.00086097367,0.00021542974],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00054931175,0.00013519292,0.0077772867,0.011576017,0.0003211247,0.0009586482,0.025681075,0.0008688164,0.0054863826,0.2755324,0.021423748,0.64969003],"study_design_scores_gemma":[0.000102201375,0.00044381214,0.09617283,0.014732761,0.00034221288,0.0024402407,0.020697413,0.00089942943,0.0027536629,0.050170854,0.81115556,0.00008912708],"about_ca_topic_score_codex":0.0012312538,"about_ca_topic_score_gemma":0.001580882,"teacher_disagreement_score":0.003787062,"about_ca_system_score_codex":0.00081627595,"about_ca_system_score_gemma":0.00040392103,"threshold_uncertainty_score":0.012669027},"labels":[],"label_agreement":null},{"id":"W4390079873","doi":"10.32316/hse-rhe.2023.5229","title":"Gavin Butt, No Machos or Pop Stars: When the Leeds Art Experiment went Punk","year":2023,"lang":"en","type":"article","venue":"Historical Studies in Education / Revue d histoire de l éducation","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Punk; Art; Stars; Art history; Visual arts; Astronomy; Physics","score_opus":0.15480290522419943,"score_gpt":0.3225758951646542,"score_spread":0.16777298994045475,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390079873","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1775003,0.004103683,0.0007531441,0.120300755,0.0018109994,0.00004272699,0.00034648526,0.000063651736,0.6950784],"genre_scores_gemma":[0.77181804,0.001196693,0.0003165419,0.0100860065,0.00019081592,0.00008435326,0.000071184884,0.00011071396,0.21612556],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985233,0.000852021,0.000027554373,0.00019182607,0.00017792909,0.00022747845],"domain_scores_gemma":[0.99785477,0.0012391463,0.00012223102,0.00024353812,0.00018371285,0.0003565829],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023492286,0.00021988167,0.00023164223,0.00036801014,0.012533944,0.008849592,0.0006039482,0.0022067954,0.026207086],"category_scores_gemma":[0.004596686,0.00029056915,0.00016960713,0.0006055889,0.010065811,0.0058866055,0.0033864747,0.004596483,0.0016253245],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00049999,0.00015990307,0.0070966035,0.00012557735,0.000019098115,0.00043498006,0.11229868,0.00011492698,0.0008951316,0.64796615,0.20000459,0.030384447],"study_design_scores_gemma":[0.00006898278,0.00007823955,0.013914301,0.00025777167,0.000013084582,0.00009893831,0.13086462,0.00012698674,0.0013008786,0.043428767,0.80979997,0.000047440433],"about_ca_topic_score_codex":0.016004069,"about_ca_topic_score_gemma":0.06666794,"teacher_disagreement_score":0.026207086,"about_ca_system_score_codex":0.0040676952,"about_ca_system_score_gemma":0.0018396132,"threshold_uncertainty_score":0.08767146},"labels":[],"label_agreement":null},{"id":"W4390105176","doi":"10.1080/19475020.2023.2296161","title":"The Weekly War: How the Saturday Evening Post Reported World War I","year":2023,"lang":"en","type":"article","venue":"First World War Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Evening; First world war; World War II; Art; Spanish Civil War; History; Ancient history; Archaeology; Physics","score_opus":0.05993905369943474,"score_gpt":0.2548174608526165,"score_spread":0.19487840715318172,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390105176","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15554431,0.011715286,0.0010106141,0.29486507,0.022487065,0.00006212454,0.0024126524,0.00017258876,0.5117303],"genre_scores_gemma":[0.63666326,0.0131580485,0.00050118234,0.04060008,0.005299392,0.00010172925,0.0015749579,0.0008908421,0.3012106],"study_design_codex":"not_applicable","study_design_gemma":"observational","domain_scores_codex":[0.9983829,0.0007229095,0.000048751157,0.0001293014,0.00035586688,0.00036024838],"domain_scores_gemma":[0.99705625,0.00084452686,0.00045991992,0.000116022995,0.0007271777,0.0007962088],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002023607,0.0002987911,0.00025714835,0.0012684665,0.007759648,0.014537614,0.00071776565,0.0022639849,0.031257566],"category_scores_gemma":[0.012657987,0.00035164724,0.0002137591,0.0022666673,0.0029009997,0.0061421515,0.002875429,0.0046577905,0.006144722],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052106185,0.00004200447,0.0074987267,0.00012805383,0.000022015036,0.00058417214,0.13422686,0.00005634543,0.00015400465,0.030102456,0.7925048,0.03462838],"study_design_scores_gemma":[0.000004579028,0.000020653857,0.013929415,0.00033115738,0.000009735566,0.0002161464,0.18192929,0.000055171473,0.00011388215,0.0019602443,0.80139565,0.000034015324],"about_ca_topic_score_codex":0.06818441,"about_ca_topic_score_gemma":0.14541465,"teacher_disagreement_score":0.06818441,"about_ca_system_score_codex":0.0041550854,"about_ca_system_score_gemma":0.0029670082,"threshold_uncertainty_score":0.13557506},"labels":[],"label_agreement":null},{"id":"W4390341092","doi":"10.1215/00182168-11085389","title":"World Socialist Cinema: Alliances, Affinities, and Solidarities in the Global Cold War","year":2023,"lang":"en","type":"article","venue":"Hispanic American Historical Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia, Okanagan Campus; University of British Columbia","funders":"","keywords":"Icon; Movie theater; Download; Citation; Media studies; History; Art history; Library science; Political science; Sociology; World Wide Web; Computer science","score_opus":0.05333934241028124,"score_gpt":0.26935253849124036,"score_spread":0.21601319608095912,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390341092","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.36128196,0.024570016,0.0030734553,0.023988403,0.003632848,0.00010215255,0.00027089103,0.00020196581,0.5828783],"genre_scores_gemma":[0.9450249,0.0061957887,0.0008690853,0.0013238334,0.0010256273,0.00006120969,0.00008122836,0.00014254554,0.045275785],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993025,0.00046045388,0.00001174453,0.00004930444,0.000062662555,0.000113234266],"domain_scores_gemma":[0.9994105,0.0003294849,0.000058293197,0.000035907884,0.00003572722,0.00013009805],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012990964,0.00069968286,0.00023286816,0.0015705094,0.0058116415,0.00793944,0.0005631783,0.0011263062,0.008998832],"category_scores_gemma":[0.0011880356,0.00031377914,0.00027193,0.001167495,0.00631936,0.0041493657,0.0056561283,0.0020935733,0.0005473165],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000092221904,0.00004714139,0.0020426926,0.00034071557,0.000022299786,0.0011875993,0.8117751,0.00013814592,0.0018786275,0.10429475,0.04796767,0.030212969],"study_design_scores_gemma":[0.000013888639,0.000048554353,0.0045983386,0.0003580025,0.000020197254,0.0006483185,0.3543556,0.00014874559,0.00054864696,0.0063915593,0.6328487,0.000019526216],"about_ca_topic_score_codex":0.002536004,"about_ca_topic_score_gemma":0.007373695,"teacher_disagreement_score":0.008998832,"about_ca_system_score_codex":0.0017818154,"about_ca_system_score_gemma":0.0005972642,"threshold_uncertainty_score":0.0301041},"labels":[],"label_agreement":null},{"id":"W4390564856","doi":"10.1017/9781009419192.005","title":"Global Hollywood","year":2024,"lang":"en","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Mythology; Modernism (music); Interpretation (philosophy); Meaning (existential); Art; Art history; Vernacular; Literature; History; Philosophy; Epistemology","score_opus":0.030298308189118422,"score_gpt":0.18933895932980543,"score_spread":0.15904065114068702,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390564856","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031714076,0.008406011,0.00039746813,0.0025857317,0.0011916626,0.0000084103085,0.00019367946,0.000107677,0.9839379],"genre_scores_gemma":[0.02828577,0.006867883,0.00031439785,0.0012052491,0.00040167136,0.00001559103,0.0002185812,0.00020802736,0.96248287],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998062,0.000019120978,0.000003982789,0.000050416576,0.00006868978,0.000051643587],"domain_scores_gemma":[0.99985087,0.000035099998,0.000010361717,0.000024411476,0.00002522744,0.000053995434],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00019828003,0.00043809216,0.00019239419,0.0011023469,0.0017049944,0.005281742,0.000398808,0.00069270376,0.10150844],"category_scores_gemma":[0.00042874904,0.00016154688,0.0001610911,0.0018374368,0.0012002147,0.003424321,0.0021130855,0.0017895193,0.016866796],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043456646,0.00003728782,0.00050376495,0.00025088337,0.0000058408054,0.00036232182,0.0049599004,0.00011197644,0.0005265368,0.3938612,0.44239023,0.15694661],"study_design_scores_gemma":[7.7222643e-7,0.0000026602065,0.00030492965,0.000049021004,7.773803e-7,0.00005969757,0.00027904712,0.0000123426325,0.00005622312,0.0016887257,0.99754447,0.0000013171],"about_ca_topic_score_codex":0.005617564,"about_ca_topic_score_gemma":0.020511506,"teacher_disagreement_score":0.10150844,"about_ca_system_score_codex":0.0020320832,"about_ca_system_score_gemma":0.001207303,"threshold_uncertainty_score":0.33957958},"labels":[],"label_agreement":null},{"id":"W4390707457","doi":"10.33137/rr.v46i2.42292","title":"Bragg, Melvyn, host; Simon Tillotson, producer. In Our Time","year":2024,"lang":"en","type":"article","venue":"Renaissance and Reformation","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Calgary","funders":"","keywords":"Host (biology); Biology; Ecology","score_opus":0.01711622612329537,"score_gpt":0.22936140046060188,"score_spread":0.21224517433730652,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390707457","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010581738,0.1588911,0.0025279063,0.44924706,0.07718104,0.000046308214,0.0011797972,0.0008564083,0.30901217],"genre_scores_gemma":[0.0075611095,0.02920986,0.0009660289,0.01510213,0.0068184915,0.000018800216,0.000237637,0.00037153182,0.93971443],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999241,0.00010267057,0.00002836955,0.00017642972,0.0003967644,0.000054740827],"domain_scores_gemma":[0.9972126,0.0006775633,0.00015549142,0.00009687203,0.0012914718,0.0005660471],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009950654,0.00067108625,0.0004156037,0.0014679142,0.0017481935,0.0043472853,0.0006992572,0.002456253,0.12558886],"category_scores_gemma":[0.005300059,0.00043293159,0.00015249835,0.0016321898,0.0008695232,0.0035489968,0.0011507043,0.003250793,0.07577834],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000085284155,0.0000024884423,0.00005584227,0.000034014713,6.2747796e-7,0.000020598427,0.00010964072,0.000008474758,0.00007889793,0.0023272396,0.9812531,0.016100658],"study_design_scores_gemma":[0.0000018957896,0.000001479662,0.00014811177,0.000033652967,0.0000010323452,0.00002521746,0.00017375869,0.000017282651,0.000055851848,0.00049834384,0.9990408,0.000002455832],"about_ca_topic_score_codex":0.014267415,"about_ca_topic_score_gemma":0.044817887,"teacher_disagreement_score":0.12558886,"about_ca_system_score_codex":0.0014922197,"about_ca_system_score_gemma":0.0016338488,"threshold_uncertainty_score":0.42013663},"labels":[],"label_agreement":null},{"id":"W4390910765","doi":"10.34135/mmidentity-2023-02","title":"Promotional activities of the film and their use to increase public awareness and interest","year":2023,"lang":"en","type":"article","venue":"Media & Marketing Identity","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Promotion (chess); Advertising; Social media; CITES; Public interest; Order (exchange); Space (punctuation); Value (mathematics); Public relations; Work (physics); Business; Marketing; Political science; Engineering; Computer science; Politics; World Wide Web","score_opus":0.07255259346649247,"score_gpt":0.24322130277942933,"score_spread":0.17066870931293687,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4390910765","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87735355,0.0024592448,0.00097232184,0.00043104342,0.00008544873,0.00025120957,0.0005026312,0.000051559236,0.11789297],"genre_scores_gemma":[0.98882294,0.0016688087,0.001704043,0.00004198062,0.00010011257,0.00006416328,0.00023545884,0.00001831802,0.0073441523],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.9982697,0.0007775899,0.00006854453,0.00012510255,0.0006086273,0.00015052174],"domain_scores_gemma":[0.9928859,0.0038812724,0.0012711572,0.0003493768,0.0010921238,0.00052010344],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024538916,0.0003423527,0.00022289572,0.0028185612,0.0009460196,0.0035081194,0.00034990214,0.00032451627,0.004383976],"category_scores_gemma":[0.0074502663,0.00014786018,0.00027199276,0.0015769536,0.00081799127,0.0010750665,0.0008722362,0.0005873414,0.00056104735],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0019091902,0.0016997313,0.3402172,0.0028903368,0.000381539,0.0009506876,0.06285456,0.0008578359,0.024311373,0.015633613,0.0058518555,0.54244214],"study_design_scores_gemma":[0.000046680267,0.001639346,0.87187123,0.0008776259,0.00030258697,0.0006822246,0.03202242,0.0010495527,0.01080398,0.0010893608,0.07953911,0.00007587064],"about_ca_topic_score_codex":0.004866147,"about_ca_topic_score_gemma":0.007633012,"teacher_disagreement_score":0.004866147,"about_ca_system_score_codex":0.0010663032,"about_ca_system_score_gemma":0.00066845166,"threshold_uncertainty_score":0.014665902},"labels":[],"label_agreement":null},{"id":"W4391028468","doi":"10.17742/image29700","title":"Becoming Matter/Becoming Mother: Wilding in Ali Abbasi’s Border (Gräns)","year":2023,"lang":"en","type":"article","venue":"Imaginations Journal of Cross-Cultural Image Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Materialism; Anthropocentrism; Dominion; Openness to experience; Sociology; State (computer science); Aesthetics; Philosophy; Epistemology; Computer science; Environmental ethics; Psychology; Political science; Law; Social psychology","score_opus":0.07102085845519145,"score_gpt":0.4063972991088706,"score_spread":0.33537644065367916,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391028468","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62137955,0.0045109894,0.0023134246,0.030102802,0.0012594189,0.000049590697,0.00018555085,0.000083038496,0.34011558],"genre_scores_gemma":[0.96821743,0.0010043025,0.00076719414,0.0017098218,0.00007597436,0.000013818182,0.000032259122,0.00005969168,0.028119566],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99929667,0.0003800761,0.0000137496145,0.000084003106,0.00008320548,0.0001423814],"domain_scores_gemma":[0.99924266,0.00036256405,0.000117666794,0.00005131469,0.00007539672,0.00015040186],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014613353,0.00038941225,0.0003498189,0.0005357274,0.0062944395,0.0068533584,0.00064455916,0.0018419262,0.0053991],"category_scores_gemma":[0.002851749,0.00026303763,0.00017316215,0.0006895291,0.0060269656,0.004091177,0.0037287218,0.0029983933,0.00092146127],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034808484,0.00010171832,0.0029177035,0.00025288138,0.000017440796,0.003272068,0.757549,0.00015625087,0.0041820323,0.18347998,0.024115514,0.023607356],"study_design_scores_gemma":[0.00001948858,0.000077101766,0.005626213,0.00029107768,0.000020980358,0.0013431112,0.45642275,0.00018569877,0.0008668185,0.007894261,0.52721244,0.00004003311],"about_ca_topic_score_codex":0.007216846,"about_ca_topic_score_gemma":0.018619126,"teacher_disagreement_score":0.007216846,"about_ca_system_score_codex":0.002843425,"about_ca_system_score_gemma":0.00077815977,"threshold_uncertainty_score":0.020630598},"labels":[],"label_agreement":null},{"id":"W4391098053","doi":"10.4337/9781803924410.00009","title":"The show's over at Cirque du Soleil","year":2024,"lang":"en","type":"book-chapter","venue":"Edward Elgar Publishing eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cirque; Art; Geology; Geomorphology","score_opus":0.024398973373385993,"score_gpt":0.19886054188039706,"score_spread":0.17446156850701106,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391098053","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013864664,0.008168256,0.0002911447,0.0051872665,0.0065886676,0.000024608962,0.00040205335,0.00041927994,0.97753227],"genre_scores_gemma":[0.0060762633,0.0023163108,0.0001883545,0.0006260973,0.00048253112,0.000008215085,0.00014564683,0.00023441344,0.9899222],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996854,0.000031184438,0.000004590454,0.000042345324,0.00015338763,0.00008309659],"domain_scores_gemma":[0.99966836,0.000047295616,0.000010617118,0.000023487004,0.00013821665,0.00011201605],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00038111658,0.0009752728,0.00035493766,0.0014863422,0.0057494533,0.005409142,0.00070127257,0.0012776849,0.2108307],"category_scores_gemma":[0.0009218209,0.00043101847,0.00056966674,0.00093740615,0.0009747354,0.0021219563,0.0016846852,0.0029436343,0.04400561],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003183449,0.000015093829,0.00012886246,0.000064401895,0.0000029595278,0.000121623496,0.00048406568,0.00005480646,0.000282541,0.018244516,0.9484161,0.032153152],"study_design_scores_gemma":[0.0000013569934,0.0000030058477,0.00019546278,0.000033997065,7.905564e-7,0.000046260833,0.00012031702,0.000019416273,0.000046485275,0.00017490104,0.99935526,0.0000027162566],"about_ca_topic_score_codex":0.14901406,"about_ca_topic_score_gemma":0.37822574,"teacher_disagreement_score":0.2108307,"about_ca_system_score_codex":0.005256597,"about_ca_system_score_gemma":0.004110093,"threshold_uncertainty_score":0.70529896},"labels":[],"label_agreement":null},{"id":"W4391101837","doi":"10.1201/9781032694382-4","title":"The National Film Board of Canada","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":16,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science; History","score_opus":0.028578027811228184,"score_gpt":0.19746825783240854,"score_spread":0.16889023002118037,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391101837","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017885042,0.011132703,0.00032351114,0.010756923,0.0027411755,0.00007811362,0.0033543298,0.00017179598,0.9696529],"genre_scores_gemma":[0.005957134,0.0024492464,0.00021428143,0.00064473593,0.00008449303,0.000015237819,0.000588979,0.000055824385,0.9899901],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990865,0.000036995007,0.000020988733,0.00011208695,0.00052398123,0.00021958078],"domain_scores_gemma":[0.9981665,0.00008134009,0.000038221737,0.00006071339,0.0013846027,0.00026869957],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00067499094,0.00061214867,0.0004773196,0.0021107502,0.006964214,0.006900008,0.0009593561,0.0018092782,0.11635222],"category_scores_gemma":[0.001959809,0.0004538588,0.00025999648,0.0029401837,0.0008680335,0.0013812904,0.0007492604,0.0021134526,0.017755542],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014469423,0.000009500734,0.0002843631,0.000047090725,0.0000024833523,0.00003805251,0.00015361379,0.00007655244,0.00010922152,0.03335913,0.9242438,0.041661736],"study_design_scores_gemma":[0.0000011223774,0.0000010945452,0.0006523906,0.000029530534,0.0000013843038,0.0000067540227,0.00010972573,0.000030200372,0.000033636406,0.0003735294,0.9987576,0.0000030152153],"about_ca_topic_score_codex":0.9590628,"about_ca_topic_score_gemma":0.97906464,"teacher_disagreement_score":0.11635222,"about_ca_system_score_codex":0.030432694,"about_ca_system_score_gemma":0.06212174,"threshold_uncertainty_score":0.389237},"labels":[],"label_agreement":null},{"id":"W4391111297","doi":"10.1201/9781032694382","title":"Women and Film Animation","year":2024,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Animation; Computer graphics (images); Computer science; Art","score_opus":0.02723332312221399,"score_gpt":0.204658507618896,"score_spread":0.17742518449668201,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391111297","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01530644,0.05090754,0.0013538781,0.032025967,0.0025785957,0.00004948095,0.00022396113,0.0001304989,0.8974236],"genre_scores_gemma":[0.47867376,0.039524276,0.0021905813,0.0065294476,0.0015963712,0.00008778325,0.00024027862,0.00030959552,0.47084796],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983084,0.0007955523,0.00003868501,0.00015329663,0.00041722954,0.0002868255],"domain_scores_gemma":[0.9989863,0.00037574238,0.00008997003,0.00008434751,0.00021974876,0.00024395592],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012299194,0.0004830629,0.00022849534,0.0016710915,0.0091352835,0.011492987,0.00080564286,0.0014506619,0.018872662],"category_scores_gemma":[0.0036397218,0.0001624592,0.00016982316,0.0021340977,0.0094128605,0.0025575673,0.0032595557,0.0015031892,0.0016510661],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004539158,0.000026092333,0.0018889231,0.00033628332,0.000012143993,0.0002677894,0.08235954,0.00019293463,0.00043111987,0.5496895,0.23402339,0.130727],"study_design_scores_gemma":[0.0000018447882,0.0000038062549,0.00084400777,0.00020617603,0.0000032357161,0.00007763934,0.0065087583,0.000030959643,0.00008786438,0.003885801,0.98834586,0.000003999816],"about_ca_topic_score_codex":0.22773337,"about_ca_topic_score_gemma":0.306225,"teacher_disagreement_score":0.22773337,"about_ca_system_score_codex":0.015562266,"about_ca_system_score_gemma":0.008061335,"threshold_uncertainty_score":0.45281565},"labels":[],"label_agreement":null},{"id":"W4391213183","doi":"10.5117/9789463724067_ch10","title":"British Cultural Studies, Film History, and Forgotten Horizons of Cultural Analysis","year":2023,"lang":"en","type":"book-chapter","venue":"Amsterdam University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Cultural history; History; Economic history","score_opus":0.0646065276260587,"score_gpt":0.21837603981065898,"score_spread":0.15376951218460028,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391213183","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.037412286,0.15354696,0.0025713223,0.028383648,0.0015902342,0.000025337458,0.00019171674,0.00006585953,0.7762127],"genre_scores_gemma":[0.66004705,0.10061403,0.0026406513,0.0031420311,0.0009236479,0.000051590392,0.00022671573,0.00018923948,0.23216505],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99826425,0.001020911,0.000056468387,0.00013166809,0.00035128003,0.00017540476],"domain_scores_gemma":[0.9976712,0.0016100074,0.00008944037,0.00014962512,0.00029512608,0.00018469822],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016369411,0.00031232327,0.00027585003,0.0032776666,0.004503918,0.009075658,0.00052954484,0.001144626,0.009213662],"category_scores_gemma":[0.0033980361,0.0002538002,0.00012288966,0.0057119974,0.01143797,0.0040022945,0.0015462642,0.0018935014,0.00068412506],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003295965,0.000018436605,0.0010033858,0.000336917,0.000009034579,0.00028298984,0.06943678,0.00011362597,0.00034931937,0.7749573,0.05585804,0.09760127],"study_design_scores_gemma":[0.0000030707192,0.000011308386,0.003942147,0.0005241166,0.0000064843534,0.00015372358,0.022490324,0.00009862028,0.00018604228,0.047769006,0.9248039,0.000011169872],"about_ca_topic_score_codex":0.11249011,"about_ca_topic_score_gemma":0.2128604,"teacher_disagreement_score":0.11249011,"about_ca_system_score_codex":0.013442199,"about_ca_system_score_gemma":0.0032501484,"threshold_uncertainty_score":0.22367072},"labels":[],"label_agreement":null},{"id":"W4391240937","doi":"10.5117/9789463724067_ch06","title":"Defeats that Were Almost Victories","year":2023,"lang":"en","type":"book-chapter","venue":"Amsterdam University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"History","score_opus":0.06752473917874144,"score_gpt":0.1984840096021951,"score_spread":0.13095927042345365,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391240937","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.046668943,0.016100477,0.007952303,0.15736392,0.0207106,0.000084831314,0.0005309912,0.00027945294,0.7503085],"genre_scores_gemma":[0.6412948,0.008115256,0.0027208365,0.041452974,0.0064361463,0.00011379427,0.00034974553,0.0007286216,0.2987879],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9943668,0.0020338118,0.00022590869,0.0012177752,0.0012886139,0.0008670369],"domain_scores_gemma":[0.9961158,0.0012679519,0.0003164505,0.0007442663,0.0009474615,0.0006080115],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005574092,0.0007197603,0.00065605383,0.0010866993,0.006400512,0.009732579,0.000978764,0.0031962304,0.02221515],"category_scores_gemma":[0.016759478,0.00033079073,0.0004645922,0.00085839536,0.011662141,0.011155048,0.005893077,0.008621056,0.0068105017],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012324909,0.000046134654,0.0007935367,0.00014394378,0.000053145242,0.0002705555,0.010953878,0.00013811422,0.000508397,0.79817617,0.14216992,0.046622988],"study_design_scores_gemma":[0.0000068584636,0.000032781027,0.0005641253,0.00018092676,0.000011177119,0.00013551873,0.005765407,0.0000816947,0.00028107248,0.048679423,0.9442454,0.000015686639],"about_ca_topic_score_codex":0.0029075104,"about_ca_topic_score_gemma":0.004033744,"teacher_disagreement_score":0.02221515,"about_ca_system_score_codex":0.0036059476,"about_ca_system_score_gemma":0.00161052,"threshold_uncertainty_score":0.0743171},"labels":[],"label_agreement":null},{"id":"W4391303361","doi":"10.32920/25106078.v1","title":"Repetition, Compulsion, and Representation in Atom Egoyan’s Films","year":2024,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Repetition (rhetorical device); Representation (politics); Atom (system on chip); Computer science; Linguistics; Philosophy; Political science; Embedded system; Politics","score_opus":0.03811728357031133,"score_gpt":0.26192813206885474,"score_spread":0.2238108484985434,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391303361","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3485043,0.003498692,0.003271742,0.014785034,0.0009372862,0.000052003463,0.00006954321,0.00015749235,0.6287238],"genre_scores_gemma":[0.9375124,0.00060346274,0.00066686445,0.00094485085,0.00015144242,0.00002001519,0.000034771252,0.00008940806,0.059976753],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978284,0.001168337,0.00006030402,0.00018797719,0.0004882835,0.0002666197],"domain_scores_gemma":[0.99864334,0.0006366468,0.00022645268,0.00014143856,0.00017587496,0.0001763163],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011793554,0.0003257062,0.00017854024,0.0006224927,0.0075386455,0.0061075,0.000819588,0.0013266001,0.004454624],"category_scores_gemma":[0.0043338593,0.00024212062,0.00016322313,0.00076063076,0.009601169,0.0030271441,0.003809534,0.0027453941,0.00042915222],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000101401405,0.000044811943,0.0015313214,0.000074392105,0.000010441595,0.0014077353,0.6806881,0.00010916009,0.0012763976,0.26327953,0.029210627,0.022266151],"study_design_scores_gemma":[0.000030794792,0.00008540171,0.008408474,0.00026561652,0.000020340727,0.0025128312,0.24485627,0.00058453385,0.0017852345,0.023302129,0.71807253,0.0000757946],"about_ca_topic_score_codex":0.028203867,"about_ca_topic_score_gemma":0.042509433,"teacher_disagreement_score":0.028203867,"about_ca_system_score_codex":0.0052724387,"about_ca_system_score_gemma":0.0016084043,"threshold_uncertainty_score":0.056079447},"labels":[],"label_agreement":null},{"id":"W4391303383","doi":"10.32920/25106078","title":"Repetition, Compulsion, and Representation in Atom Egoyan’s Films","year":2024,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Repetition (rhetorical device); Representation (politics); Atom (system on chip); Materials science; Mathematics; Pure mathematics; Physics; Computer science; Political science; Philosophy; Linguistics; Parallel computing","score_opus":0.03811728357031133,"score_gpt":0.26192813206885474,"score_spread":0.2238108484985434,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391303383","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3485043,0.003498692,0.003271742,0.014785034,0.0009372862,0.000052003463,0.00006954321,0.00015749235,0.6287238],"genre_scores_gemma":[0.9375124,0.00060346274,0.00066686445,0.00094485085,0.00015144242,0.00002001519,0.000034771252,0.00008940806,0.059976753],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978284,0.001168337,0.00006030402,0.00018797719,0.0004882835,0.0002666197],"domain_scores_gemma":[0.99864334,0.0006366468,0.00022645268,0.00014143856,0.00017587496,0.0001763163],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011793554,0.0003257062,0.00017854024,0.0006224927,0.0075386455,0.0061075,0.000819588,0.0013266001,0.004454624],"category_scores_gemma":[0.0043338593,0.00024212062,0.00016322313,0.00076063076,0.009601169,0.0030271441,0.003809534,0.0027453941,0.00042915222],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000101401405,0.000044811943,0.0015313214,0.000074392105,0.000010441595,0.0014077353,0.6806881,0.00010916009,0.0012763976,0.26327953,0.029210627,0.022266151],"study_design_scores_gemma":[0.000030794792,0.00008540171,0.008408474,0.00026561652,0.000020340727,0.0025128312,0.24485627,0.00058453385,0.0017852345,0.023302129,0.71807253,0.0000757946],"about_ca_topic_score_codex":0.028203867,"about_ca_topic_score_gemma":0.042509433,"teacher_disagreement_score":0.028203867,"about_ca_system_score_codex":0.0052724387,"about_ca_system_score_gemma":0.0016084043,"threshold_uncertainty_score":0.056079447},"labels":[],"label_agreement":null},{"id":"W4391303799","doi":"10.32920/25105853.v1","title":"Speaking a/part: Modalities of Translation in Atom Egoyan’s Work","year":2024,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Modalities; Translation (biology); Work (physics); Atom (system on chip); Computer science; Linguistics; Sociology; Philosophy; Engineering; Chemistry; Mechanical engineering; Social science","score_opus":0.07704727455094201,"score_gpt":0.252513219304904,"score_spread":0.175465944753962,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391303799","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05647563,0.017892133,0.0049064304,0.040384177,0.0020048372,0.00007100816,0.00009189806,0.000113971015,0.8780599],"genre_scores_gemma":[0.9237029,0.0045100786,0.0021560646,0.0059944307,0.00027781562,0.000045825174,0.000039078215,0.00017006157,0.063103795],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9936055,0.0033796693,0.0002141003,0.0005766142,0.00092142035,0.0013026593],"domain_scores_gemma":[0.9978928,0.0011683343,0.00009982486,0.00015622287,0.0003505377,0.00033226277],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004431297,0.0006486687,0.0006112258,0.0016399277,0.030276585,0.011615681,0.0013127201,0.0033368103,0.00429388],"category_scores_gemma":[0.0043723905,0.00045958222,0.00035030415,0.0021532408,0.043381073,0.007071659,0.0066783447,0.005639309,0.0009350486],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037028243,0.000017656757,0.00030570923,0.00008023855,0.000003954187,0.0004818495,0.32519373,0.000047004512,0.00025288944,0.6483185,0.014324719,0.0109367585],"study_design_scores_gemma":[0.000009771012,0.000017189823,0.0009545158,0.00033504548,0.000012292735,0.0006261306,0.19964293,0.00019418479,0.000593166,0.06234968,0.7352159,0.00004920833],"about_ca_topic_score_codex":0.25157586,"about_ca_topic_score_gemma":0.28410223,"teacher_disagreement_score":0.25157586,"about_ca_system_score_codex":0.02818056,"about_ca_system_score_gemma":0.01619259,"threshold_uncertainty_score":0.50022304},"labels":[],"label_agreement":null},{"id":"W4391303826","doi":"10.32920/25105853","title":"Speaking a/part: Modalities of Translation in Atom Egoyan’s Work","year":2024,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Translation (biology); Modalities; Work (physics); Atom (system on chip); Computer science; Psychology; Linguistics; Sociology; Engineering; Chemistry; Philosophy; Mechanical engineering; Embedded system; Social science; Biochemistry","score_opus":0.07704727455094201,"score_gpt":0.252513219304904,"score_spread":0.175465944753962,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391303826","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05647563,0.017892133,0.0049064304,0.040384177,0.0020048372,0.00007100816,0.00009189806,0.000113971015,0.8780599],"genre_scores_gemma":[0.9237029,0.0045100786,0.0021560646,0.0059944307,0.00027781562,0.000045825174,0.000039078215,0.00017006157,0.063103795],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9936055,0.0033796693,0.0002141003,0.0005766142,0.00092142035,0.0013026593],"domain_scores_gemma":[0.9978928,0.0011683343,0.00009982486,0.00015622287,0.0003505377,0.00033226277],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004431297,0.0006486687,0.0006112258,0.0016399277,0.030276585,0.011615681,0.0013127201,0.0033368103,0.00429388],"category_scores_gemma":[0.0043723905,0.00045958222,0.00035030415,0.0021532408,0.043381073,0.007071659,0.0066783447,0.005639309,0.0009350486],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037028243,0.000017656757,0.00030570923,0.00008023855,0.000003954187,0.0004818495,0.32519373,0.000047004512,0.00025288944,0.6483185,0.014324719,0.0109367585],"study_design_scores_gemma":[0.000009771012,0.000017189823,0.0009545158,0.00033504548,0.000012292735,0.0006261306,0.19964293,0.00019418479,0.000593166,0.06234968,0.7352159,0.00004920833],"about_ca_topic_score_codex":0.25157586,"about_ca_topic_score_gemma":0.28410223,"teacher_disagreement_score":0.25157586,"about_ca_system_score_codex":0.02818056,"about_ca_system_score_gemma":0.01619259,"threshold_uncertainty_score":0.50022304},"labels":[],"label_agreement":null},{"id":"W4391373147","doi":"10.51644/9781771121019-fm","title":"Front Matter","year":2016,"lang":"en","type":"paratext","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Front (military); Geology; Oceanography","score_opus":0.027185594268826257,"score_gpt":0.22274902187996815,"score_spread":0.1955634276111419,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391373147","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00059523963,0.001307563,0.0003400444,0.0035129641,0.0020012276,0.000033020257,0.0014719866,0.00036179143,0.99037606],"genre_scores_gemma":[0.0028395634,0.0012206271,0.00022002449,0.0009931374,0.0005017379,0.00001827824,0.00068431784,0.00018400906,0.99333835],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992268,0.000078152,0.000045703448,0.0002572785,0.000287644,0.000104349],"domain_scores_gemma":[0.99880123,0.0002321051,0.00009906333,0.000165767,0.00034086895,0.00036091148],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0005300655,0.0009353595,0.0006689815,0.0014007319,0.0016531604,0.008137311,0.0010372521,0.0042689904,0.9039689],"category_scores_gemma":[0.0030548382,0.0002716786,0.0004174598,0.0012799931,0.0012928231,0.0036787377,0.0024513775,0.0018001992,0.8311818],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056170084,0.000049698203,0.00055570214,0.00042625208,0.0000063243006,0.00020869738,0.00022367871,0.00008458538,0.0006987357,0.02229149,0.7660793,0.20931938],"study_design_scores_gemma":[0.000003138249,0.0000058415453,0.00028403927,0.00013857588,9.66582e-7,0.00006721273,0.0000807618,0.000026321182,0.00008513323,0.0009877695,0.9983182,0.0000020092916],"about_ca_topic_score_codex":0.0016681984,"about_ca_topic_score_gemma":0.0031325894,"teacher_disagreement_score":0.09603113,"about_ca_system_score_codex":0.0013315995,"about_ca_system_score_gemma":0.0016094568,"threshold_uncertainty_score":0.13697678},"labels":[],"label_agreement":null},{"id":"W4391504120","doi":"10.1002/9781394261055.ch2","title":"D. W. Griffith and the Development of American Narrative Cinema","year":2015,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Movie theater; Narrative; Art; Literature; History; Art history","score_opus":0.02702627615903761,"score_gpt":0.2312631145290443,"score_spread":0.2042368383700067,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391504120","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.072093174,0.019424126,0.0027429361,0.06726834,0.0007724318,0.000036704332,0.00011467342,0.000091252885,0.8374564],"genre_scores_gemma":[0.866141,0.01323678,0.0017179193,0.0031431355,0.00038931778,0.000052885465,0.000041245814,0.000091283655,0.11518638],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99906856,0.00063029176,0.000016992382,0.000075870696,0.00012980819,0.000078401696],"domain_scores_gemma":[0.998047,0.0012406894,0.0001535444,0.00008689194,0.00023316711,0.00023859522],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014869134,0.00023990223,0.000116275594,0.0014592897,0.0043699793,0.0060764365,0.00043641508,0.001103561,0.0049437312],"category_scores_gemma":[0.0039704363,0.00017891773,0.000092567454,0.0011633986,0.009072391,0.003458516,0.0017674782,0.0015903384,0.00045337775],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021434573,0.000037395643,0.0015213739,0.00010774449,0.0000032889855,0.00026288675,0.101795256,0.00010885851,0.0004648075,0.77754074,0.079030015,0.0391062],"study_design_scores_gemma":[0.0000036142444,0.000013849518,0.0045179613,0.00026048793,0.0000033210513,0.00020560672,0.03596769,0.0001710754,0.00029562676,0.039965194,0.9185855,0.000010233549],"about_ca_topic_score_codex":0.015170166,"about_ca_topic_score_gemma":0.027667088,"teacher_disagreement_score":0.015170166,"about_ca_system_score_codex":0.0036535782,"about_ca_system_score_gemma":0.0020182675,"threshold_uncertainty_score":0.030163705},"labels":[],"label_agreement":null},{"id":"W4391623972","doi":"10.1080/13534645.2023.2271725","title":"From Testimony to Adaptation: Remedial Lives of Anne Frank","year":2023,"lang":"en","type":"article","venue":"Parallax","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Remedial education; Adaptation (eye); Psychoanalysis; Sociology; Psychology; Mathematics education; Neuroscience","score_opus":0.0640457483739291,"score_gpt":0.2532404603908271,"score_spread":0.189194712016898,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391623972","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0033878786,0.010831352,0.00054165727,0.92534536,0.019864393,0.000017106167,0.000043729142,0.000036970392,0.03993163],"genre_scores_gemma":[0.104765564,0.009185976,0.0011654759,0.72729564,0.010014697,0.000072227456,0.000038181748,0.00023540878,0.14722687],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99143136,0.0049167946,0.00028604304,0.0007834987,0.0017474334,0.00083491695],"domain_scores_gemma":[0.9857268,0.009051664,0.0006051826,0.0006261869,0.002638078,0.001352102],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0072619696,0.000541829,0.0006955383,0.000639982,0.018127207,0.00704352,0.0015783987,0.0114093,0.0077667288],"category_scores_gemma":[0.053351432,0.0003712794,0.00033149376,0.00065053,0.0073468173,0.0076461304,0.0053167404,0.023778241,0.0033028366],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003539049,0.00002581068,0.00021329011,0.00006894384,0.000009847107,0.0018956882,0.021448988,0.0000729158,0.00035892706,0.041560534,0.91866547,0.015644083],"study_design_scores_gemma":[0.0000042827337,0.000011492932,0.00025901615,0.0003019315,0.0000044201447,0.0007969638,0.017767005,0.00007035039,0.00019778615,0.006217697,0.974337,0.00003203876],"about_ca_topic_score_codex":0.011467609,"about_ca_topic_score_gemma":0.020567454,"teacher_disagreement_score":0.018127207,"about_ca_system_score_codex":0.0026079663,"about_ca_system_score_gemma":0.0044357125,"threshold_uncertainty_score":0.038405478},"labels":[],"label_agreement":null},{"id":"W4391705159","doi":"10.51644/9781554589364-fm","title":"Front Matter","year":2013,"lang":"en","type":"paratext","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"Canada Council for the Arts; Government of Canada","keywords":"Physics","score_opus":0.02796762232620682,"score_gpt":0.21676107718123358,"score_spread":0.18879345485502677,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391705159","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005216626,0.0011982706,0.00033348458,0.0035198766,0.001952078,0.000031264226,0.00122456,0.00032902483,0.9908897],"genre_scores_gemma":[0.0027197225,0.0011771525,0.00022931097,0.0010271419,0.0004845753,0.000018333098,0.000605144,0.00017173009,0.99356705],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928135,0.000073540985,0.000041397863,0.00024154705,0.0002659943,0.0000961244],"domain_scores_gemma":[0.9988877,0.00022421748,0.00008736897,0.00014757422,0.00032248205,0.00033061815],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00049006,0.000917109,0.0006656665,0.0013434784,0.0016877105,0.007830405,0.0010272171,0.004154985,0.9006748],"category_scores_gemma":[0.0029440722,0.00025897892,0.00039923767,0.001267932,0.0012631376,0.003576307,0.0023122511,0.0018240623,0.82478833],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050044422,0.000045892433,0.0004859234,0.00037963362,0.0000056597296,0.00019959723,0.00021372078,0.00007570432,0.00063632574,0.021737415,0.78000635,0.19616379],"study_design_scores_gemma":[0.0000029534783,0.000005471627,0.0002805376,0.00013213209,9.5312396e-7,0.00007005239,0.000082560146,0.000027309883,0.00008315984,0.0010053085,0.9983076,0.0000019422398],"about_ca_topic_score_codex":0.0017156604,"about_ca_topic_score_gemma":0.003212573,"teacher_disagreement_score":0.09932518,"about_ca_system_score_codex":0.0013522048,"about_ca_system_score_gemma":0.0015626447,"threshold_uncertainty_score":0.14167523},"labels":[],"label_agreement":null},{"id":"W4391705200","doi":"10.51644/9781554583881-005","title":"Television, Film, and the Canadian Star System","year":2012,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Star (game theory); Astronomy; Astrophysics; Physics","score_opus":0.02601569679038764,"score_gpt":0.17932003759361637,"score_spread":0.15330434080322872,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391705200","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.060509276,0.037141077,0.0005793217,0.022148255,0.00031468202,0.00002586612,0.0017240471,0.00004068598,0.87751675],"genre_scores_gemma":[0.75448555,0.04627142,0.00060447596,0.0013161396,0.00025954054,0.000014431982,0.00081309373,0.00004298018,0.19619232],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993993,0.00007131887,0.000010424321,0.000044617314,0.00025167287,0.00022272054],"domain_scores_gemma":[0.9987478,0.00019501937,0.000065471926,0.000032227443,0.0006950305,0.0002643836],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005354599,0.0003225589,0.00021501131,0.0023841315,0.0067018634,0.0070912093,0.00071079395,0.0008980446,0.022516025],"category_scores_gemma":[0.0023448104,0.00021658784,0.0001792384,0.007609801,0.002977915,0.0012405579,0.0005422907,0.0010649272,0.00055059453],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006759263,0.00002932694,0.008072689,0.00015080394,0.000022140113,0.00014742231,0.004390123,0.0013866309,0.00023770153,0.7419735,0.16099977,0.08252218],"study_design_scores_gemma":[0.000017038836,0.000021500296,0.08314385,0.00048444947,0.000054310978,0.00012330784,0.016041767,0.0019821136,0.00032283078,0.048483588,0.84923744,0.000087723834],"about_ca_topic_score_codex":0.9942569,"about_ca_topic_score_gemma":0.9967577,"teacher_disagreement_score":0.068976045,"about_ca_system_score_codex":0.068976045,"about_ca_system_score_gemma":0.05707005,"threshold_uncertainty_score":0.5004586},"labels":[],"label_agreement":null},{"id":"W4391705418","doi":"10.51644/9781554589364","title":"Two Bicycles","year":2013,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.03586286009775444,"score_gpt":0.21684872158789592,"score_spread":0.18098586149014148,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391705418","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0026179298,0.012774636,0.0025633865,0.0130194025,0.008448953,0.000069997724,0.00046860686,0.00043401503,0.9596031],"genre_scores_gemma":[0.0098776305,0.0024409897,0.0007080692,0.0026121761,0.000438285,0.000029181223,0.00021123816,0.00020783335,0.9834747],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989525,0.00018312127,0.000032908665,0.00024976346,0.0003679648,0.00021380154],"domain_scores_gemma":[0.99929047,0.00010384218,0.00002011825,0.00007081881,0.00030980003,0.00020489776],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00050804997,0.0009998479,0.00060622994,0.002476439,0.005418097,0.005934705,0.00091220293,0.0023987212,0.13548616],"category_scores_gemma":[0.0018539716,0.00048877246,0.00065948104,0.0017409374,0.0022463207,0.005336177,0.0033271287,0.004026071,0.044427473],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000556638,0.000047148264,0.00036698996,0.00012779722,0.000007411223,0.00026255805,0.0025608363,0.000150871,0.0003312845,0.15701413,0.7336112,0.10546424],"study_design_scores_gemma":[0.0000020869238,0.00000821244,0.00014163723,0.00006761005,0.0000014290652,0.00011621653,0.00030983923,0.000026465948,0.000056961937,0.0022396815,0.9970246,0.0000051843986],"about_ca_topic_score_codex":0.018661348,"about_ca_topic_score_gemma":0.043096285,"teacher_disagreement_score":0.13548616,"about_ca_system_score_codex":0.004420743,"about_ca_system_score_gemma":0.0031473897,"threshold_uncertainty_score":0.45324636},"labels":[],"label_agreement":null},{"id":"W4391705778","doi":"10.51644/9781554583881-fm","title":"Front Matter","year":2012,"lang":"en","type":"paratext","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Waterloo","funders":"Social Sciences and Humanities Research Council of Canada; Government of Canada; Canada Council for the Arts; Federation for the Humanities and Social Sciences","keywords":"Front (military); Physics; Meteorology","score_opus":0.03553593092058907,"score_gpt":0.22783731295422655,"score_spread":0.19230138203363747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391705778","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005401087,0.001239997,0.00034752203,0.0036472587,0.0019588827,0.000031899934,0.0011835444,0.00032995123,0.99072087],"genre_scores_gemma":[0.0026695891,0.0011378787,0.00022429912,0.0010243239,0.00047169178,0.000017557559,0.0005749556,0.0001591446,0.99372053],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992785,0.000072975854,0.000041900912,0.00024794368,0.0002630795,0.00009560348],"domain_scores_gemma":[0.99887913,0.00022620006,0.00008872275,0.00014807524,0.00032441333,0.00033355207],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004782847,0.0009501246,0.00068498944,0.0013136388,0.0016782377,0.007813981,0.0010443312,0.004343009,0.90252686],"category_scores_gemma":[0.0028690393,0.0002641464,0.00040647603,0.0012516052,0.0012301865,0.0035621573,0.0022783342,0.001832484,0.82837963],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053746335,0.00004891126,0.0005032006,0.00039374517,0.0000060802613,0.00021598615,0.00021206003,0.000077716024,0.00070440647,0.021356463,0.76743984,0.2089878],"study_design_scores_gemma":[0.0000031174354,0.000005902407,0.00029401088,0.00012978326,0.0000010252552,0.00007441881,0.000083138555,0.000029178811,0.00008762986,0.0009911036,0.9982986,0.0000020322893],"about_ca_topic_score_codex":0.0016069448,"about_ca_topic_score_gemma":0.0030550214,"teacher_disagreement_score":0.097473145,"about_ca_system_score_codex":0.00130934,"about_ca_system_score_gemma":0.0014627324,"threshold_uncertainty_score":0.13903356},"labels":[],"label_agreement":null},{"id":"W4391706158","doi":"10.51644/9781554581955","title":"The Gendered Screen","year":2010,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":9,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sociology; Computer science","score_opus":0.04025301228932316,"score_gpt":0.2119119320138147,"score_spread":0.17165891972449154,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391706158","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0034673556,0.0070593343,0.0015782764,0.004791873,0.0010790346,0.000028362358,0.00028952182,0.00008609068,0.9816201],"genre_scores_gemma":[0.15158084,0.01001615,0.0014707518,0.0028272641,0.0003576972,0.00006152323,0.00030462956,0.00021177865,0.8331694],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99840397,0.00019983362,0.000021131036,0.0001925847,0.00082133815,0.00036108703],"domain_scores_gemma":[0.99925274,0.00015170666,0.000031238676,0.0000745815,0.0003302523,0.00015954995],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00075181876,0.00063231675,0.00033199505,0.0019085448,0.0072098426,0.010544573,0.0010992859,0.001092866,0.02831574],"category_scores_gemma":[0.0016471674,0.00022841868,0.000305298,0.0021738042,0.011578285,0.00378686,0.0025122627,0.0016554317,0.004451872],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019904664,0.000007837452,0.0005534246,0.00008745333,0.0000032389023,0.0001809899,0.0223282,0.00006181071,0.00058955693,0.75562394,0.15348795,0.06705579],"study_design_scores_gemma":[0.0000011856557,0.0000037075727,0.0010074234,0.00009510318,0.0000022036766,0.00008540814,0.006024373,0.0000329935,0.00017077953,0.0077891843,0.9847815,0.000006163312],"about_ca_topic_score_codex":0.6066372,"about_ca_topic_score_gemma":0.6667777,"teacher_disagreement_score":0.6066372,"about_ca_system_score_codex":0.020264354,"about_ca_system_score_gemma":0.01861386,"threshold_uncertainty_score":0.7913588},"labels":[],"label_agreement":null},{"id":"W4391706230","doi":"10.51644/9781554581955-002","title":"Canadian Women Filmmakers: Re-imaging Authorship, Nationality, and Gender","year":2010,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nationality; Gender studies; Political science; History; Sociology; Immigration; Law","score_opus":0.058572566866707705,"score_gpt":0.2329579676018512,"score_spread":0.1743854007351435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391706230","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28011394,0.04950744,0.0015580317,0.065236494,0.0017894806,0.00007608248,0.0042000413,0.00011233061,0.5974062],"genre_scores_gemma":[0.873267,0.023036448,0.0011958173,0.0020896872,0.00043922488,0.000034052537,0.0010022538,0.00012947999,0.09880598],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982968,0.00021941621,0.000030767045,0.00016523704,0.0007774449,0.0005102762],"domain_scores_gemma":[0.9930252,0.0018925122,0.00042300049,0.00024386433,0.0035520156,0.00086345925],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024661077,0.0006015939,0.00048015325,0.008656487,0.010729837,0.010515711,0.0014867313,0.0012856587,0.014053073],"category_scores_gemma":[0.013029649,0.00035171123,0.00029214306,0.01689225,0.0055105775,0.0032510618,0.0018080608,0.002104926,0.00058892416],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015294555,0.000054921627,0.062814094,0.0005500584,0.00008352033,0.00055278925,0.21780428,0.00031802666,0.0007473541,0.21667266,0.28399324,0.21625623],"study_design_scores_gemma":[0.000011149665,0.000018448567,0.15746862,0.00097216194,0.00010904609,0.00022831626,0.2297907,0.00048621354,0.00078043883,0.012248584,0.59781235,0.000074026226],"about_ca_topic_score_codex":0.98474485,"about_ca_topic_score_gemma":0.9938041,"teacher_disagreement_score":0.066013694,"about_ca_system_score_codex":0.066013694,"about_ca_system_score_gemma":0.071206525,"threshold_uncertainty_score":0.4789651},"labels":[],"label_agreement":null},{"id":"W4391863358","doi":"10.51644/9781554581139","title":"The Young, the Restless, and the Dead","year":2009,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Art","score_opus":0.022836060154386453,"score_gpt":0.20357374671499912,"score_spread":0.18073768656061268,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391863358","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0956365,0.03479239,0.0022120592,0.07371657,0.0026415994,0.00013424913,0.00038393372,0.00006746982,0.7904152],"genre_scores_gemma":[0.58079064,0.0235504,0.0009843006,0.008279047,0.00033183608,0.00004420263,0.00016995888,0.00008884862,0.3857608],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981925,0.0004450171,0.000022396156,0.00010065202,0.0006091429,0.0006303005],"domain_scores_gemma":[0.9985977,0.00029852273,0.000088791014,0.000035648285,0.00034110708,0.0006383053],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001337991,0.00043187762,0.00032331224,0.0012901599,0.023363683,0.010504281,0.00093004847,0.0013741481,0.005855579],"category_scores_gemma":[0.002196184,0.00023614595,0.00016718406,0.002753284,0.016214993,0.0036366812,0.0021835463,0.002352221,0.0007613197],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005356019,0.00003180043,0.004565202,0.00021981151,0.000007853965,0.0012447619,0.40094692,0.00009808814,0.000657852,0.2765037,0.25637442,0.05929607],"study_design_scores_gemma":[0.0000018930943,0.0000093625595,0.0054702475,0.00019186291,0.0000048127868,0.0001446979,0.25443906,0.000025860547,0.00013695488,0.002902507,0.7366536,0.000019155348],"about_ca_topic_score_codex":0.9228438,"about_ca_topic_score_gemma":0.9747147,"teacher_disagreement_score":0.9228438,"about_ca_system_score_codex":0.041280866,"about_ca_system_score_gemma":0.043283563,"threshold_uncertainty_score":0.29951507},"labels":[],"label_agreement":null},{"id":"W4391864075","doi":"10.51644/9780889208186-001","title":"With Gratitude","year":2017,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Gratitude; Psychology; Social psychology","score_opus":0.04514672298805419,"score_gpt":0.20971153151842123,"score_spread":0.16456480853036703,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391864075","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0044433707,0.03375825,0.009179283,0.2487813,0.07227574,0.0002888457,0.002953284,0.0024325126,0.62588745],"genre_scores_gemma":[0.015568582,0.0069975522,0.0044213645,0.033296764,0.007602537,0.00017460786,0.0007978841,0.0015045875,0.92963606],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9950831,0.0014810291,0.000166704,0.00074966915,0.0021936202,0.00032601197],"domain_scores_gemma":[0.9893534,0.0014632762,0.000707883,0.0010835956,0.0050255773,0.002366268],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029189636,0.0013149601,0.0012419944,0.001301341,0.004665435,0.010933531,0.001633026,0.0019522643,0.11974922],"category_scores_gemma":[0.014443882,0.0004812644,0.00061805215,0.0011808566,0.0024764107,0.0064394623,0.0058106165,0.011252606,0.1284387],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022215963,0.000029359604,0.00029899823,0.00011813406,0.000012454481,0.0001812209,0.0026305737,0.000052525014,0.00030011008,0.02590145,0.9286611,0.041791864],"study_design_scores_gemma":[0.0000014761233,0.000004340993,0.000098915574,0.000057682413,0.0000013860946,0.00017723299,0.00049068226,0.000019128169,0.000047323894,0.0013961276,0.99769956,0.000006047542],"about_ca_topic_score_codex":0.0020763068,"about_ca_topic_score_gemma":0.0043005086,"teacher_disagreement_score":0.11974922,"about_ca_system_score_codex":0.0026951802,"about_ca_system_score_gemma":0.003528339,"threshold_uncertainty_score":0.40060103},"labels":[],"label_agreement":null},{"id":"W4391864357","doi":"10.51644/9780889208285-001","title":"Foreword","year":2006,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Philosophy","score_opus":0.03569945126704358,"score_gpt":0.19539546176868833,"score_spread":0.15969601050164475,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391864357","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003836186,0.006563298,0.0012377315,0.018671317,0.038543038,0.0001769196,0.0020804785,0.0006558789,0.9316877],"genre_scores_gemma":[0.0019531252,0.002827252,0.00045797793,0.005352852,0.0050245556,0.000081054204,0.0012488156,0.00036759538,0.98268676],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99934596,0.00008086213,0.00004303005,0.000121124205,0.0003393049,0.00006979399],"domain_scores_gemma":[0.99840325,0.00028552138,0.00007902539,0.00016513209,0.0007958434,0.0002711452],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00051253993,0.0007738243,0.0007312361,0.001534552,0.0020113133,0.004451348,0.0013970295,0.002458993,0.63600063],"category_scores_gemma":[0.0039863097,0.0002805392,0.0005253211,0.0015897418,0.0006974476,0.0034954771,0.0019972117,0.0029016798,0.5864178],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009004955,0.000011617358,0.000028881692,0.00007924319,9.779118e-7,0.000032374504,0.00005811195,0.00001412969,0.00007753179,0.00639861,0.9612572,0.03203228],"study_design_scores_gemma":[0.0000012140606,0.0000040360997,0.00005385779,0.00005763591,4.546588e-7,0.000034393728,0.000050288865,0.000005452028,0.00002536448,0.00083050464,0.9989355,0.000001331245],"about_ca_topic_score_codex":0.002992486,"about_ca_topic_score_gemma":0.003695761,"teacher_disagreement_score":0.36399937,"about_ca_system_score_codex":0.0016936702,"about_ca_system_score_gemma":0.0017176919,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4391877440","doi":"10.3998/par.5039","title":"Dumpster Divers and Award-Winners: FRIGID on the Fringe of the Fringe","year":2024,"lang":"en","type":"article","venue":"Performing Arts Resources","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.035739762018767635,"score_gpt":0.20901013307223038,"score_spread":0.17327037105346274,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391877440","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6988927,0.0042797644,0.0009800874,0.026022598,0.00044192185,0.000092224436,0.0016960739,0.000029755014,0.2675649],"genre_scores_gemma":[0.93040556,0.0011327721,0.00019962985,0.00046760688,0.00012469046,0.000021338328,0.00044430525,0.00001569613,0.06718844],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993248,0.0001364056,0.0000122397005,0.00007395098,0.00012947363,0.00032305694],"domain_scores_gemma":[0.99786466,0.0004440442,0.0003192752,0.00007046282,0.00026577507,0.0010357911],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012639199,0.00015887523,0.00025881082,0.0010593968,0.0033429386,0.0049836645,0.0004251449,0.0007445421,0.019602256],"category_scores_gemma":[0.0045665386,0.000109661356,0.000107769476,0.0012374052,0.0018263401,0.0016435066,0.0022403777,0.0013037284,0.00082753727],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00076844404,0.0003632297,0.25588667,0.0002663354,0.00007424099,0.003554544,0.037440564,0.001784348,0.0006980553,0.28668648,0.28857896,0.12389819],"study_design_scores_gemma":[0.000055989785,0.0001823705,0.3116991,0.00038253065,0.000031258136,0.00041988198,0.140213,0.0011832648,0.00044975762,0.013560635,0.53174835,0.000073929295],"about_ca_topic_score_codex":0.23495527,"about_ca_topic_score_gemma":0.4709015,"teacher_disagreement_score":0.23495527,"about_ca_system_score_codex":0.0076042027,"about_ca_system_score_gemma":0.0039323336,"threshold_uncertainty_score":0.4671753},"labels":[],"label_agreement":null},{"id":"W4391918039","doi":"10.55959/msu0130-0075-9-2024-47-01-14","title":"LETTERS ON THE PAGE AND ON THE SCREEN: CONCRETE POETRY AND “MOVIES OF WORDS” BASED ON THE EXAMPLE OF THE POEM BY BPNICHOL","year":2024,"lang":"en","type":"article","venue":"Lomonosov Journal of Philology","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Poetry; Literature; Art","score_opus":0.03548698920078855,"score_gpt":0.21974247657630575,"score_spread":0.1842554873755172,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391918039","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.088115886,0.004276542,0.009747046,0.012548345,0.002029691,0.00012799354,0.000377343,0.0003831435,0.8823941],"genre_scores_gemma":[0.7819783,0.0016445353,0.0052539855,0.0016598323,0.00039197772,0.00010071544,0.00023773221,0.00023858144,0.2084944],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995396,0.00024590435,0.0000064786923,0.000035496734,0.00010960396,0.000062979285],"domain_scores_gemma":[0.9997454,0.00012420276,0.000015576356,0.000024348501,0.00004354014,0.00004691596],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00025342757,0.0005141591,0.00011978484,0.0007438744,0.0065811654,0.0034530954,0.00045901112,0.0011255372,0.011177736],"category_scores_gemma":[0.0010885074,0.00011958466,0.00014247722,0.00090702536,0.007897763,0.0019044054,0.001346858,0.0016797514,0.0014379005],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002145103,0.000052900938,0.00089684123,0.00027811687,0.000007766466,0.0021142012,0.26334327,0.00024633174,0.0039604735,0.5836345,0.09698516,0.048265904],"study_design_scores_gemma":[0.00001405971,0.00003634032,0.0018710124,0.00012751683,0.000004147759,0.0005619421,0.049954962,0.0002309666,0.0010285187,0.00857009,0.93757844,0.00002203309],"about_ca_topic_score_codex":0.094377615,"about_ca_topic_score_gemma":0.20053875,"teacher_disagreement_score":0.094377615,"about_ca_system_score_codex":0.003715307,"about_ca_system_score_gemma":0.0017291114,"threshold_uncertainty_score":0.18765652},"labels":[],"label_agreement":null},{"id":"W4391926783","doi":"10.1080/17411548.2024.2319876","title":"Black Film British Cinema II","year":2024,"lang":"en","type":"article","venue":"Studies in European Cinema","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Movie theater; Art history; Art","score_opus":0.05827815618959307,"score_gpt":0.27008932221857584,"score_spread":0.21181116602898278,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391926783","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008344862,0.0423745,0.0010156102,0.034952387,0.017619936,0.000081569146,0.00234244,0.00016544893,0.89310324],"genre_scores_gemma":[0.04703624,0.011695638,0.0006203287,0.004405456,0.002404195,0.00005631459,0.0009577238,0.00018927148,0.9326347],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993856,0.00012854286,0.000017518554,0.00010251244,0.00024439674,0.0001214427],"domain_scores_gemma":[0.9985972,0.0002963074,0.00007366845,0.0000718984,0.00063085894,0.00033008007],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00083523075,0.0005143905,0.00027941464,0.0016687863,0.0026540086,0.0055311923,0.00041273455,0.0010564256,0.088299416],"category_scores_gemma":[0.003381777,0.00028650695,0.0002199689,0.0016092781,0.0009964197,0.0016988162,0.0009783132,0.0018431699,0.013395187],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058573496,0.000017189483,0.00029685884,0.00011759771,0.000005166543,0.00007646998,0.0013171104,0.00005832306,0.00035163696,0.02882816,0.9234296,0.045443356],"study_design_scores_gemma":[0.0000023763448,0.0000073500364,0.001523414,0.000105250736,0.0000018941482,0.00004287502,0.0005578726,0.000032536915,0.000114931594,0.00090834964,0.99669755,0.000005595336],"about_ca_topic_score_codex":0.10025619,"about_ca_topic_score_gemma":0.16132985,"teacher_disagreement_score":0.10025619,"about_ca_system_score_codex":0.003947223,"about_ca_system_score_gemma":0.0025000945,"threshold_uncertainty_score":0.29539102},"labels":[],"label_agreement":null},{"id":"W4391964336","doi":"10.51644/9781554582129-002","title":"Notes On Sources And Language","year":2009,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Linguistics; Computer science; History; Philosophy","score_opus":0.028167304893754908,"score_gpt":0.20905828220793585,"score_spread":0.18089097731418094,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391964336","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00083107955,0.008297306,0.0014921376,0.005107204,0.004181081,0.00013483354,0.06756561,0.00077782304,0.91161287],"genre_scores_gemma":[0.008734215,0.00915272,0.0022977875,0.0012328011,0.0017091021,0.00040439612,0.045999017,0.001351208,0.92911875],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928004,0.00012338518,0.000066079425,0.00013305312,0.00030725406,0.000090233],"domain_scores_gemma":[0.99747497,0.0007246033,0.00016310955,0.0003356418,0.0011769568,0.00012469731],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008820733,0.0011381838,0.0009460124,0.0077181836,0.0020073738,0.0034932122,0.0012853213,0.0009852537,0.4672281],"category_scores_gemma":[0.0065207444,0.00045811938,0.00034262793,0.010895928,0.0004425179,0.0030631402,0.0015606238,0.0021027906,0.29827514],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001575524,0.000008974746,0.00011551294,0.00013293987,0.0000018306116,0.000032838718,0.0002061935,0.00003490603,0.000054233304,0.02139598,0.95225656,0.025744224],"study_design_scores_gemma":[0.0000018076362,0.0000015512694,0.00028417373,0.00010147912,5.734554e-7,0.000020677302,0.000059074835,0.000011305422,0.000029453353,0.00091228925,0.99857557,0.0000021724034],"about_ca_topic_score_codex":0.03499636,"about_ca_topic_score_gemma":0.035345923,"teacher_disagreement_score":0.4672281,"about_ca_system_score_codex":0.0028050893,"about_ca_system_score_gemma":0.002092646,"threshold_uncertainty_score":0.7599344},"labels":[],"label_agreement":null},{"id":"W4391968466","doi":"10.51644/9781554586417-fm","title":"Front Matter","year":2013,"lang":"en","type":"paratext","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Front (military); Geology; Oceanography","score_opus":0.02796762232620682,"score_gpt":0.21676107718123358,"score_spread":0.18879345485502677,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391968466","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005216626,0.0011982706,0.00033348458,0.0035198766,0.001952078,0.000031264226,0.00122456,0.00032902483,0.9908897],"genre_scores_gemma":[0.0027197225,0.0011771525,0.00022931097,0.0010271419,0.0004845753,0.000018333098,0.000605144,0.00017173009,0.99356705],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928135,0.000073540985,0.000041397863,0.00024154705,0.0002659943,0.0000961244],"domain_scores_gemma":[0.9988877,0.00022421748,0.00008736897,0.00014757422,0.00032248205,0.00033061815],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00049006,0.000917109,0.0006656665,0.0013434784,0.0016877105,0.007830405,0.0010272171,0.004154985,0.9006748],"category_scores_gemma":[0.0029440722,0.00025897892,0.00039923767,0.001267932,0.0012631376,0.003576307,0.0023122511,0.0018240623,0.82478833],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050044422,0.000045892433,0.0004859234,0.00037963362,0.0000056597296,0.00019959723,0.00021372078,0.00007570432,0.00063632574,0.021737415,0.78000635,0.19616379],"study_design_scores_gemma":[0.0000029534783,0.000005471627,0.0002805376,0.00013213209,9.5312396e-7,0.00007005239,0.000082560146,0.000027309883,0.00008315984,0.0010053085,0.9983076,0.0000019422398],"about_ca_topic_score_codex":0.0017156604,"about_ca_topic_score_gemma":0.003212573,"teacher_disagreement_score":0.09932518,"about_ca_system_score_codex":0.0013522048,"about_ca_system_score_gemma":0.0015626447,"threshold_uncertainty_score":0.14167523},"labels":[],"label_agreement":null},{"id":"W4391985016","doi":"10.51644/9781554582129","title":"The Radio Eye","year":2009,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.023100884217833864,"score_gpt":0.20822708350211494,"score_spread":0.1851261992842811,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391985016","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.02279717,0.06895223,0.0014123669,0.055302553,0.0034023775,0.00003875323,0.00025259124,0.00006204394,0.8477799],"genre_scores_gemma":[0.28565165,0.03444946,0.0007134621,0.012290645,0.0026682615,0.000061964885,0.00015064109,0.00013735452,0.6638765],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99951625,0.00015280093,0.000010048026,0.00008440819,0.00015552176,0.00008103604],"domain_scores_gemma":[0.99889827,0.0005757753,0.00009717023,0.000050073075,0.00023580785,0.00014286685],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00056057103,0.00031323815,0.00011444354,0.0008979158,0.0033128634,0.0046407026,0.0005035203,0.001535116,0.014635118],"category_scores_gemma":[0.0020061266,0.00019518778,0.000094422,0.0013074727,0.0032796334,0.003397379,0.00084465806,0.0015388005,0.0017239397],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041691415,0.000056120018,0.0023990588,0.00015075682,0.0000063103175,0.00014672133,0.020054791,0.00019085492,0.00035466577,0.22932775,0.668989,0.07828231],"study_design_scores_gemma":[0.0000032403912,0.000008213063,0.005179316,0.00017548498,0.0000023419907,0.000063928725,0.006682441,0.000062172745,0.000114907314,0.0034889476,0.9842137,0.000005391273],"about_ca_topic_score_codex":0.19681077,"about_ca_topic_score_gemma":0.31122997,"teacher_disagreement_score":0.19681077,"about_ca_system_score_codex":0.007857581,"about_ca_system_score_gemma":0.004581597,"threshold_uncertainty_score":0.39133042},"labels":[],"label_agreement":null},{"id":"W4391996932","doi":"10.33424/futurum468","title":"Decolonising film festival research","year":2024,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Regina","funders":"Government of Canada; University of Regina","keywords":"Art","score_opus":0.16367314443814324,"score_gpt":0.3520427766433432,"score_spread":0.18836963220519998,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4391996932","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27742642,0.06388907,0.014627712,0.050830692,0.009271664,0.0017378319,0.0032164503,0.000261797,0.57873845],"genre_scores_gemma":[0.7769798,0.035702337,0.012609226,0.0080317035,0.004953245,0.0011390742,0.0019629514,0.0004193062,0.15820245],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.99483585,0.0030173818,0.0002268516,0.0006440976,0.0007502166,0.00052556634],"domain_scores_gemma":[0.97610414,0.012227107,0.0020707324,0.0035571933,0.0040440178,0.0019968068],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.013433,0.0004117486,0.0003605132,0.0041671246,0.0046938476,0.0071703787,0.001192727,0.0012449565,0.016390711],"category_scores_gemma":[0.026075648,0.00032681535,0.00025695426,0.005091065,0.0058924397,0.0043317797,0.0043902374,0.0028909154,0.0017835076],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006804266,0.00042988296,0.019277932,0.004014381,0.00011936377,0.00066568435,0.15136622,0.00035706963,0.0054124836,0.24227259,0.14308414,0.4323198],"study_design_scores_gemma":[0.000037449507,0.00022187896,0.0333573,0.0023037368,0.000036589525,0.00019491118,0.057164583,0.0001654551,0.001955359,0.010992966,0.89354295,0.00002680012],"about_ca_topic_score_codex":0.010402,"about_ca_topic_score_gemma":0.03373978,"teacher_disagreement_score":0.016390711,"about_ca_system_score_codex":0.00534427,"about_ca_system_score_gemma":0.004804433,"threshold_uncertainty_score":0.071041286},"labels":[],"label_agreement":null},{"id":"W4392024041","doi":"10.1093/oxfordhb/9780190496692.013.31","title":"Paramount Pictures, National Advertising Agencies, and the Conspicuous Distribution of First-Run Feature Films in the United States","year":2024,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Feature (linguistics); Advertising; Political science; Business","score_opus":0.021609251092219322,"score_gpt":0.19203362191000908,"score_spread":0.17042437081778977,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392024041","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18408786,0.03429969,0.0005299448,0.014505597,0.00034693163,0.000011661181,0.00043780508,0.000052517695,0.7657279],"genre_scores_gemma":[0.8444467,0.012853239,0.0004007527,0.0013472505,0.00015379005,0.000009966456,0.00023599106,0.000020109228,0.14053226],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998055,0.000050599,0.0000050069802,0.00003111742,0.00006346379,0.000044345536],"domain_scores_gemma":[0.99943954,0.00025874283,0.00010543989,0.000024949337,0.00009516619,0.00007614435],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00035547608,0.000068652276,0.00006894843,0.0009260773,0.0010782019,0.0029323394,0.00020672068,0.00048349472,0.010398947],"category_scores_gemma":[0.0007900764,0.0001399217,0.000055109293,0.001910456,0.0008617509,0.0010105646,0.0006452027,0.00089299155,0.00047204853],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000106971565,0.00015371063,0.021744527,0.00015008409,0.000012872599,0.00045100928,0.009128868,0.00047758297,0.0008607827,0.5015714,0.26575366,0.19958852],"study_design_scores_gemma":[0.000009743922,0.000047875947,0.11023756,0.00043577809,0.000015791456,0.0002792357,0.010653599,0.00073792116,0.0005561877,0.014882894,0.86211824,0.000025120815],"about_ca_topic_score_codex":0.07698572,"about_ca_topic_score_gemma":0.20888399,"teacher_disagreement_score":0.07698572,"about_ca_system_score_codex":0.0031835262,"about_ca_system_score_gemma":0.0017799846,"threshold_uncertainty_score":0.15307522},"labels":[],"label_agreement":null},{"id":"W4392024169","doi":"10.1093/oxfordhb/9780190496692.013.45","title":"Introduction","year":2024,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"History","score_opus":0.027513070532181178,"score_gpt":0.17980827431727847,"score_spread":0.15229520378509728,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392024169","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013639652,0.0040997276,0.0033790127,0.012382307,0.005530037,0.00013629979,0.0035825602,0.000632801,0.96889323],"genre_scores_gemma":[0.01866517,0.00467145,0.0025044752,0.004680364,0.0026588298,0.00016592885,0.0044250335,0.00041840452,0.96181035],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986981,0.00016141386,0.000065172084,0.00036570677,0.00054018915,0.00016948777],"domain_scores_gemma":[0.99845517,0.00023128126,0.00007633811,0.00022489717,0.00077264814,0.00023980442],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0010237035,0.0008106163,0.000523737,0.0016001558,0.0022054256,0.0071560876,0.0017450176,0.0029245787,0.4882663],"category_scores_gemma":[0.0032304372,0.00031510176,0.0005963387,0.001495372,0.0010859102,0.0040986543,0.0032893475,0.0025782762,0.25316912],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006591546,0.00005462072,0.0005572254,0.00037387,0.0000068696418,0.00017557485,0.0009398181,0.00019890875,0.00057314214,0.15718381,0.6916188,0.14825144],"study_design_scores_gemma":[0.0000024824922,0.000007895983,0.00023579829,0.00011949585,0.0000012676827,0.00005176384,0.00015007476,0.000025543319,0.00006909929,0.004248773,0.9950841,0.0000036706392],"about_ca_topic_score_codex":0.004680902,"about_ca_topic_score_gemma":0.003703873,"teacher_disagreement_score":0.5117337,"about_ca_system_score_codex":0.0029304689,"about_ca_system_score_gemma":0.0026737868,"threshold_uncertainty_score":0.729926},"labels":[],"label_agreement":null},{"id":"W4392067142","doi":"10.51644/9780889208179-008","title":"The Documentary Film in Canada","year":2006,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Documentary film; History; Art history","score_opus":0.01375627987782443,"score_gpt":0.16808067759578937,"score_spread":0.15432439771796494,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392067142","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03479125,0.028606076,0.0007152913,0.03458603,0.004840263,0.00006905835,0.0030531278,0.00013775095,0.8932011],"genre_scores_gemma":[0.30964094,0.022625064,0.00082719384,0.0021918486,0.00061666005,0.000026137373,0.0010697056,0.00017455094,0.66282797],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99926656,0.00005685628,0.000016662985,0.00007776937,0.0003657157,0.00021648534],"domain_scores_gemma":[0.99865377,0.00013040335,0.000042930955,0.00004406844,0.00083343004,0.00029526296],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005320632,0.00058000657,0.00042339187,0.0018670025,0.010082954,0.009808302,0.0010548583,0.0015533061,0.035926886],"category_scores_gemma":[0.0030185678,0.00033316822,0.00025143166,0.0047098473,0.0022613818,0.0013905552,0.0009385376,0.0024510277,0.001809707],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008532092,0.000044697532,0.0023714988,0.00026330567,0.000019814028,0.0005718905,0.0107617285,0.0005105818,0.0005905565,0.16156918,0.72702116,0.09619034],"study_design_scores_gemma":[0.0000051002203,0.0000072739567,0.0057527446,0.00021429309,0.000010904309,0.00008477562,0.005355006,0.00016570376,0.00024565356,0.001553564,0.986584,0.0000209114],"about_ca_topic_score_codex":0.9882299,"about_ca_topic_score_gemma":0.99388415,"teacher_disagreement_score":0.061825816,"about_ca_system_score_codex":0.061825816,"about_ca_system_score_gemma":0.06596368,"threshold_uncertainty_score":0.4485798},"labels":[],"label_agreement":null},{"id":"W4392067427","doi":"10.51644/9780889208179-001","title":"Foreword","year":2006,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.03569945126704358,"score_gpt":0.19539546176868833,"score_spread":0.15969601050164475,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392067427","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00038448474,0.019546458,0.00045266622,0.044827763,0.07678309,0.00014390978,0.0013080729,0.0002230028,0.8563305],"genre_scores_gemma":[0.0032885943,0.005324024,0.00025784632,0.0046420908,0.005320506,0.00003586791,0.00037497285,0.00007849064,0.98067766],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99824536,0.000081312166,0.000049758957,0.00016422877,0.0011458648,0.0003135669],"domain_scores_gemma":[0.9951514,0.0001852315,0.0000607566,0.00015271861,0.0035614176,0.00088847557],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011215503,0.0009455943,0.0006588079,0.0037146714,0.007446596,0.00811218,0.0014262871,0.0029372356,0.212572],"category_scores_gemma":[0.0053162887,0.0002886334,0.00043519124,0.0025559538,0.0015370935,0.0022857785,0.0016070541,0.0031032306,0.08008246],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003290796,0.0000035865746,0.00003508894,0.000029304543,6.5549887e-7,0.000012480469,0.000058409136,0.000014083838,0.0000367142,0.011595513,0.9715784,0.016632551],"study_design_scores_gemma":[3.895968e-7,6.263078e-7,0.00008814467,0.00002753536,5.6521895e-7,0.000006508774,0.00004694436,0.000005549719,0.000010509604,0.0004478986,0.9993637,0.0000016636475],"about_ca_topic_score_codex":0.6417734,"about_ca_topic_score_gemma":0.78994995,"teacher_disagreement_score":0.787428,"about_ca_system_score_codex":0.022269385,"about_ca_system_score_gemma":0.039962076,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4392079375","doi":"10.1093/oxfordhb/9780190496692.013.25","title":"Unlikely Allies","year":2024,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Hollywood; Filmmaking; Publicity; Boom; Creativity; Film industry; Political science; Movie theater; Aesthetics; Sociology; Media studies; Engineering; Visual arts; History; Art; Art history; Law","score_opus":0.0398405433291336,"score_gpt":0.18813006427603438,"score_spread":0.1482895209469008,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392079375","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018098282,0.002489569,0.0009258029,0.011544374,0.0014933519,0.000025509124,0.00017211985,0.00007563765,0.98146373],"genre_scores_gemma":[0.056413215,0.0026555345,0.0005493404,0.0061168666,0.0009100247,0.000043333734,0.00019722112,0.000120675264,0.9329938],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9992373,0.00021388472,0.000024128416,0.00016565065,0.00020401103,0.00015491786],"domain_scores_gemma":[0.99937683,0.000188425,0.000050334504,0.00011677536,0.00014412256,0.00012358179],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00074800337,0.00062526506,0.00039805556,0.0010279024,0.004990588,0.005444233,0.00077719154,0.0017919843,0.16073628],"category_scores_gemma":[0.0026874512,0.00029427878,0.00032776486,0.0007118993,0.0038113568,0.0047061294,0.0032899259,0.0040964046,0.037337136],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032187243,0.000020837988,0.0002768786,0.000064400985,0.0000050898866,0.00016401825,0.0022594328,0.00008674491,0.000119776276,0.710062,0.25492907,0.03197953],"study_design_scores_gemma":[0.0000017474214,0.000004745741,0.00010116146,0.000046852994,0.0000011312077,0.000054149736,0.00044900615,0.000024429879,0.000042614676,0.009905942,0.98936605,0.0000021550873],"about_ca_topic_score_codex":0.0058600195,"about_ca_topic_score_gemma":0.009783165,"teacher_disagreement_score":0.16073628,"about_ca_system_score_codex":0.0030149424,"about_ca_system_score_gemma":0.0012174944,"threshold_uncertainty_score":0.5377164},"labels":[],"label_agreement":null},{"id":"W4392080351","doi":"10.1093/oxfordhb/9780190496692.013.17","title":"The Unfinished Business of History","year":2024,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Ambiguity; Epistemology; Aesthetics; Tracing; Sociology; Art; Computer science; Philosophy; Linguistics","score_opus":0.03707132442389722,"score_gpt":0.1740906868182208,"score_spread":0.13701936239432358,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392080351","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010634464,0.038282916,0.006196122,0.048585672,0.0024711655,0.000016327143,0.00014131468,0.00008443638,0.8935876],"genre_scores_gemma":[0.6616582,0.034849066,0.0029249073,0.0042233695,0.0040539014,0.000058220357,0.0001522212,0.00018780827,0.29189232],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99885976,0.0006722755,0.000026030455,0.0001324294,0.0002390853,0.0000703187],"domain_scores_gemma":[0.99791664,0.0012569404,0.00009730424,0.0003317318,0.00022525914,0.00017210036],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015758384,0.00030492217,0.00029887684,0.0014826102,0.0025951257,0.0070114736,0.00050900265,0.0009321505,0.014794969],"category_scores_gemma":[0.0048182076,0.0001903997,0.000117166666,0.0015132488,0.0137963705,0.008805771,0.002001341,0.0021999916,0.0016850927],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000049992727,0.0000028299144,0.00006797465,0.000020166946,0.0000010050342,0.000016685775,0.0011333696,0.00006465115,0.000025340942,0.97652835,0.010527703,0.01160696],"study_design_scores_gemma":[0.000003165852,0.00000809603,0.00021844057,0.00024952574,0.0000024608346,0.000047747926,0.0020553928,0.00030074417,0.00008702574,0.34399453,0.6530279,0.0000050793114],"about_ca_topic_score_codex":0.0027463941,"about_ca_topic_score_gemma":0.0027055393,"teacher_disagreement_score":0.014794969,"about_ca_system_score_codex":0.0031756384,"about_ca_system_score_gemma":0.0016380247,"threshold_uncertainty_score":0.049494147},"labels":[],"label_agreement":null},{"id":"W4392086100","doi":"10.1093/oxfordhb/9780190496692.013.43","title":"Storied Spaces","year":2024,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Sociology","score_opus":0.03814788721735889,"score_gpt":0.19013364087272044,"score_spread":0.15198575365536154,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392086100","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.018037077,0.0022261532,0.006410853,0.0014278848,0.00031188334,0.000022066066,0.000115800874,0.00006144815,0.9713869],"genre_scores_gemma":[0.7133092,0.003129559,0.0033455011,0.0003066876,0.00028982636,0.000060682843,0.00023198307,0.00009002688,0.27923647],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99946374,0.00021091051,0.000016949924,0.000090571884,0.00011442285,0.000103443344],"domain_scores_gemma":[0.9995913,0.00014070733,0.000035701425,0.000100125304,0.00006206922,0.00007004567],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00061648723,0.0003661989,0.00020673506,0.00095054694,0.003166787,0.0055163614,0.00061190984,0.00063773105,0.036859352],"category_scores_gemma":[0.0012536771,0.00012910322,0.00017536711,0.0011968332,0.0074941814,0.004807215,0.0045469813,0.001335757,0.0022895432],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011308089,0.0000043515647,0.00010694931,0.000020832009,0.0000012165192,0.00007267861,0.005045485,0.00016347044,0.000109468725,0.97739184,0.0049863905,0.012086062],"study_design_scores_gemma":[0.000004439753,0.000016877062,0.0004382715,0.0001688918,0.0000029170808,0.00015301556,0.007523728,0.00032657175,0.00028970727,0.19067974,0.8003887,0.0000072624043],"about_ca_topic_score_codex":0.0023688641,"about_ca_topic_score_gemma":0.0034347563,"teacher_disagreement_score":0.036859352,"about_ca_system_score_codex":0.0019721442,"about_ca_system_score_gemma":0.0008397383,"threshold_uncertainty_score":0.12330687},"labels":[],"label_agreement":null},{"id":"W4392087967","doi":"10.1093/oxfordhb/9780190496692.013.23","title":"The Many Genders and Sexualities of American and European Silent Cinema","year":2024,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Taboo; Human sexuality; Lesbian; Gender studies; Movie theater; Studio; Art; Comedy; Sociology; Aesthetics; Psychology; Literature; Visual arts; Anthropology","score_opus":0.03391083889870955,"score_gpt":0.19093154727193826,"score_spread":0.1570207083732287,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392087967","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.286238,0.018436622,0.0009458429,0.0040571964,0.00055750983,0.000016645112,0.00011106264,0.000043796434,0.68959326],"genre_scores_gemma":[0.9518654,0.0038789995,0.00021265402,0.00078724517,0.00024052248,0.000013814672,0.000051059604,0.00003642539,0.04291389],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935704,0.00033879653,0.000015872645,0.000074772885,0.000094433664,0.00011908857],"domain_scores_gemma":[0.99937135,0.000295576,0.000056261182,0.00004145319,0.00008858532,0.00014675985],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015091276,0.00026711074,0.00013830274,0.0013480051,0.0026128327,0.0062349066,0.00032905984,0.0006974134,0.006676074],"category_scores_gemma":[0.0012075205,0.00014678862,0.00014443438,0.0010266331,0.0047978894,0.0023331072,0.0017505059,0.00086218875,0.0005186141],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025896754,0.00010567569,0.008880946,0.0002246598,0.00002204104,0.00084403966,0.3247595,0.0000656487,0.0032751013,0.47876608,0.030685162,0.15211207],"study_design_scores_gemma":[0.00001391042,0.0000792968,0.035556905,0.0007193643,0.000025200601,0.0011459053,0.19086333,0.00015235972,0.0012441424,0.014784618,0.75537646,0.000038462076],"about_ca_topic_score_codex":0.0029156504,"about_ca_topic_score_gemma":0.006304714,"teacher_disagreement_score":0.006676074,"about_ca_system_score_codex":0.0011854401,"about_ca_system_score_gemma":0.00039948281,"threshold_uncertainty_score":0.022333682},"labels":[],"label_agreement":null},{"id":"W4392109944","doi":"10.1177/00961442241227130","title":"A Room in the Film Capital: The Social Economy of Lodging and Urban Change in Hollywood during the 1930s","year":2024,"lang":"en","type":"article","venue":"Journal of Urban History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Hollywood; Capital (architecture); Social capital; Economics; Economic geography; Economy; Market economy; Sociology; History; Social science; Art; Visual arts; Art history","score_opus":0.03221234493735767,"score_gpt":0.21488232300661772,"score_spread":0.18266997806926005,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392109944","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9474203,0.0011792796,0.00010473072,0.0042791055,0.000071473434,0.000012179479,0.00012280443,0.000009446463,0.04680066],"genre_scores_gemma":[0.9949588,0.00031887263,0.00002662387,0.00013282413,0.00003682074,0.0000040442196,0.000021456628,0.000006747727,0.004493912],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99924135,0.00023020111,0.000012063677,0.00007859149,0.000054384505,0.0003834569],"domain_scores_gemma":[0.9989717,0.00021601566,0.00018419688,0.000034119497,0.00006060906,0.000533302],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00065318216,0.0002455916,0.00023799353,0.001382767,0.0072314492,0.0076650362,0.00069543126,0.0009233394,0.010956616],"category_scores_gemma":[0.0017223188,0.0003039797,0.0001251011,0.0017794754,0.008800663,0.0034078166,0.0034626732,0.0017929188,0.0005279339],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00070316816,0.00053483556,0.12175337,0.00017471079,0.00004706104,0.0030417365,0.6409391,0.00052595825,0.0011536175,0.13746569,0.02608178,0.0675789],"study_design_scores_gemma":[0.000029615858,0.000117337484,0.42169735,0.00024786746,0.00002594488,0.0002821211,0.40774596,0.00027693535,0.00033637747,0.005947018,0.16323403,0.000059440492],"about_ca_topic_score_codex":0.080705196,"about_ca_topic_score_gemma":0.19559169,"teacher_disagreement_score":0.080705196,"about_ca_system_score_codex":0.008873984,"about_ca_system_score_gemma":0.0012017173,"threshold_uncertainty_score":0.1604709},"labels":[],"label_agreement":null},{"id":"W4392115837","doi":"10.1017/9781805431459.004","title":"Infrastructure in the Anthropo(s)cene: Fritz Lang's Metropolis as Ecological Archive","year":2023,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Ecology; Biology","score_opus":0.020374954974855107,"score_gpt":0.2494407145284148,"score_spread":0.22906575955355968,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392115837","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16321635,0.014695556,0.0018352789,0.035941362,0.0012772668,0.00006815195,0.00023960472,0.0002416496,0.7824847],"genre_scores_gemma":[0.7701132,0.0059701037,0.0007729514,0.0014630194,0.00028411302,0.000052509487,0.00007797953,0.0001365142,0.22112945],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99962246,0.00017408999,0.00000813214,0.0000381071,0.000045026307,0.000112212976],"domain_scores_gemma":[0.9997627,0.000071097435,0.000023077711,0.000024267416,0.000021397136,0.000097347685],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005591409,0.0002975335,0.00013525071,0.00090955856,0.0068269875,0.0092866,0.0005038278,0.0010029825,0.009516349],"category_scores_gemma":[0.0006641235,0.00021578003,0.00009794517,0.0012295305,0.008098651,0.003850737,0.0047115465,0.0016604278,0.00104329],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003296976,0.000051588315,0.0029067078,0.00013218111,0.0000055191404,0.0011542569,0.4179019,0.00016625872,0.0010275488,0.4525141,0.07495504,0.049151976],"study_design_scores_gemma":[0.0000021539167,0.000011805007,0.002639306,0.00010440025,0.0000030694364,0.00015103562,0.07960299,0.000034050903,0.00016601883,0.002629782,0.9146486,0.0000067429173],"about_ca_topic_score_codex":0.035396848,"about_ca_topic_score_gemma":0.12071943,"teacher_disagreement_score":0.035396848,"about_ca_system_score_codex":0.0059289606,"about_ca_system_score_gemma":0.0020209008,"threshold_uncertainty_score":0.07038164},"labels":[],"label_agreement":null},{"id":"W4392116042","doi":"10.1017/9789048551934.005","title":"Finance, Liquidity, and the Crisis of Masculinity in Weimar Cinema","year":2023,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Movie theater; Masculinity; Market liquidity; Art; Art history; Economics; History; Sociology; Monetary economics; Gender studies","score_opus":0.027772863291078653,"score_gpt":0.22998628910091384,"score_spread":0.2022134258098352,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392116042","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6627651,0.011082181,0.00291411,0.01602868,0.00055789435,0.000059328675,0.00013165102,0.00006185395,0.30639917],"genre_scores_gemma":[0.9778991,0.0019307286,0.00036308513,0.000579368,0.0001625576,0.000022395034,0.000020068195,0.000016164835,0.019006621],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967134,0.00017839242,0.000006531967,0.000024184037,0.000039320323,0.000080227685],"domain_scores_gemma":[0.999762,0.00012509947,0.000058016652,0.000011860418,0.000016185795,0.00002683831],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005116545,0.0003518699,0.00011777447,0.000658527,0.003255473,0.00364155,0.00029129646,0.0009812859,0.006370575],"category_scores_gemma":[0.0009449174,0.00013049103,0.00014946752,0.00048641465,0.0036733588,0.002287247,0.0016110912,0.0012400533,0.0003717076],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011978121,0.00006803398,0.0060977563,0.00029599946,0.000018501234,0.001068107,0.52140695,0.00022313313,0.0038085147,0.42083645,0.01318506,0.032871686],"study_design_scores_gemma":[0.000010541204,0.00015766083,0.031229874,0.0008549,0.000023203334,0.0018935472,0.24704401,0.0004843438,0.0027191453,0.016914058,0.6986058,0.000062928884],"about_ca_topic_score_codex":0.002935651,"about_ca_topic_score_gemma":0.006156037,"teacher_disagreement_score":0.006370575,"about_ca_system_score_codex":0.0014024883,"about_ca_system_score_gemma":0.00037801446,"threshold_uncertainty_score":0.0213117},"labels":[],"label_agreement":null},{"id":"W4392219606","doi":"10.1017/9789048551934","title":"Finance and the World Economy in Weimar Cinema","year":2023,"lang":"en","type":"book","venue":"Amsterdam University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Weimar Republic; Modernity; Capitalism; Speculation; Movie theater; Capital (architecture); Finance; Economy; Art history; Political science; Art; Economics; Politics; Law; Visual arts","score_opus":0.02452814585361805,"score_gpt":0.18914822422913855,"score_spread":0.1646200783755205,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392219606","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.055679575,0.030067967,0.0007478898,0.013688985,0.0014938344,0.00003094544,0.00027561915,0.00016239741,0.8978528],"genre_scores_gemma":[0.49202374,0.026415855,0.0007339179,0.0017785705,0.001263517,0.000043436918,0.00020188498,0.00010318635,0.4774358],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99992466,0.00003162285,0.000001803221,0.0000067805645,0.000013789084,0.00002126523],"domain_scores_gemma":[0.9999236,0.00003095905,0.000011889221,0.0000065915747,0.000013031271,0.000014001181],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0001695701,0.0002686362,0.000070261034,0.00068573834,0.0017193413,0.00308276,0.00015866118,0.00040974768,0.015011942],"category_scores_gemma":[0.00048899965,0.00014059375,0.00009735258,0.0005970553,0.000709921,0.0014810989,0.00084120594,0.00074169075,0.0012564732],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008555524,0.00009285915,0.0016385528,0.0003853198,0.000014043817,0.00068194553,0.04790954,0.00040041978,0.0033367535,0.39120212,0.41697815,0.1372748],"study_design_scores_gemma":[0.0000026025493,0.000009962433,0.0023726807,0.00017007039,0.0000068501636,0.00018048786,0.0046730614,0.00015066452,0.000359797,0.002830626,0.98923725,0.0000059968706],"about_ca_topic_score_codex":0.0057670507,"about_ca_topic_score_gemma":0.011551946,"teacher_disagreement_score":0.015011942,"about_ca_system_score_codex":0.0011430929,"about_ca_system_score_gemma":0.0004602482,"threshold_uncertainty_score":0.050219953},"labels":[],"label_agreement":null},{"id":"W4392225935","doi":"","title":"Hybridisation, new cinematographic formns instigates by the latest technology in film aesthetics","year":2010,"lang":"fr","type":"preprint","venue":"theses.fr (ABES)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Aesthetics; Art","score_opus":0.021087764534220663,"score_gpt":0.2215410314153839,"score_spread":0.20045326688116322,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392225935","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11155337,0.01702892,0.060878746,0.009237199,0.0008608777,0.000092110065,0.0001487417,0.00029991427,0.79990005],"genre_scores_gemma":[0.8686101,0.007082664,0.01887701,0.000683267,0.0004715309,0.0001013886,0.00009592517,0.00026307482,0.10381505],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986141,0.00069285353,0.000052448693,0.00021000017,0.00030111818,0.00012951672],"domain_scores_gemma":[0.99890435,0.00049802137,0.00007463858,0.00028816672,0.00013379336,0.00010097117],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021375348,0.000472692,0.00027832374,0.0016212225,0.0022818693,0.010352214,0.0006825995,0.0010416746,0.011855399],"category_scores_gemma":[0.002759535,0.00032308765,0.0004513704,0.0010086568,0.009338264,0.007923404,0.00423804,0.0017094007,0.0014953918],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007493016,0.00002459478,0.0014160752,0.0003158567,0.000024352561,0.0004366686,0.06769977,0.0004834009,0.0055873916,0.84661776,0.007330964,0.069988266],"study_design_scores_gemma":[0.000028890132,0.000086601125,0.0040993704,0.00059937127,0.000046339035,0.0019790763,0.028010054,0.0013554327,0.0031282045,0.11838109,0.84222806,0.000057520465],"about_ca_topic_score_codex":0.0014565497,"about_ca_topic_score_gemma":0.0021055478,"teacher_disagreement_score":0.011855399,"about_ca_system_score_codex":0.002293083,"about_ca_system_score_gemma":0.0007556799,"threshold_uncertainty_score":0.039660215},"labels":[],"label_agreement":null},{"id":"W4392238729","doi":"10.4324/9781003347446-9","title":"Indigenous Children in Canadian Cinema","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Indigenous; Political science; Media studies; History; Geography; Sociology; Art history; Biology","score_opus":0.01800881384460556,"score_gpt":0.19343351958295454,"score_spread":0.17542470573834898,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392238729","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2480558,0.023142394,0.00078034477,0.013236377,0.00047282098,0.00007973815,0.00045144744,0.00008422501,0.71369684],"genre_scores_gemma":[0.8778685,0.015226678,0.0010709404,0.001128504,0.00010773278,0.00004015297,0.00013710349,0.00007482314,0.10434563],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988036,0.00019404253,0.000017950611,0.000113470735,0.00043230667,0.00043852106],"domain_scores_gemma":[0.999156,0.0002372591,0.00006913627,0.000037123402,0.00028639688,0.0002140636],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001145169,0.00048237178,0.00030688316,0.002800197,0.017115286,0.007396279,0.0009733875,0.0012057872,0.012118366],"category_scores_gemma":[0.0017944896,0.00031807867,0.0002158506,0.0031079769,0.008654711,0.0021279783,0.0029839748,0.001967253,0.00054162816],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035221117,0.000033670654,0.0046078125,0.0002635507,0.000012243469,0.0012189634,0.72387075,0.0001141211,0.001186768,0.18249601,0.03778571,0.048375174],"study_design_scores_gemma":[0.0000038694634,0.0000134935235,0.012870909,0.0003569321,0.000017682485,0.00051144575,0.21874838,0.00007584069,0.00028636257,0.0023217225,0.76475346,0.000039874703],"about_ca_topic_score_codex":0.9513066,"about_ca_topic_score_gemma":0.9787854,"teacher_disagreement_score":0.057197098,"about_ca_system_score_codex":0.057197098,"about_ca_system_score_gemma":0.031371895,"threshold_uncertainty_score":0.4149959},"labels":[],"label_agreement":null},{"id":"W4392255090","doi":"10.5406/19346018.75.4.03","title":"“A Truer Test of Woodcraft”: Bell &amp; Howell Camera Advertising, <i>Nature Magazine</i>, and the Creation of the Modern “Camera Hunter”","year":2023,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art history; Test (biology); Advertising; Business","score_opus":0.012118398474563424,"score_gpt":0.22787124343603643,"score_spread":0.215752844961473,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392255090","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0069480045,0.031114988,0.0021017415,0.2790973,0.019869007,0.000059080085,0.00022552317,0.00036147618,0.6602229],"genre_scores_gemma":[0.07650671,0.010958646,0.0023469338,0.10534199,0.004899376,0.000052460997,0.00020227706,0.0005382978,0.79915327],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99767536,0.00041417134,0.000047382317,0.00043857118,0.0011272649,0.00029732974],"domain_scores_gemma":[0.9986952,0.00028324965,0.000101670776,0.00009472693,0.00043263417,0.00039252682],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017108195,0.0006776071,0.00023333868,0.0010204527,0.008503207,0.014116893,0.00073141203,0.0038477033,0.051264547],"category_scores_gemma":[0.004494913,0.0005078783,0.00022178996,0.0008330267,0.009212591,0.01143383,0.0027883044,0.0059737237,0.011183968],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021868114,0.000013035105,0.0003136376,0.000041903837,0.0000020444288,0.000080446654,0.0022624943,0.000010364639,0.00017443471,0.05335334,0.9034707,0.04025573],"study_design_scores_gemma":[0.0000019725233,0.000008469542,0.0005293558,0.000109457826,0.0000012636843,0.00009599578,0.0020108977,0.00002109045,0.00012036699,0.0018469725,0.9952441,0.000010065294],"about_ca_topic_score_codex":0.051303003,"about_ca_topic_score_gemma":0.11596665,"teacher_disagreement_score":0.051303003,"about_ca_system_score_codex":0.004980672,"about_ca_system_score_gemma":0.0035948646,"threshold_uncertainty_score":0.17149705},"labels":[],"label_agreement":null},{"id":"W4392305164","doi":"10.1080/17400309.2024.2310472","title":"Their own best creations: women writers in postwar television <b>Their own best creations: women writers in postwar television</b> , by Annie Berke, Oakland, University of California Press, 2022, 302 pp., $29.95 (paperback), ISBN 9780520300798","year":2024,"lang":"en","type":"article","venue":"New Review of Film and Television Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Art; Media studies; Political science; Sociology","score_opus":0.02678607870903588,"score_gpt":0.25043757131776245,"score_spread":0.22365149260872658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392305164","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.044021845,0.6547928,0.00023289876,0.18130761,0.007678861,0.000026256066,0.00025049425,0.00006605957,0.11162319],"genre_scores_gemma":[0.38084698,0.46853158,0.0005155609,0.018640282,0.007951761,0.00010854949,0.00025839885,0.0001483035,0.12299866],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988199,0.00058957207,0.000038599108,0.00009306562,0.00018024867,0.00027863652],"domain_scores_gemma":[0.996819,0.0017660949,0.00040879118,0.000083636914,0.0002963552,0.0006261126],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026530267,0.0007105322,0.0004944981,0.0018277082,0.0049088798,0.010440247,0.00082209765,0.0024904772,0.0076926076],"category_scores_gemma":[0.003452311,0.0004955069,0.00019767672,0.0042313263,0.0052256007,0.011036208,0.0031965736,0.0024188084,0.0018005685],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011900819,0.00009152091,0.0039463015,0.0011762277,0.000026938604,0.00055678707,0.261991,0.00003083611,0.00029511916,0.03827934,0.50680995,0.18667695],"study_design_scores_gemma":[0.000024207777,0.000042794047,0.013843218,0.0027687799,0.00002945804,0.0004247068,0.24341635,0.000024808758,0.00023339757,0.005288577,0.73388195,0.00002185335],"about_ca_topic_score_codex":0.009416801,"about_ca_topic_score_gemma":0.024003342,"teacher_disagreement_score":0.010440247,"about_ca_system_score_codex":0.0024277987,"about_ca_system_score_gemma":0.00340995,"threshold_uncertainty_score":0.025734305},"labels":[],"label_agreement":null},{"id":"W4392323372","doi":"10.51644/9781771123051-fm","title":"Front Matter","year":2018,"lang":"en","type":"paratext","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"Canada Council for the Arts; Federation for the Humanities and Social Sciences; Social Sciences and Humanities Research Council of Canada; Government of Canada; Wilfrid Laurier University","keywords":"Front (military); Geology; Oceanography","score_opus":0.03102025904987933,"score_gpt":0.22963990253701758,"score_spread":0.19861964348713823,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392323372","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00094882515,0.001645145,0.0006911153,0.0058026547,0.002085905,0.00003570164,0.0015843897,0.0005172326,0.98668903],"genre_scores_gemma":[0.0057846727,0.0018147292,0.00057581044,0.0014967284,0.0006695284,0.000024948195,0.0010207122,0.0003120558,0.9883008],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99939513,0.00006429053,0.000040453055,0.00020000323,0.00022376601,0.00007633037],"domain_scores_gemma":[0.99859565,0.00026284182,0.000116076524,0.00017438266,0.00050349504,0.00034752738],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0005806745,0.0008639227,0.00059247727,0.0015397582,0.0016684708,0.007146141,0.0008141474,0.0038040297,0.8969419],"category_scores_gemma":[0.0032750973,0.00024797392,0.000316139,0.0013365969,0.0010460424,0.0040838104,0.0022152395,0.0015720624,0.80574805],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041317628,0.00004443086,0.0006905362,0.00025589467,0.0000061690057,0.00018428254,0.00020133404,0.00010044852,0.00051849,0.018219832,0.79954827,0.18018895],"study_design_scores_gemma":[0.0000028774189,0.000005389175,0.00041494725,0.00011806754,0.000001229455,0.00010426143,0.00012356263,0.00004013745,0.00007774068,0.0013126788,0.9977963,0.0000027395947],"about_ca_topic_score_codex":0.0022594323,"about_ca_topic_score_gemma":0.0028375364,"teacher_disagreement_score":0.1030581,"about_ca_system_score_codex":0.0013914952,"about_ca_system_score_gemma":0.001373127,"threshold_uncertainty_score":0.14699978},"labels":[],"label_agreement":null},{"id":"W4392332926","doi":"10.1515/9781782043263","title":"The Autobiographical Turn in Germanophone Documentary and Experimental Film","year":2014,"lang":"en","type":"book","venue":"Boydell and Brewer eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Documentary film; Psychology; Turn (biochemistry); Art; Art history; Chemistry","score_opus":0.011011625891892965,"score_gpt":0.19715421504113376,"score_spread":0.18614258914924078,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392332926","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29825118,0.011400885,0.0021544462,0.013275981,0.0016657101,0.00007145723,0.00032756448,0.00008146302,0.67277133],"genre_scores_gemma":[0.94097406,0.002117149,0.00043974965,0.0008901951,0.00016938838,0.000037959875,0.00010360856,0.000052935382,0.055214938],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99889684,0.0006471847,0.00002923575,0.00012535867,0.00016489891,0.00013641728],"domain_scores_gemma":[0.9986904,0.0008082077,0.000112052774,0.00016544209,0.00010995214,0.00011387054],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001136871,0.0003533222,0.00016171594,0.0011633382,0.004028659,0.006073693,0.0005036122,0.00097188994,0.008163434],"category_scores_gemma":[0.0033059746,0.00018532926,0.000111891306,0.0012289949,0.010891242,0.0031502561,0.002372816,0.0012636201,0.00060678],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023094042,0.00013528518,0.0012745018,0.00032096248,0.000013102845,0.0005305559,0.36996418,0.000129271,0.0044808504,0.5412314,0.03959783,0.042091142],"study_design_scores_gemma":[0.000027289794,0.00007024508,0.005072589,0.00033690556,0.000012155836,0.00034876095,0.15216078,0.00012372564,0.0029779773,0.017095944,0.82174975,0.000023811366],"about_ca_topic_score_codex":0.008288289,"about_ca_topic_score_gemma":0.014264974,"teacher_disagreement_score":0.008288289,"about_ca_system_score_codex":0.004976798,"about_ca_system_score_gemma":0.0007786943,"threshold_uncertainty_score":0.03610933},"labels":[],"label_agreement":null},{"id":"W4392460554","doi":"10.4324/9781003335887-18","title":"Desire to Heal; Desire to be Seen; Desire to Dance","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dance; Aesthetics; Psychology; Art; Visual arts","score_opus":0.09963456633408958,"score_gpt":0.2501329082063867,"score_spread":0.1504983418722971,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392460554","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019132739,0.01396432,0.0005197094,0.010268343,0.0008941695,0.000034332505,0.00006154954,0.00003454793,0.9723097],"genre_scores_gemma":[0.06855011,0.012247104,0.0009140622,0.0033062578,0.00024711486,0.000080135906,0.00008456431,0.000087687185,0.9144831],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996954,0.00007348212,0.0000050594563,0.000035649173,0.00010939077,0.00008108435],"domain_scores_gemma":[0.9996923,0.00007286835,0.000020665217,0.000014813522,0.00008070992,0.000118753174],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004099847,0.0003806226,0.00021641835,0.0005407703,0.0051979516,0.004986141,0.00058777904,0.0016611022,0.016889866],"category_scores_gemma":[0.0005911948,0.00019200347,0.00014638383,0.0008503659,0.006362967,0.0032380666,0.0015759848,0.0029119982,0.0033700492],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015228686,0.000060745348,0.00043237495,0.00027785954,0.0000034243226,0.0002625582,0.02819042,0.000059284837,0.0005635538,0.56264937,0.3452751,0.06220997],"study_design_scores_gemma":[0.0000018891035,0.000004316698,0.0007017683,0.00017699836,0.0000012878365,0.00015481062,0.007805048,0.000020460833,0.00006509332,0.0083442265,0.9827188,0.0000052238224],"about_ca_topic_score_codex":0.0796465,"about_ca_topic_score_gemma":0.30173662,"teacher_disagreement_score":0.0796465,"about_ca_system_score_codex":0.007504772,"about_ca_system_score_gemma":0.006949444,"threshold_uncertainty_score":0.15836579},"labels":[],"label_agreement":null},{"id":"W4392460616","doi":"10.4324/9781003335887-13","title":"In a World of Dancing Waves and DIY Addiction","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Addiction; Psychology; Psychiatry","score_opus":0.025873227477330465,"score_gpt":0.2067560903728087,"score_spread":0.18088286289547822,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392460616","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.039227556,0.007063651,0.0034407892,0.03277764,0.0010498475,0.000059229045,0.00018089688,0.00012184041,0.9160785],"genre_scores_gemma":[0.25940865,0.0065857354,0.0012482646,0.0068097096,0.00030472234,0.00008436074,0.00013611959,0.000186055,0.72523636],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99944574,0.00023476234,0.000009976567,0.000060320654,0.00014015948,0.00010899258],"domain_scores_gemma":[0.99957913,0.00016974084,0.000028314838,0.000047011068,0.000058757396,0.00011705023],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006615023,0.00031358056,0.00028406692,0.0006792134,0.005908402,0.00915013,0.0005359532,0.0013689785,0.01968969],"category_scores_gemma":[0.0014297938,0.00022648403,0.00018936228,0.0011012224,0.00936376,0.00458503,0.0029692037,0.004089396,0.0020689347],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041287156,0.00006813934,0.0010067427,0.00008945376,0.000012446702,0.00047115906,0.076059565,0.000098370154,0.0004607108,0.7345759,0.13326362,0.05385263],"study_design_scores_gemma":[0.000007177665,0.000014847993,0.0019548521,0.00016842583,0.000004160902,0.0002993215,0.035650052,0.00013226666,0.00013984315,0.026237346,0.93538076,0.000010929529],"about_ca_topic_score_codex":0.027160872,"about_ca_topic_score_gemma":0.058802713,"teacher_disagreement_score":0.027160872,"about_ca_system_score_codex":0.004225488,"about_ca_system_score_gemma":0.0026121656,"threshold_uncertainty_score":0.06586856},"labels":[],"label_agreement":null},{"id":"W4392694068","doi":"10.16995/intransition.11387","title":"Barbara Stanwyck Rides Again","year":2021,"lang":"en","type":"article","venue":"[in]Transition","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"History","score_opus":0.022834463249837417,"score_gpt":0.21169244554333716,"score_spread":0.18885798229349973,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392694068","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.039669733,0.012964531,0.0012679544,0.03990883,0.012346716,0.00007777998,0.0015007426,0.00040952885,0.89185417],"genre_scores_gemma":[0.08639087,0.0045723724,0.00092794583,0.005318408,0.0006641847,0.000030669617,0.0005710012,0.00029972685,0.90122485],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997825,0.00003401984,0.000006185224,0.000043904816,0.000079656544,0.000053804488],"domain_scores_gemma":[0.9996799,0.000054695764,0.000017743556,0.000025205909,0.000112772264,0.00010967215],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00027113393,0.00038800653,0.0001927368,0.0010602686,0.0029527028,0.0030892836,0.00027791012,0.00054922025,0.050796025],"category_scores_gemma":[0.0011633077,0.00016829485,0.00014169319,0.00067000784,0.0011481778,0.0013787347,0.0013360858,0.002166499,0.009071173],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007041388,0.000017875313,0.0008516213,0.00012466198,0.000006385607,0.00035307897,0.010470507,0.000043407137,0.0015435326,0.020013476,0.92182404,0.04468099],"study_design_scores_gemma":[0.0000012106906,0.000004922291,0.0015329374,0.00007365444,0.0000018828507,0.00006648789,0.003376698,0.0000125506085,0.00023662593,0.00026227595,0.99442565,0.0000050645444],"about_ca_topic_score_codex":0.07903874,"about_ca_topic_score_gemma":0.24235196,"teacher_disagreement_score":0.07903874,"about_ca_system_score_codex":0.0017645579,"about_ca_system_score_gemma":0.0010072917,"threshold_uncertainty_score":0.16992968},"labels":[],"label_agreement":null},{"id":"W4392721598","doi":"10.16995/intransition.15440","title":"A Cinema of Bodily Sense","year":2023,"lang":"en","type":"article","venue":"[in]Transition","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Movie theater; Sense (electronics); Art; Aesthetics; Visual arts; Engineering","score_opus":0.030570301259725107,"score_gpt":0.22229725688366694,"score_spread":0.19172695562394185,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392721598","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14901723,0.010438674,0.020592818,0.036737423,0.005417008,0.00008643893,0.0002514798,0.0001932881,0.77726567],"genre_scores_gemma":[0.95434046,0.0026210744,0.0023315751,0.00226633,0.0012532184,0.000045980974,0.00006298498,0.00008179941,0.036996532],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99950683,0.00028955296,0.000009232722,0.00006303412,0.00006862574,0.000062787476],"domain_scores_gemma":[0.99928087,0.000379479,0.0000677168,0.00006047825,0.00007798788,0.00013344528],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000712882,0.00032499526,0.00012866277,0.00057594496,0.0022390299,0.0047496017,0.00034563622,0.0007200914,0.0061553456],"category_scores_gemma":[0.0024291836,0.00010705332,0.00016363063,0.00035936336,0.006350941,0.0038875348,0.0022575452,0.0022255313,0.00033230442],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008545739,0.000026614465,0.0010014811,0.00017446079,0.00000893036,0.00047398265,0.16921227,0.00011369034,0.0036015315,0.7640624,0.033038124,0.02820107],"study_design_scores_gemma":[0.000017063583,0.000089307934,0.002752571,0.0003774161,0.000014893828,0.0006531139,0.085284986,0.0003908578,0.0011341613,0.04578849,0.8634752,0.000021978174],"about_ca_topic_score_codex":0.0016398248,"about_ca_topic_score_gemma":0.0021780075,"teacher_disagreement_score":0.0061553456,"about_ca_system_score_codex":0.00095535174,"about_ca_system_score_gemma":0.0005463132,"threshold_uncertainty_score":0.020591676},"labels":[],"label_agreement":null},{"id":"W4392729151","doi":"10.16995/intransition.11402","title":"Uncertain Presence","year":2021,"lang":"en","type":"article","venue":"[in]Transition","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Computer science","score_opus":0.03250031320207818,"score_gpt":0.22794752912771477,"score_spread":0.19544721592563657,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392729151","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.028156925,0.004176943,0.08240102,0.027588539,0.003161291,0.00018066159,0.0022999318,0.0006882895,0.8513464],"genre_scores_gemma":[0.8315963,0.0033834127,0.019032031,0.007803515,0.0031757827,0.00025416064,0.0021615461,0.0005937131,0.13199961],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9941843,0.002162112,0.00033218163,0.0012382672,0.0013608625,0.00072224595],"domain_scores_gemma":[0.9855097,0.007107517,0.0015354176,0.0024511956,0.0022878095,0.0011083832],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0042788424,0.00081120204,0.0005729033,0.0015374317,0.004009406,0.008142146,0.0014513736,0.0029105272,0.07461907],"category_scores_gemma":[0.0360614,0.000577459,0.00061493623,0.0012148417,0.0052864742,0.012783596,0.0064600827,0.0032478184,0.010169086],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002635735,0.000038996997,0.0040050093,0.00032751056,0.000045590896,0.00077019166,0.0059495517,0.00064573955,0.00058100786,0.83131355,0.07320503,0.082854204],"study_design_scores_gemma":[0.000019824174,0.000053875883,0.0017851469,0.00031845726,0.0000336552,0.001048228,0.0029873527,0.0011850038,0.0005631716,0.35543066,0.6365245,0.00005005418],"about_ca_topic_score_codex":0.0019567711,"about_ca_topic_score_gemma":0.0017729071,"teacher_disagreement_score":0.07461907,"about_ca_system_score_codex":0.002075498,"about_ca_system_score_gemma":0.0011724409,"threshold_uncertainty_score":0.24962568},"labels":[],"label_agreement":null},{"id":"W4392816761","doi":"10.4324/9781032715605-10","title":"‘Eye-opening’: Case study of a documentary film series in a carceral setting","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Documentary film; Series (stratigraphy); Visual arts; Art; Art history; Geology","score_opus":0.02764252803868149,"score_gpt":0.243610147614555,"score_spread":0.2159676195758735,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4392816761","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9636684,0.0010447882,0.0014737038,0.0036277806,0.00016012327,0.00024064277,0.00014239323,0.000042083928,0.029600076],"genre_scores_gemma":[0.9760107,0.0011870601,0.002950276,0.00072733307,0.00012684724,0.000089288296,0.00008932978,0.000064791806,0.018754374],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99791354,0.0011984311,0.000070933325,0.00018577947,0.00026492617,0.0003663782],"domain_scores_gemma":[0.9963995,0.0018743441,0.0004197255,0.00023202333,0.00027281753,0.0008014957],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017409514,0.0008215139,0.00047839028,0.0014572109,0.01081303,0.003740632,0.0020908634,0.0037863299,0.005607039],"category_scores_gemma":[0.007290347,0.0005295441,0.00050551124,0.0015100604,0.004481391,0.0024038123,0.0034228815,0.0036006437,0.00082350377],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012868708,0.00042955915,0.005621708,0.0004773382,0.000019794592,0.0845559,0.8724046,0.00020512898,0.004108404,0.005854567,0.005295257,0.020899063],"study_design_scores_gemma":[0.000020123129,0.00033823814,0.009717064,0.00056243845,0.00003391595,0.041521646,0.8452996,0.00045328995,0.0024948383,0.00085800985,0.09865069,0.000050113722],"about_ca_topic_score_codex":0.012025687,"about_ca_topic_score_gemma":0.040310517,"teacher_disagreement_score":0.012025687,"about_ca_system_score_codex":0.0032209286,"about_ca_system_score_gemma":0.0013276417,"threshold_uncertainty_score":0.023911357},"labels":[],"label_agreement":null},{"id":"W4393078442","doi":"10.1525/luminos.196","title":"Romancing \"Yesenia\" How a Mexican Melodrama Shaped Global Popular Culture","year":2024,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Mario Einaudi Center for International Studies; David R. Atkinson Center for a Sustainable Future , Cornell University; Universitas Brawijaya; McGill University; Wenner-Gren Foundation; American Indonesian Exchange Foundation; Andrew W. Mellon Foundation","keywords":"History; Art","score_opus":0.024290422050113135,"score_gpt":0.22433434773869654,"score_spread":0.2000439256885834,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393078442","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24613047,0.009602281,0.001004241,0.01731445,0.00052655215,0.0000250279,0.00014910697,0.000053131615,0.7251948],"genre_scores_gemma":[0.9298614,0.0064417967,0.00040506938,0.0008737117,0.00023098323,0.000024023897,0.000068155176,0.000053007818,0.06204181],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997559,0.00010120442,0.000004673441,0.000041356307,0.00004424858,0.000052714382],"domain_scores_gemma":[0.99985504,0.00006137526,0.000026711672,0.000016614325,0.000017636,0.000022634884],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00039363545,0.00025461236,0.00014369424,0.000703195,0.0032182229,0.00764535,0.00029225086,0.00047506252,0.004058449],"category_scores_gemma":[0.0007636029,0.00012466192,0.00009633565,0.0013034752,0.0043202657,0.0026573327,0.0013519285,0.0010939462,0.00028021954],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007770049,0.000034919303,0.00549852,0.00019064956,0.0000147544915,0.00058383873,0.16744132,0.000117596785,0.001000302,0.72634006,0.03804375,0.060656585],"study_design_scores_gemma":[0.000011496319,0.0000410306,0.014927407,0.00039275736,0.000021073058,0.00032700828,0.16565338,0.00021640597,0.00064543175,0.014995665,0.8027506,0.000017718052],"about_ca_topic_score_codex":0.0072949734,"about_ca_topic_score_gemma":0.020255055,"teacher_disagreement_score":0.00764535,"about_ca_system_score_codex":0.0023267563,"about_ca_system_score_gemma":0.0007120323,"threshold_uncertainty_score":0.016881883},"labels":[],"label_agreement":null},{"id":"W4393103164","doi":"10.11606/issn.2316-4077.v3i5p81-108","title":"História e ambivalência no Magellan de Hollis Frampton","year":2014,"lang":"en","type":"article","venue":"Revista Laika","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Sculpture; Animation; Painting; Art; Photography; Art history; Visual arts; Construct (python library); Computer science","score_opus":0.01716605225743542,"score_gpt":0.20997326139242192,"score_spread":0.1928072091349865,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393103164","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.041866403,0.21097118,0.0023028813,0.20600002,0.00927419,0.00002412038,0.0004049998,0.00009825224,0.52905804],"genre_scores_gemma":[0.54913896,0.12995929,0.0020575463,0.01634721,0.0077010994,0.00006125356,0.00018368791,0.00019945389,0.2943516],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987136,0.0005827319,0.00003605061,0.00023272948,0.00029787028,0.00013692789],"domain_scores_gemma":[0.9975744,0.0015197756,0.0002602905,0.00013975888,0.00024110546,0.0002646806],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015653,0.00029856554,0.00030322626,0.0012473406,0.0021997697,0.0068932767,0.0004918273,0.0015646897,0.009888349],"category_scores_gemma":[0.006162006,0.00022353847,0.00014930856,0.0010837781,0.0031878976,0.002321873,0.0020173092,0.0030122274,0.0013032841],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001606815,0.000038554106,0.0015826604,0.0004123202,0.0000133640915,0.0010111373,0.018452723,0.00028889533,0.00039771004,0.60961545,0.28432554,0.0837009],"study_design_scores_gemma":[0.0000033918311,0.0000064225233,0.0011519025,0.00046419635,0.0000024862306,0.00017661772,0.0014115067,0.000057710335,0.00009333454,0.008538916,0.9880862,0.00000738657],"about_ca_topic_score_codex":0.020246701,"about_ca_topic_score_gemma":0.022019118,"teacher_disagreement_score":0.020246701,"about_ca_system_score_codex":0.0062030056,"about_ca_system_score_gemma":0.0031864098,"threshold_uncertainty_score":0.045006216},"labels":[],"label_agreement":null},{"id":"W4393188776","doi":"10.5195/aa.2024.513","title":"Film Review: She Waves At Me","year":2024,"lang":"en","type":"article","venue":"Anthropology & Aging","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Psychology","score_opus":0.029394731097557324,"score_gpt":0.2864520806484899,"score_spread":0.2570573495509326,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393188776","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001042698,0.06988263,0.0004084199,0.6826834,0.19555849,0.00007285862,0.00088566716,0.000104690225,0.049361207],"genre_scores_gemma":[0.023375666,0.083521485,0.0006214089,0.20769802,0.3400525,0.00022001936,0.0010859342,0.00045499072,0.34297],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.997552,0.0005741866,0.00018454726,0.00031727657,0.0011124028,0.00025969994],"domain_scores_gemma":[0.9742197,0.0063047665,0.0016953599,0.0010473176,0.013576189,0.0031567619],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035256306,0.0006324005,0.0007534713,0.003943436,0.0021872262,0.005821635,0.0008656283,0.0049882093,0.066566005],"category_scores_gemma":[0.034275807,0.00035986936,0.0004876581,0.0024379082,0.0013194117,0.0043702633,0.001967383,0.0059387465,0.02702877],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012016501,0.0000034361592,0.000113139846,0.00012174362,0.0000049923974,0.0000497546,0.00008140955,0.0000044496264,0.00007995228,0.0006842805,0.98781407,0.011030827],"study_design_scores_gemma":[0.000005609939,0.0000059925146,0.00046167802,0.00048284474,0.000009523117,0.000086139815,0.0003256614,0.000013853649,0.00008232745,0.00040088987,0.99811953,0.000005916355],"about_ca_topic_score_codex":0.0044125575,"about_ca_topic_score_gemma":0.014694531,"teacher_disagreement_score":0.066566005,"about_ca_system_score_codex":0.0030252566,"about_ca_system_score_gemma":0.0035216294,"threshold_uncertainty_score":0.22268546},"labels":[],"label_agreement":null},{"id":"W4393201326","doi":"10.5206/tc.v4i1.17165","title":"L’espace filmique abject : Naked Lunch et A History of Violence de David Cronenberg","year":2024,"lang":"fr","type":"article","venue":"Transcr(é)ation","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"The King's University","funders":"","keywords":"Art; Humanities; Art history","score_opus":0.028342128729621073,"score_gpt":0.23943238611206694,"score_spread":0.21109025738244586,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393201326","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1707024,0.10480674,0.004132276,0.24158005,0.0037839864,0.000045353496,0.00009654047,0.000033163924,0.4748195],"genre_scores_gemma":[0.886558,0.019272037,0.00088282744,0.013751202,0.0009766669,0.000031800297,0.000023021395,0.0000666284,0.0784379],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987884,0.0007864282,0.000014112377,0.000101258745,0.0001780018,0.00013176589],"domain_scores_gemma":[0.99917537,0.00050159195,0.000080556405,0.000034579734,0.00010017131,0.00010779206],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013288612,0.00037507835,0.00027464653,0.0008585713,0.007982963,0.0053495523,0.00066921365,0.0018294896,0.003084799],"category_scores_gemma":[0.0022294375,0.00020863228,0.00014737273,0.0007144922,0.017650705,0.0053453445,0.0025881776,0.004777317,0.00037723547],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000473888,0.000033198008,0.0012390475,0.0001097529,0.0000056488057,0.00048463995,0.20762007,0.000084833046,0.00028225736,0.7308277,0.04550186,0.013763651],"study_design_scores_gemma":[0.00001280743,0.000033559612,0.002682531,0.00055735145,0.000010419092,0.0008400424,0.14424723,0.00019025693,0.00036405955,0.06930567,0.78172356,0.000032470933],"about_ca_topic_score_codex":0.039645802,"about_ca_topic_score_gemma":0.057628307,"teacher_disagreement_score":0.039645802,"about_ca_system_score_codex":0.004758943,"about_ca_system_score_gemma":0.002159594,"threshold_uncertainty_score":0.07883006},"labels":[],"label_agreement":null},{"id":"W4393226519","doi":"10.1017/asr.2024.38","title":"Sara Nacer, dir. La Rockeuse du désert (The Desert Rocker). 2022. 75 minutes. Arabic and French, with English subtitles. Canada. L’Equipage. No Price Reported. Available to stream on Eventive.","year":2024,"lang":"en","type":"article","venue":"African Studies Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Arabic; Humanities; Art; Desert (philosophy); Political science; Philosophy; Linguistics; Law","score_opus":0.02681004361792457,"score_gpt":0.23289867745465506,"score_spread":0.20608863383673048,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393226519","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023801348,0.3960307,0.0015473719,0.0732787,0.04007535,0.00016734071,0.013756581,0.0015032374,0.4712605],"genre_scores_gemma":[0.005588359,0.045589183,0.0008711022,0.001953948,0.002001963,0.00006744217,0.002214503,0.0004849582,0.9412285],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994579,0.00013219114,0.000023232446,0.000092663846,0.00021045642,0.000083577295],"domain_scores_gemma":[0.99934524,0.00011070543,0.000060122948,0.000022999999,0.00026019983,0.00020068216],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010145622,0.0012625993,0.0005934553,0.0012764011,0.0010816978,0.00200162,0.0005357427,0.0013020608,0.47179237],"category_scores_gemma":[0.0018751419,0.00045051397,0.0003639572,0.0012324912,0.00027667073,0.0015923369,0.0012147231,0.0013549248,0.34600267],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025372328,0.0000038759586,0.00007015333,0.00010658704,0.0000013568705,0.000020177142,0.000048869708,0.00001218,0.00012570861,0.0005229808,0.9574488,0.041613914],"study_design_scores_gemma":[0.0000024828723,0.000004023859,0.0004851146,0.00007358279,6.797065e-7,0.000037432004,0.00007717098,0.0000070126366,0.000036456462,0.000060559083,0.9992137,0.0000017195796],"about_ca_topic_score_codex":0.030145202,"about_ca_topic_score_gemma":0.055918064,"teacher_disagreement_score":0.9698548,"about_ca_system_score_codex":0.0015636577,"about_ca_system_score_gemma":0.0015409521,"threshold_uncertainty_score":0.75342405},"labels":[],"label_agreement":null},{"id":"W4393238576","doi":"10.1215/22011919-10943089","title":"Blue Crush Cinema","year":2024,"lang":"en","type":"article","venue":"Environmental Humanities","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Movie theater; Art; History; Art history","score_opus":0.030311841239007542,"score_gpt":0.1928467143276023,"score_spread":0.16253487308859477,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393238576","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08809432,0.0036327767,0.0011057677,0.014610813,0.0025435009,0.000050321567,0.0004077729,0.00026277176,0.88929194],"genre_scores_gemma":[0.5835761,0.0025369106,0.0011788914,0.0035972144,0.0014001469,0.00005395677,0.0003175128,0.00028510785,0.40705416],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998398,0.000053656615,0.0000021625965,0.000020318319,0.000045914854,0.000038151826],"domain_scores_gemma":[0.9996866,0.0001171116,0.000016541793,0.000023872693,0.000063542604,0.00009235357],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000268249,0.00022839995,0.000094983974,0.00047167475,0.002764689,0.0015338229,0.00030358406,0.0006109419,0.055279415],"category_scores_gemma":[0.000869266,0.00010391236,0.000079518024,0.0003224187,0.0010842733,0.0011730252,0.0017028174,0.0013768688,0.002496969],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002228809,0.00008352537,0.001650928,0.00051388604,0.000012296293,0.0016130042,0.14254977,0.0002096356,0.015668891,0.073080644,0.66045165,0.10394286],"study_design_scores_gemma":[0.000004516973,0.00001880678,0.0016341205,0.000096353404,0.0000021079645,0.00020547789,0.012064939,0.0000787731,0.0006611066,0.0007776857,0.9844498,0.000006192876],"about_ca_topic_score_codex":0.00882334,"about_ca_topic_score_gemma":0.022618182,"teacher_disagreement_score":0.055279415,"about_ca_system_score_codex":0.0010630449,"about_ca_system_score_gemma":0.00036554,"threshold_uncertainty_score":0.18492806},"labels":[],"label_agreement":null},{"id":"W4393371500","doi":"10.1525/aft.2024.51.1.1","title":"From the Editor","year":2024,"lang":"en","type":"article","venue":"Afterimage","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.017585507967499803,"score_gpt":0.2180148356306214,"score_spread":0.2004293276631216,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393371500","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00027911013,0.012638225,0.00067513745,0.08978138,0.69620115,0.00010112975,0.00070464244,0.000607955,0.19901131],"genre_scores_gemma":[0.0022531122,0.0071484554,0.00046442173,0.046244174,0.1339002,0.000090409034,0.0005436835,0.00048456914,0.80887103],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99785185,0.0003180106,0.00017954463,0.0004004906,0.0010082924,0.00024195557],"domain_scores_gemma":[0.99248487,0.00082201284,0.00026780224,0.00048494156,0.003801199,0.0021392524],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0017238468,0.0012266483,0.00095241814,0.0016545053,0.0025511964,0.008302404,0.0022747135,0.0040864646,0.49927282],"category_scores_gemma":[0.012391227,0.0004604391,0.0007027994,0.0011769751,0.0008594631,0.0057461127,0.0040259166,0.0056031193,0.33612993],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006712751,0.000006653243,0.000022238535,0.00006160668,0.0000012329289,0.0000447,0.000026484126,0.0000056905055,0.000051305477,0.0006022541,0.98302186,0.01614923],"study_design_scores_gemma":[0.0000016386504,0.0000039227016,0.00003969318,0.000057867357,8.377616e-7,0.00005167649,0.000043083946,0.0000048560823,0.000020388969,0.00020424144,0.9995696,0.0000021478975],"about_ca_topic_score_codex":0.0010435763,"about_ca_topic_score_gemma":0.0024190177,"teacher_disagreement_score":0.49927282,"about_ca_system_score_codex":0.001637299,"about_ca_system_score_gemma":0.003293562,"threshold_uncertainty_score":0.71422654},"labels":[],"label_agreement":null},{"id":"W4393461521","doi":"10.5281/zenodo.10334778","title":"Caméra 35 mm Mitchell SS","year":2017,"lang":"fr","type":"dataset","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.05863387192748534,"score_gpt":0.252819471863733,"score_spread":0.19418559993624765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393461521","genre_codex":"other","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003115035,0.0016192537,0.054121006,0.0011420242,0.002831882,0.000749062,0.018047404,0.014144592,0.90422976],"genre_scores_gemma":[0.018767556,0.0013647724,0.034949094,0.0005133378,0.00031225325,0.00039417195,0.013486671,0.004888799,0.92532337],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99960655,0.00003189679,0.000024614528,0.00012183604,0.00016498995,0.000050009803],"domain_scores_gemma":[0.99928707,0.0001267252,0.000027243663,0.00015060791,0.0002905054,0.00011778599],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004407915,0.001422684,0.0007298715,0.002133174,0.0009901144,0.002461077,0.0011575607,0.0011982973,0.736691],"category_scores_gemma":[0.0016068829,0.00082890375,0.0008273188,0.0013756139,0.00038572075,0.0023411459,0.0021216886,0.0013815108,0.44542494],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020961404,0.00004560932,0.0005126876,0.00049484626,0.000012394439,0.00033175456,0.00025587046,0.00085939455,0.00933893,0.007838328,0.70240927,0.27769122],"study_design_scores_gemma":[0.000026826818,0.00004957952,0.0012459024,0.000121716075,0.000010193814,0.00054239435,0.00014182983,0.00072600285,0.0021691388,0.0011630672,0.9937836,0.000019799727],"about_ca_topic_score_codex":0.0028917913,"about_ca_topic_score_gemma":0.0047689923,"teacher_disagreement_score":0.736691,"about_ca_system_score_codex":0.0005203444,"about_ca_system_score_gemma":0.0009444278,"threshold_uncertainty_score":0.37557828},"labels":[],"label_agreement":null},{"id":"W4393534655","doi":"10.5281/zenodo.10334779","title":"Caméra 35 mm Mitchell SS","year":2017,"lang":"fr","type":"dataset","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.05863387192748534,"score_gpt":0.252819471863733,"score_spread":0.19418559993624765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393534655","genre_codex":"other","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003115035,0.0016192537,0.054121006,0.0011420242,0.002831882,0.000749062,0.018047404,0.014144592,0.90422976],"genre_scores_gemma":[0.018767556,0.0013647724,0.034949094,0.0005133378,0.00031225325,0.00039417195,0.013486671,0.004888799,0.92532337],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99960655,0.00003189679,0.000024614528,0.00012183604,0.00016498995,0.000050009803],"domain_scores_gemma":[0.99928707,0.0001267252,0.000027243663,0.00015060791,0.0002905054,0.00011778599],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004407915,0.001422684,0.0007298715,0.002133174,0.0009901144,0.002461077,0.0011575607,0.0011982973,0.736691],"category_scores_gemma":[0.0016068829,0.00082890375,0.0008273188,0.0013756139,0.00038572075,0.0023411459,0.0021216886,0.0013815108,0.44542494],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020961404,0.00004560932,0.0005126876,0.00049484626,0.000012394439,0.00033175456,0.00025587046,0.00085939455,0.00933893,0.007838328,0.70240927,0.27769122],"study_design_scores_gemma":[0.000026826818,0.00004957952,0.0012459024,0.000121716075,0.000010193814,0.00054239435,0.00014182983,0.00072600285,0.0021691388,0.0011630672,0.9937836,0.000019799727],"about_ca_topic_score_codex":0.0028917913,"about_ca_topic_score_gemma":0.0047689923,"teacher_disagreement_score":0.736691,"about_ca_system_score_codex":0.0005203444,"about_ca_system_score_gemma":0.0009444278,"threshold_uncertainty_score":0.37557828},"labels":[],"label_agreement":null},{"id":"W4393645305","doi":"10.1525/fmh.2024.10.2-3.1","title":"Editors’ Introduction","year":2024,"lang":"en","type":"article","venue":"Feminist Media Histories","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.020028539143804886,"score_gpt":0.21426297791297488,"score_spread":0.19423443876917,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393645305","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00045024342,0.013868362,0.0029239005,0.04367318,0.5108834,0.0003971744,0.0052658096,0.0021230062,0.42041495],"genre_scores_gemma":[0.003539332,0.010261276,0.0018945049,0.018337049,0.08874151,0.0002869839,0.003689734,0.0012764726,0.8719732],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9954945,0.000493625,0.00038731383,0.0010002455,0.0021959937,0.0004283146],"domain_scores_gemma":[0.9894945,0.0018461285,0.0005527315,0.00128467,0.0050971033,0.0017247503],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0030885215,0.0015362428,0.0013468587,0.0035607882,0.0022397116,0.009682211,0.0036345446,0.0037341004,0.5673581],"category_scores_gemma":[0.018993357,0.0006514479,0.0012990878,0.0023540065,0.0014055336,0.005294901,0.0037388713,0.0042377883,0.42953116],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014940481,0.00001133423,0.00005159278,0.00020557537,0.0000029559633,0.000041595602,0.000047694866,0.000036734673,0.0001086756,0.002469813,0.9634832,0.03352595],"study_design_scores_gemma":[0.00000248824,0.000004669621,0.000051853025,0.000087551605,0.0000011307308,0.000030855528,0.00002258218,0.000011679749,0.000033922053,0.0004847807,0.9992656,0.000002866056],"about_ca_topic_score_codex":0.001780666,"about_ca_topic_score_gemma":0.0022734995,"teacher_disagreement_score":0.5673581,"about_ca_system_score_codex":0.0024457253,"about_ca_system_score_gemma":0.004767286,"threshold_uncertainty_score":0.6171112},"labels":[],"label_agreement":null},{"id":"W4393666144","doi":"10.5281/zenodo.10307463","title":"Caméra 16 mm Eastman Ciné-Kodak Model A","year":2018,"lang":"fr","type":"dataset","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer graphics (images); Computer science","score_opus":0.05556037324341081,"score_gpt":0.23708383604830863,"score_spread":0.1815234628048978,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393666144","genre_codex":"other","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029524207,0.0072572585,0.418682,0.0032663734,0.004880363,0.0020065755,0.04911278,0.050039012,0.43523148],"genre_scores_gemma":[0.058919534,0.006700014,0.28331771,0.0014577887,0.0005858834,0.0014707041,0.034247596,0.010374805,0.6029261],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936587,0.00007152028,0.00004774366,0.00025082103,0.00020117342,0.00006278539],"domain_scores_gemma":[0.9980501,0.00045367438,0.0000884106,0.00035307088,0.0009357369,0.000119061515],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001249516,0.0015975952,0.0009567774,0.0026621695,0.0007316721,0.0032704477,0.0011842985,0.0016506944,0.3818062],"category_scores_gemma":[0.0019189598,0.0014387099,0.000740554,0.0020510997,0.00046502287,0.003903149,0.00090005854,0.0019043828,0.13574055],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009899841,0.00025134077,0.001681707,0.002404643,0.000074279546,0.0006352215,0.0005688835,0.0011789429,0.18733543,0.012789112,0.45045784,0.34163257],"study_design_scores_gemma":[0.00012406438,0.00027219366,0.0077168467,0.0004082827,0.00013745962,0.002688685,0.00036344162,0.0050303373,0.05693078,0.002264036,0.9239365,0.0001272674],"about_ca_topic_score_codex":0.0014274211,"about_ca_topic_score_gemma":0.0029845668,"teacher_disagreement_score":0.3818062,"about_ca_system_score_codex":0.00048655094,"about_ca_system_score_gemma":0.00089298486,"threshold_uncertainty_score":0.8817784},"labels":[],"label_agreement":null},{"id":"W4393734715","doi":"10.5281/zenodo.10307464","title":"Caméra 16 mm Eastman Ciné-Kodak Model A","year":2018,"lang":"fr","type":"dataset","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer graphics (images); Computer science","score_opus":0.05556037324341081,"score_gpt":0.23708383604830863,"score_spread":0.1815234628048978,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393734715","genre_codex":"other","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029524207,0.0072572585,0.418682,0.0032663734,0.004880363,0.0020065755,0.04911278,0.050039012,0.43523148],"genre_scores_gemma":[0.058919534,0.006700014,0.28331771,0.0014577887,0.0005858834,0.0014707041,0.034247596,0.010374805,0.6029261],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936587,0.00007152028,0.00004774366,0.00025082103,0.00020117342,0.00006278539],"domain_scores_gemma":[0.9980501,0.00045367438,0.0000884106,0.00035307088,0.0009357369,0.000119061515],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001249516,0.0015975952,0.0009567774,0.0026621695,0.0007316721,0.0032704477,0.0011842985,0.0016506944,0.3818062],"category_scores_gemma":[0.0019189598,0.0014387099,0.000740554,0.0020510997,0.00046502287,0.003903149,0.00090005854,0.0019043828,0.13574055],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009899841,0.00025134077,0.001681707,0.002404643,0.000074279546,0.0006352215,0.0005688835,0.0011789429,0.18733543,0.012789112,0.45045784,0.34163257],"study_design_scores_gemma":[0.00012406438,0.00027219366,0.0077168467,0.0004082827,0.00013745962,0.002688685,0.00036344162,0.0050303373,0.05693078,0.002264036,0.9239365,0.0001272674],"about_ca_topic_score_codex":0.0014274211,"about_ca_topic_score_gemma":0.0029845668,"teacher_disagreement_score":0.3818062,"about_ca_system_score_codex":0.00048655094,"about_ca_system_score_gemma":0.00089298486,"threshold_uncertainty_score":0.8817784},"labels":[],"label_agreement":null},{"id":"W4393780934","doi":"10.5281/zenodo.10332712","title":"Caméra 16 mm Arri Arriflex 16ST Super 16","year":2020,"lang":"fr","type":"dataset","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.05126533759083874,"score_gpt":0.23047586453238658,"score_spread":0.17921052694154785,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393780934","genre_codex":"other","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011387726,0.0043788003,0.2487649,0.003076741,0.0036496283,0.0022026831,0.06307458,0.042300712,0.6211642],"genre_scores_gemma":[0.049061235,0.004863706,0.19637258,0.0013770831,0.00087171764,0.0016345127,0.040740464,0.010489226,0.6945895],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930096,0.000075194446,0.00004667781,0.00023864361,0.0002579339,0.00008060265],"domain_scores_gemma":[0.9987387,0.00024493132,0.00005886261,0.00029847154,0.0004989856,0.0001600833],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009547326,0.0013471948,0.00095323694,0.00301845,0.000679623,0.002770934,0.0014863847,0.0014887751,0.612153],"category_scores_gemma":[0.002264921,0.0012685879,0.0008128134,0.0024941736,0.0003760999,0.0029015266,0.002107648,0.0013859378,0.25797224],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00065221207,0.000080362006,0.0015959649,0.0012457963,0.00004656797,0.000320668,0.00026699522,0.00087541237,0.034323975,0.008755005,0.60345685,0.34838018],"study_design_scores_gemma":[0.00012408302,0.00015109178,0.0048800893,0.00033762216,0.00005338592,0.0012126291,0.00018526916,0.0027877244,0.011240358,0.001886103,0.9770732,0.00006839059],"about_ca_topic_score_codex":0.0022864933,"about_ca_topic_score_gemma":0.0030867015,"teacher_disagreement_score":0.612153,"about_ca_system_score_codex":0.00047941192,"about_ca_system_score_gemma":0.0011942283,"threshold_uncertainty_score":0.5532167},"labels":[],"label_agreement":null},{"id":"W4393840414","doi":"10.5281/zenodo.10332711","title":"Caméra 16 mm Arri Arriflex 16ST Super 16","year":2020,"lang":"fr","type":"dataset","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mathematics","score_opus":0.05126533759083874,"score_gpt":0.23047586453238658,"score_spread":0.17921052694154785,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393840414","genre_codex":"other","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011387726,0.0043788003,0.2487649,0.003076741,0.0036496283,0.0022026831,0.06307458,0.042300712,0.6211642],"genre_scores_gemma":[0.049061235,0.004863706,0.19637258,0.0013770831,0.00087171764,0.0016345127,0.040740464,0.010489226,0.6945895],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99930096,0.000075194446,0.00004667781,0.00023864361,0.0002579339,0.00008060265],"domain_scores_gemma":[0.9987387,0.00024493132,0.00005886261,0.00029847154,0.0004989856,0.0001600833],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009547326,0.0013471948,0.00095323694,0.00301845,0.000679623,0.002770934,0.0014863847,0.0014887751,0.612153],"category_scores_gemma":[0.002264921,0.0012685879,0.0008128134,0.0024941736,0.0003760999,0.0029015266,0.002107648,0.0013859378,0.25797224],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00065221207,0.000080362006,0.0015959649,0.0012457963,0.00004656797,0.000320668,0.00026699522,0.00087541237,0.034323975,0.008755005,0.60345685,0.34838018],"study_design_scores_gemma":[0.00012408302,0.00015109178,0.0048800893,0.00033762216,0.00005338592,0.0012126291,0.00018526916,0.0027877244,0.011240358,0.001886103,0.9770732,0.00006839059],"about_ca_topic_score_codex":0.0022864933,"about_ca_topic_score_gemma":0.0030867015,"teacher_disagreement_score":0.612153,"about_ca_system_score_codex":0.00047941192,"about_ca_system_score_gemma":0.0011942283,"threshold_uncertainty_score":0.5532167},"labels":[],"label_agreement":null},{"id":"W4393860461","doi":"10.32920/25106093","title":"Le Confessional/The Confessional: Robert Lepage, 1995","year":2024,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Confessional; Art; Political science; Law","score_opus":0.03791589714867311,"score_gpt":0.2536723442051728,"score_spread":0.2157564470564997,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393860461","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003166119,0.4235419,0.0017371565,0.2924647,0.007961234,0.000029635992,0.0010685402,0.00016092593,0.2698698],"genre_scores_gemma":[0.073180996,0.11060888,0.0014744953,0.018763527,0.0030151864,0.000037856054,0.00040533466,0.00019426167,0.7923194],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996213,0.000093622606,0.000012438461,0.00007911719,0.00014080753,0.000052742176],"domain_scores_gemma":[0.9994197,0.00014375344,0.000047735757,0.000022797652,0.0002574816,0.000108594024],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006128551,0.0006405987,0.00031467938,0.0010774087,0.0027026283,0.0034286068,0.00055053685,0.0017547548,0.036392145],"category_scores_gemma":[0.0026819548,0.00026433033,0.00012631777,0.0014086061,0.0016398872,0.0030972327,0.00082571653,0.0022454935,0.012308528],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012546892,0.000006420217,0.00027431853,0.00004550534,0.0000023753037,0.00006605398,0.0006994669,0.000035635287,0.00007879876,0.028613893,0.94317436,0.02699051],"study_design_scores_gemma":[0.000002374909,0.0000017117201,0.00073818426,0.0001091866,0.0000015872471,0.00007362944,0.0005907516,0.0000320858,0.000060100727,0.0028707944,0.9955141,0.0000054918464],"about_ca_topic_score_codex":0.29408762,"about_ca_topic_score_gemma":0.3595898,"teacher_disagreement_score":0.29408762,"about_ca_system_score_codex":0.005879073,"about_ca_system_score_gemma":0.0035343727,"threshold_uncertainty_score":0.58475167},"labels":[],"label_agreement":null},{"id":"W4393860510","doi":"10.32920/25106093.v1","title":"Le Confessional/The Confessional: Robert Lepage, 1995","year":2024,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Confessional; Political science; Law; Politics","score_opus":0.03791589714867311,"score_gpt":0.2536723442051728,"score_spread":0.2157564470564997,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393860510","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003166119,0.4235419,0.0017371565,0.2924647,0.007961234,0.000029635992,0.0010685402,0.00016092593,0.2698698],"genre_scores_gemma":[0.073180996,0.11060888,0.0014744953,0.018763527,0.0030151864,0.000037856054,0.00040533466,0.00019426167,0.7923194],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996213,0.000093622606,0.000012438461,0.00007911719,0.00014080753,0.000052742176],"domain_scores_gemma":[0.9994197,0.00014375344,0.000047735757,0.000022797652,0.0002574816,0.000108594024],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006128551,0.0006405987,0.00031467938,0.0010774087,0.0027026283,0.0034286068,0.00055053685,0.0017547548,0.036392145],"category_scores_gemma":[0.0026819548,0.00026433033,0.00012631777,0.0014086061,0.0016398872,0.0030972327,0.00082571653,0.0022454935,0.012308528],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012546892,0.000006420217,0.00027431853,0.00004550534,0.0000023753037,0.00006605398,0.0006994669,0.000035635287,0.00007879876,0.028613893,0.94317436,0.02699051],"study_design_scores_gemma":[0.000002374909,0.0000017117201,0.00073818426,0.0001091866,0.0000015872471,0.00007362944,0.0005907516,0.0000320858,0.000060100727,0.0028707944,0.9955141,0.0000054918464],"about_ca_topic_score_codex":0.29408762,"about_ca_topic_score_gemma":0.3595898,"teacher_disagreement_score":0.29408762,"about_ca_system_score_codex":0.005879073,"about_ca_system_score_gemma":0.0035343727,"threshold_uncertainty_score":0.58475167},"labels":[],"label_agreement":null},{"id":"W4393988023","doi":"10.26522/ssj.v18i2.4409","title":"Temporalization and the Digital Vigilante: Past Presencing, Un/Doing Futures and “Jewish Revenge” as Affective Justice in Talia Lavin’s Culture Warlords","year":2024,"lang":"en","type":"article","venue":"Studies in Social Justice","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"Deutsche Forschungsgemeinschaft","keywords":"Economic Justice; Judaism; Futures contract; Sociology; Art; Political science; Art history; Law; Theology; Philosophy; Business","score_opus":0.024435841446959504,"score_gpt":0.2988119384163342,"score_spread":0.2743760969693747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393988023","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7620227,0.0029777184,0.0054670568,0.01828208,0.0002827389,0.000023475111,0.00003081017,0.00006156498,0.21085194],"genre_scores_gemma":[0.99339044,0.00020918516,0.00021761878,0.00047638346,0.000028562583,0.000005931801,0.000003903735,0.0000133643325,0.0056546372],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9986389,0.0008603584,0.00002307953,0.00013767433,0.00014380233,0.00019618405],"domain_scores_gemma":[0.9989053,0.00054218783,0.00020587139,0.00008110716,0.00007569967,0.00018974264],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014804694,0.00025580026,0.00016599732,0.00074103964,0.010640598,0.0099625345,0.000608042,0.0017007086,0.002673769],"category_scores_gemma":[0.0027532645,0.00018271699,0.000167167,0.00039612007,0.029212998,0.0068959016,0.005077153,0.003539689,0.00023056123],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002919117,0.000029540983,0.0017137553,0.000023036488,0.0000046120713,0.00055477314,0.77763516,0.0000850766,0.0005974632,0.21097592,0.0017132633,0.006638234],"study_design_scores_gemma":[0.000009446791,0.00005116178,0.004306847,0.0001537412,0.000008753007,0.00089876197,0.7490277,0.00035150658,0.0007357224,0.04731563,0.19709727,0.000043427935],"about_ca_topic_score_codex":0.013589799,"about_ca_topic_score_gemma":0.01843175,"teacher_disagreement_score":0.013589799,"about_ca_system_score_codex":0.005089891,"about_ca_system_score_gemma":0.0013733716,"threshold_uncertainty_score":0.036929965},"labels":[],"label_agreement":null},{"id":"W4393989920","doi":"10.1080/01439685.2024.2331307","title":"Filming History from Below: Microhistorical Documentaries","year":2024,"lang":"en","type":"article","venue":"Historical Journal Of Film Radio and Television","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Windsor","funders":"","keywords":"Art; Visual arts; History","score_opus":0.023179430086152884,"score_gpt":0.20892554333393829,"score_spread":0.1857461132477854,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4393989920","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.085452646,0.063790016,0.004391721,0.057645343,0.014019365,0.00029569984,0.0070811827,0.00024135722,0.76708263],"genre_scores_gemma":[0.59601843,0.098769605,0.0077211973,0.008444647,0.0156053705,0.0004132097,0.0045420546,0.0009599371,0.26752552],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99940073,0.00021282799,0.00005751534,0.00007384672,0.00018529086,0.00006980674],"domain_scores_gemma":[0.99554956,0.0026978413,0.00050765433,0.00041483916,0.00050956063,0.0003205124],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012448166,0.00037068382,0.00019964232,0.0043197754,0.003480646,0.0056840177,0.000546714,0.0009392715,0.022586623],"category_scores_gemma":[0.006350815,0.00024512442,0.000092285685,0.0058768294,0.0032187416,0.0051233163,0.0016977158,0.003184803,0.0025034763],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012971321,0.00007307294,0.0021122135,0.0012892392,0.00001620476,0.0006027342,0.13415195,0.00021744544,0.0018130548,0.25946522,0.44550076,0.15462843],"study_design_scores_gemma":[0.0000027254562,0.000008415436,0.003492422,0.0006262057,0.0000044415137,0.00011208924,0.012224746,0.00003405935,0.000316963,0.0032059026,0.9799619,0.000010024543],"about_ca_topic_score_codex":0.011501316,"about_ca_topic_score_gemma":0.03799002,"teacher_disagreement_score":0.022586623,"about_ca_system_score_codex":0.0034110327,"about_ca_system_score_gemma":0.0014727637,"threshold_uncertainty_score":0.075559735},"labels":[],"label_agreement":null},{"id":"W4394731996","doi":"10.62212/1866/32875","title":"La remédiation des images de cinéma dans le jeu vidéo","year":2023,"lang":"fr","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Bibliothèque et Archives nationales du Québec; Library and Archives Canada","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Art; Humanities","score_opus":0.03332282608582949,"score_gpt":0.2312668550990975,"score_spread":0.19794402901326802,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394731996","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16992171,0.018818634,0.10111888,0.01881456,0.0014525565,0.00010297,0.0001669856,0.0006861204,0.68891764],"genre_scores_gemma":[0.7217226,0.008236938,0.030089974,0.0011154205,0.0005922166,0.00007988861,0.00012724132,0.0002703111,0.23776546],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99948055,0.00021987908,0.00001228221,0.00007676799,0.00015349507,0.00005708483],"domain_scores_gemma":[0.99834466,0.0010337991,0.00010918641,0.00021569691,0.00023048352,0.00006618973],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010006955,0.00041800115,0.00016331421,0.0010075344,0.0012067943,0.00415404,0.0007662417,0.0013761019,0.006551165],"category_scores_gemma":[0.0044775126,0.00027362094,0.0004434131,0.0005745766,0.004059997,0.0029901124,0.0012805442,0.0015811959,0.00068283855],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008907934,0.000038297127,0.0015383171,0.00025548213,0.000020356043,0.00043517098,0.014247164,0.0026069158,0.007990406,0.8329789,0.018658623,0.1211413],"study_design_scores_gemma":[0.000039143473,0.00019403674,0.009977483,0.000654761,0.00006650849,0.0015691292,0.010437,0.014760693,0.015599106,0.1310052,0.81562257,0.000074311014],"about_ca_topic_score_codex":0.007015615,"about_ca_topic_score_gemma":0.008009811,"teacher_disagreement_score":0.007015615,"about_ca_system_score_codex":0.0015312203,"about_ca_system_score_gemma":0.0009111593,"threshold_uncertainty_score":0.021915853},"labels":[],"label_agreement":null},{"id":"W4394754259","doi":"10.33470/2997-2523.1018","title":"Review of Fawaz, Queer Forms","year":2023,"lang":"en","type":"article","venue":"Journal of 20th Century Media History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Queer; Sociology; Gender studies","score_opus":0.04470035125758167,"score_gpt":0.2324232808620133,"score_spread":0.18772292960443163,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394754259","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006132532,0.88682425,0.00069878093,0.055182155,0.005510138,0.000015460564,0.00050678715,0.000022640392,0.050626572],"genre_scores_gemma":[0.017083693,0.9298709,0.0007981218,0.013141059,0.007015871,0.000035871937,0.00037793137,0.00005764862,0.031618886],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915814,0.0002201014,0.00007559134,0.00013114208,0.00033747946,0.00007750211],"domain_scores_gemma":[0.9961359,0.0020738249,0.00020573063,0.00024681696,0.0011890986,0.00014863427],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002557823,0.00057688693,0.00074096833,0.0065803886,0.0014878899,0.0039358577,0.0009006818,0.0021787726,0.025133831],"category_scores_gemma":[0.013534492,0.00027725776,0.0002867149,0.0090124095,0.0027007165,0.003830016,0.0013870278,0.0017051728,0.005376731],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038295864,0.00001639664,0.0003778589,0.001865243,0.000029326919,0.00007452023,0.0005980652,0.0001865985,0.00009580457,0.12599133,0.61901057,0.25171587],"study_design_scores_gemma":[0.0000034122309,0.0000029076425,0.00048741009,0.0011778598,0.000008292223,0.000059864677,0.00015588549,0.000016589183,0.000032346263,0.0051056496,0.99294597,0.0000038635153],"about_ca_topic_score_codex":0.023236783,"about_ca_topic_score_gemma":0.03454769,"teacher_disagreement_score":0.025133831,"about_ca_system_score_codex":0.003414633,"about_ca_system_score_gemma":0.0071963663,"threshold_uncertainty_score":0.084080994},"labels":[],"label_agreement":null},{"id":"W4394848158","doi":"10.5040/9781350121751.0018","title":"Making Sense of Sensation","year":2022,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sensation; Sense (electronics); Psychology; Art; Communication; Cognitive psychology; Engineering","score_opus":0.06156710559405095,"score_gpt":0.2476442523597353,"score_spread":0.18607714676568435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394848158","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008190293,0.02351731,0.005919018,0.06806559,0.0018499888,0.000022874436,0.00021562005,0.00013753671,0.8920817],"genre_scores_gemma":[0.7148486,0.03551479,0.004622047,0.018056551,0.0019181068,0.000096417934,0.00027813486,0.00031118747,0.22435418],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987876,0.0006087552,0.000029420384,0.00015879593,0.00025382437,0.00016167607],"domain_scores_gemma":[0.99879277,0.00047051988,0.00008258712,0.00023302199,0.00022822636,0.00019275672],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017000416,0.00053800666,0.0003048059,0.0010678184,0.0038516403,0.010896703,0.00068259327,0.002453434,0.019268038],"category_scores_gemma":[0.005134837,0.00023084234,0.0002866955,0.00078964164,0.017524896,0.015422264,0.0054911124,0.0034870377,0.005319227],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003574414,0.000016618986,0.00030460907,0.00011700475,0.000006580089,0.00016361481,0.016903525,0.000120628756,0.0002941056,0.857437,0.08520805,0.03939246],"study_design_scores_gemma":[0.000011047645,0.000013130255,0.0006172401,0.00035028558,0.0000065691765,0.00023030266,0.009910472,0.000113506554,0.00040636203,0.31798974,0.67033607,0.000015295775],"about_ca_topic_score_codex":0.0047571408,"about_ca_topic_score_gemma":0.006918366,"teacher_disagreement_score":0.019268038,"about_ca_system_score_codex":0.0028291456,"about_ca_system_score_gemma":0.002071983,"threshold_uncertainty_score":0.06445801},"labels":[],"label_agreement":null},{"id":"W4394878478","doi":"10.1080/10260210008456046","title":"If cinema can be said to constitute the representational site par excellence of the 20 <sup>th</sup> century, how might you understand its past, or future in relation to recent developments in video and new media?","year":2000,"lang":"en","type":"article","venue":"Sites The Journal of Twentieth-Century/Contemporary French Studies revue d études français","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec","funders":"","keywords":"Relation (database); Movie theater; Excellence; Sociology; Environmental ethics; Epistemology; Art history; Art; Philosophy; Computer science","score_opus":0.06245486415439192,"score_gpt":0.24556151083742153,"score_spread":0.18310664668302962,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394878478","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022212666,0.10798107,0.005795823,0.46643025,0.011319145,0.0000350206,0.0011686984,0.000107489024,0.3849498],"genre_scores_gemma":[0.7100106,0.06969844,0.0052838326,0.034997553,0.011598763,0.0000950321,0.0010216981,0.0002039549,0.16709019],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99942696,0.0002483895,0.000029473771,0.000066921704,0.0001358725,0.00009250602],"domain_scores_gemma":[0.9979753,0.00075091363,0.00034782596,0.00012634418,0.0005037114,0.0002958352],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017401113,0.00032496118,0.00023377468,0.0014491624,0.0025111386,0.009469736,0.0005570422,0.0023799967,0.01990944],"category_scores_gemma":[0.0055367844,0.00017793351,0.0002231494,0.0018016436,0.005722298,0.011609678,0.0015538255,0.0024048598,0.0035984018],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006918946,0.00001790068,0.0034620261,0.00016505648,0.000011269573,0.00008706462,0.0079577705,0.00009805598,0.00012720101,0.54072505,0.39275622,0.05452314],"study_design_scores_gemma":[0.000011518159,0.000018067563,0.01201416,0.0005992346,0.000012074312,0.00021114714,0.012139646,0.00011231492,0.00020115354,0.10670862,0.8679457,0.000026481397],"about_ca_topic_score_codex":0.019363485,"about_ca_topic_score_gemma":0.03682309,"teacher_disagreement_score":0.01990944,"about_ca_system_score_codex":0.0030918429,"about_ca_system_score_gemma":0.0021813791,"threshold_uncertainty_score":0.06660372},"labels":[],"label_agreement":null},{"id":"W4394950741","doi":"10.25071/fnpmj104","title":"What triumph? Whose cinema?","year":2024,"lang":"en","type":"article","venue":"Canada Watch","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Movie theater; Art; History; Art history","score_opus":0.021537106163020386,"score_gpt":0.20490889451489924,"score_spread":0.18337178835187887,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4394950741","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20024237,0.026789341,0.0014420507,0.4381999,0.0046472917,0.00013270628,0.002561898,0.00009553208,0.32588893],"genre_scores_gemma":[0.9013428,0.013762754,0.0006728621,0.021551907,0.0026955698,0.00004508542,0.0005613661,0.00017858656,0.0591891],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99814427,0.00042430122,0.000037178666,0.0002104002,0.0006038853,0.0005800545],"domain_scores_gemma":[0.98733974,0.002376345,0.0010890419,0.00024445492,0.004504712,0.004445671],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024879954,0.00029603246,0.00039889675,0.0027374758,0.0056325933,0.015667707,0.0008395519,0.0019319545,0.02720009],"category_scores_gemma":[0.01848239,0.00022491418,0.00021969705,0.004425524,0.007376631,0.0069819316,0.0011588825,0.0052163117,0.0017090547],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028535828,0.00027938857,0.097899325,0.00045264445,0.00012068785,0.0005527335,0.040322978,0.00025993207,0.00086925755,0.2477546,0.45790786,0.1532952],"study_design_scores_gemma":[0.00004035077,0.000046910896,0.10038438,0.0015105053,0.0001390266,0.00031444503,0.20130175,0.0005752044,0.00066227786,0.04401966,0.65089357,0.00011195503],"about_ca_topic_score_codex":0.790015,"about_ca_topic_score_gemma":0.8575173,"teacher_disagreement_score":0.790015,"about_ca_system_score_codex":0.031692788,"about_ca_system_score_gemma":0.027694298,"threshold_uncertainty_score":0.42244327},"labels":[],"label_agreement":null},{"id":"W4395108588","doi":"10.1515/9780228019367-012","title":"9 Moviegoing in Stereoscope: Film Advertising in Diasporic Communities in Urban Canada","year":2023,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Advertising; Geography; Art; Visual arts; Business","score_opus":0.027063643884535277,"score_gpt":0.1880592840578942,"score_spread":0.16099564017335893,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395108588","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.52390844,0.005953189,0.00037730683,0.011306458,0.00026335364,0.00010213652,0.0019898938,0.000106135616,0.4559931],"genre_scores_gemma":[0.81346935,0.003257915,0.0004393624,0.00064776023,0.000038965518,0.000013952378,0.0004622136,0.00005963444,0.18161087],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9996722,0.000033871514,0.0000041102408,0.00002478764,0.00009066493,0.00017441424],"domain_scores_gemma":[0.999382,0.0000756794,0.000028432605,0.000011207985,0.0002039357,0.00029861278],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023229135,0.00022675694,0.00015411469,0.0013290682,0.007978328,0.0052828444,0.0007893453,0.00068074634,0.03493446],"category_scores_gemma":[0.00076422095,0.0001690809,0.00013716394,0.0028529752,0.0012836214,0.00091991556,0.0011226106,0.00078862766,0.0013561674],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018904786,0.00025710504,0.096114814,0.0006090658,0.000028571994,0.002868834,0.23775107,0.0005130226,0.002671953,0.051362872,0.3232933,0.28434038],"study_design_scores_gemma":[0.000009188023,0.000033076743,0.1596904,0.00033027396,0.000024176788,0.00045154558,0.29571527,0.00044852623,0.00064275565,0.00084835733,0.5417703,0.000036171063],"about_ca_topic_score_codex":0.9826444,"about_ca_topic_score_gemma":0.9959176,"teacher_disagreement_score":0.03493446,"about_ca_system_score_codex":0.026476996,"about_ca_system_score_gemma":0.038349308,"threshold_uncertainty_score":0.19210494},"labels":[],"label_agreement":null},{"id":"W4395459433","doi":"10.1515/9780228020349-002","title":"Foreword","year":2024,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.026278322566535523,"score_gpt":0.19288277721950503,"score_spread":0.1666044546529695,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395459433","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00034945388,0.0039307475,0.0008591402,0.01763663,0.035981953,0.00021699701,0.0023590648,0.00082646776,0.93783945],"genre_scores_gemma":[0.0015119622,0.0017759805,0.0002876356,0.0067434497,0.002827961,0.000078320256,0.0014583148,0.00040846577,0.98490787],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99920017,0.0000999644,0.000042656276,0.00015575974,0.00038760595,0.00011387794],"domain_scores_gemma":[0.9983234,0.00027392415,0.00006664081,0.0001420219,0.0009023434,0.00029171648],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006011649,0.0007793338,0.00065500836,0.001333556,0.0025043255,0.005720993,0.0015863932,0.002812039,0.71490836],"category_scores_gemma":[0.004535111,0.00037794746,0.0006098932,0.0014975258,0.00068456726,0.0036891652,0.0024174764,0.0032062256,0.6881433],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008696681,0.000007533582,0.000029444771,0.000054963402,6.723008e-7,0.000029535275,0.00004149829,0.0000074042887,0.000051237148,0.0025238537,0.9786372,0.018608047],"study_design_scores_gemma":[0.0000020475502,0.000004388927,0.00008429488,0.000054483397,5.1492276e-7,0.000034749995,0.00008897848,0.0000069179205,0.000028707062,0.0005126393,0.99918026,0.000001897572],"about_ca_topic_score_codex":0.0047715683,"about_ca_topic_score_gemma":0.0067614582,"teacher_disagreement_score":0.71490836,"about_ca_system_score_codex":0.0016540516,"about_ca_system_score_gemma":0.0020986153,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4395459675","doi":"10.1515/9780228020349","title":"Winter Kept Us Warm","year":2024,"lang":"en","type":"book","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Environmental science","score_opus":0.020755670564821135,"score_gpt":0.19405818731761745,"score_spread":0.17330251675279632,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395459675","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04138698,0.016072627,0.0008272238,0.07447752,0.013850465,0.00007432543,0.001234996,0.0004511676,0.85162467],"genre_scores_gemma":[0.2209804,0.0057564573,0.00053049764,0.0112733,0.001184175,0.000033079003,0.0003295556,0.0004194321,0.7594932],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994423,0.00011947299,0.00000786302,0.00007603485,0.00015354292,0.00020080982],"domain_scores_gemma":[0.9992866,0.00009082801,0.000033331933,0.000041671232,0.00019720163,0.00035039554],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00042288707,0.00039027334,0.00021459945,0.00065690227,0.010568339,0.0077105574,0.00044122874,0.0012482848,0.03734291],"category_scores_gemma":[0.0014762185,0.00019536281,0.0001832376,0.0006374473,0.0037152362,0.002853161,0.0022257292,0.0025764657,0.0032971513],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007069231,0.000020316094,0.0011188472,0.00010108067,0.000010751093,0.00080449623,0.037084006,0.000045678353,0.0010266775,0.032736506,0.9013602,0.025620757],"study_design_scores_gemma":[0.0000024663507,0.0000052343366,0.0011970985,0.00007681816,0.0000040198856,0.00013040433,0.012443821,0.000011424384,0.00020217113,0.00030059385,0.9856184,0.0000075269854],"about_ca_topic_score_codex":0.40572327,"about_ca_topic_score_gemma":0.69136184,"teacher_disagreement_score":0.40572327,"about_ca_system_score_codex":0.008215643,"about_ca_system_score_gemma":0.0060016355,"threshold_uncertainty_score":0.8067234},"labels":[],"label_agreement":null},{"id":"W4395482440","doi":"10.35499/tl.v17i2.17773","title":"Spectacle, biopower, performativity","year":2023,"lang":"en","type":"article","venue":"Tabuleiro de Letras","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Biopower; Spectacle; Performativity; Aesthetics; Sociology; Art; Gender studies; Political science; Politics; Law","score_opus":0.03829481638870358,"score_gpt":0.237564733849104,"score_spread":0.19926991746040043,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4395482440","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09716663,0.013438662,0.01903012,0.059898626,0.0013356359,0.000072528295,0.00008381836,0.00006982106,0.80890423],"genre_scores_gemma":[0.96639496,0.0029003236,0.0015438865,0.0028128976,0.0005220844,0.00008401485,0.000025469306,0.00006879887,0.025647534],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9968991,0.0023678574,0.000039623807,0.00019068336,0.0002532404,0.00024954663],"domain_scores_gemma":[0.9976198,0.0016733565,0.00023954027,0.00020363241,0.000102185906,0.00016152955],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002512589,0.0005965357,0.0003386206,0.0010855255,0.0068126433,0.0061882697,0.000756824,0.0025897312,0.006282464],"category_scores_gemma":[0.004156534,0.00018412029,0.0002536241,0.0008768055,0.052792773,0.010104022,0.005866089,0.0036084962,0.00056595495],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009100634,0.000005968125,0.0001541021,0.0000370377,0.0000012922347,0.00008063173,0.046972264,0.00003942052,0.00008857978,0.9476842,0.0022330114,0.002694262],"study_design_scores_gemma":[0.000013899783,0.00006069283,0.0011313126,0.0005071569,0.000006108697,0.00057297206,0.09019624,0.00024511447,0.00049107795,0.39866015,0.50809133,0.000023911794],"about_ca_topic_score_codex":0.0031286178,"about_ca_topic_score_gemma":0.003773993,"teacher_disagreement_score":0.0068126433,"about_ca_system_score_codex":0.0025274565,"about_ca_system_score_gemma":0.001268426,"threshold_uncertainty_score":0.021016955},"labels":[],"label_agreement":null},{"id":"W4396236580","doi":"10.1002/j.2831-865x.2000.tb00174.x","title":"John O'Shea and the Tradition of New Zealand Cinema","year":2000,"lang":"en","type":"article","venue":"Popular Culture Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; History; Media studies; Sociology; Political science; Art history","score_opus":0.03328894010160556,"score_gpt":0.2380715103257025,"score_spread":0.20478257022409696,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4396236580","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.035651635,0.084631816,0.0020340518,0.06611576,0.0035613573,0.00006212035,0.00008138814,0.000069860245,0.80779207],"genre_scores_gemma":[0.44296196,0.0649564,0.0036068677,0.006357902,0.0014842184,0.00014688005,0.000058889815,0.00022017145,0.48020676],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980794,0.00039219126,0.00008274904,0.00039298032,0.0007474537,0.00030532107],"domain_scores_gemma":[0.9975025,0.000548559,0.0003444218,0.00023747285,0.00060029456,0.00076677866],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016147585,0.00036952583,0.00029585272,0.0012923867,0.0101222815,0.00886832,0.00077850395,0.0015573864,0.015550128],"category_scores_gemma":[0.005078714,0.00037982533,0.00018090662,0.0015203448,0.012299882,0.0060942746,0.0035838545,0.0039895964,0.001454378],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013949127,0.000077394856,0.0040741167,0.00075278647,0.000033319255,0.0011792288,0.279838,0.00010931361,0.0044269864,0.39660347,0.15530328,0.15746258],"study_design_scores_gemma":[0.0000039184147,0.0000097386255,0.0035918485,0.0004428348,0.000005618081,0.0002452428,0.013529012,0.00003077863,0.00011759328,0.00433606,0.97767305,0.000014207423],"about_ca_topic_score_codex":0.3767574,"about_ca_topic_score_gemma":0.63391304,"teacher_disagreement_score":0.3767574,"about_ca_system_score_codex":0.01367913,"about_ca_system_score_gemma":0.01210307,"threshold_uncertainty_score":0.7491289},"labels":[],"label_agreement":null},{"id":"W4396236868","doi":"10.1002/j.2831-865x.2006.tb00688.x","title":"Howling at the Moon: The Origin Story in Werewolf Cinema","year":2006,"lang":"en","type":"article","venue":"Popular Culture Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Literature; History; Art","score_opus":0.04171651574885666,"score_gpt":0.25513675653443,"score_spread":0.21342024078557337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4396236868","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58098996,0.012683829,0.002224694,0.03220677,0.0019296245,0.00012951322,0.00026410367,0.00025090302,0.3693207],"genre_scores_gemma":[0.9302064,0.0024860476,0.0006402925,0.002169263,0.00029265534,0.000054356387,0.000120220684,0.00024419226,0.06378662],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99888724,0.00053876947,0.000022704857,0.00010265586,0.00017047476,0.00027813518],"domain_scores_gemma":[0.99930835,0.0002800355,0.00006665714,0.00004038694,0.00010207763,0.0002023762],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00101994,0.0005980389,0.0003913571,0.0014635817,0.018722735,0.008791362,0.000735351,0.002309862,0.004401611],"category_scores_gemma":[0.0032783179,0.0005465069,0.00035620644,0.0007640906,0.009321397,0.00498673,0.0038550433,0.0039345534,0.0009802268],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000084802916,0.000056271325,0.002516185,0.00015118661,0.0000169025,0.0043879505,0.8757334,0.000028611228,0.0007604603,0.06637275,0.03752459,0.012366837],"study_design_scores_gemma":[0.000010748088,0.000040533396,0.0045001176,0.00062368996,0.000030678722,0.0027518808,0.40194672,0.00011382485,0.0012481551,0.0032883226,0.58540356,0.00004170838],"about_ca_topic_score_codex":0.025394613,"about_ca_topic_score_gemma":0.0660277,"teacher_disagreement_score":0.025394613,"about_ca_system_score_codex":0.004306696,"about_ca_system_score_gemma":0.0012599659,"threshold_uncertainty_score":0.050493598},"labels":[],"label_agreement":null},{"id":"W4396495086","doi":"10.32803/rise.v7i1.3274","title":"Review of Advertising and Consumer Culture in Ireland, 1922-1962: Buy Irish, by Stephanie Rains","year":2024,"lang":"en","type":"article","venue":"Review of Irish Studies in Europe","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Irish; Advertising; History; Media studies; Sociology; Business; Philosophy; Linguistics","score_opus":0.046148752734369254,"score_gpt":0.31971937182517796,"score_spread":0.2735706190908087,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4396495086","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00007150817,0.9961511,0.00001701597,0.0012000693,0.00076758413,0.0000034514662,0.00007498345,0.0000029084335,0.0017114489],"genre_scores_gemma":[0.0013204422,0.99242556,0.00006302575,0.0011616789,0.0010751701,0.000009368298,0.00013468412,0.00000553247,0.0038045621],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987697,0.00024358224,0.00017700465,0.00016654853,0.0005206903,0.00012248622],"domain_scores_gemma":[0.99749583,0.00068576,0.0003054628,0.00006454766,0.0012709849,0.00017736688],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024549796,0.0011795908,0.0014218254,0.0063410997,0.0004698784,0.0030580594,0.0007962582,0.0010791185,0.0071812524],"category_scores_gemma":[0.004128985,0.00070736354,0.0005383306,0.0144840125,0.0013473443,0.0033055833,0.0014560153,0.001985699,0.00382875],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010253414,0.000027500635,0.0006846357,0.012119842,0.00008782906,0.00010143317,0.00037762368,0.00017378235,0.00018177531,0.0027248166,0.6607059,0.32271233],"study_design_scores_gemma":[0.000011336087,0.00002572488,0.0046837125,0.008303491,0.00004567171,0.00023029669,0.00035854444,0.000022431437,0.00006405307,0.00044168095,0.98579156,0.000021523932],"about_ca_topic_score_codex":0.051243305,"about_ca_topic_score_gemma":0.080853924,"teacher_disagreement_score":0.051243305,"about_ca_system_score_codex":0.0061260024,"about_ca_system_score_gemma":0.008614888,"threshold_uncertainty_score":0.10189009},"labels":[],"label_agreement":null},{"id":"W4396683366","doi":"10.32873/uno.dc.jrf.24.01.20","title":"Run Sweetheart Run","year":2020,"lang":"en","type":"article","venue":"Journal of Religion & Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cape Breton University","funders":"","keywords":"Short run; Economics; Monetary economics","score_opus":0.0328171319550819,"score_gpt":0.22806979361194316,"score_spread":0.19525266165686125,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4396683366","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006461868,0.08879817,0.0008515991,0.10613815,0.15433545,0.00009159592,0.0016605923,0.0005180307,0.6411445],"genre_scores_gemma":[0.03190294,0.023663355,0.0008220371,0.03874943,0.013820736,0.000066262226,0.0014340266,0.000829462,0.88871175],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990791,0.00014807296,0.000030228914,0.00012094528,0.00044474643,0.00017693237],"domain_scores_gemma":[0.9979158,0.00027290382,0.000096150354,0.00008235297,0.0009823136,0.00065053534],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014178089,0.0005476779,0.00031516785,0.0011781859,0.0024317154,0.005229437,0.0006429437,0.0016190367,0.06442092],"category_scores_gemma":[0.0042902855,0.000250758,0.00035602297,0.0007934965,0.0007125312,0.0026125456,0.002418996,0.003868399,0.016604355],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028444898,0.000007396492,0.00015358465,0.00009198752,0.00000513117,0.000058312176,0.00025684948,0.000016167754,0.00018025472,0.0041293725,0.9750499,0.020022493],"study_design_scores_gemma":[0.0000017803736,0.000009461984,0.00045611744,0.00010986582,0.0000029133723,0.000034083696,0.00027414705,0.00001110177,0.00007946893,0.00019863172,0.9988175,0.0000049065843],"about_ca_topic_score_codex":0.013271266,"about_ca_topic_score_gemma":0.048360817,"teacher_disagreement_score":0.06442092,"about_ca_system_score_codex":0.0017306603,"about_ca_system_score_gemma":0.0032264963,"threshold_uncertainty_score":0.21550947},"labels":[],"label_agreement":null},{"id":"W4396687966","doi":"10.22148/001c.116142","title":"Gender (im)balance in the Russian cinema: on the screen and behind the camera","year":2024,"lang":"en","type":"article","venue":"Journal of Cultural Analytics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Movie theater; Attendance; Narrative; Character (mathematics); Representation (politics); Prejudice (legal term); Test (biology); Psychology; Stereotype (UML); Film industry; Sociology; Gender studies; Social psychology; Art; Political science; Literature; Law; Mathematics","score_opus":0.0632649657141904,"score_gpt":0.26300683281109904,"score_spread":0.19974186709690867,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4396687966","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.990915,0.0002904029,0.00046041934,0.00006075623,0.00001829585,0.00001162833,0.00077611674,0.000008856851,0.007458519],"genre_scores_gemma":[0.99785453,0.0000998593,0.0002488841,0.000013723658,0.000015588166,0.000009423896,0.00039958887,0.0000084985695,0.0013498535],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9992005,0.00029517876,0.000055300567,0.00018162644,0.00014124996,0.00012617566],"domain_scores_gemma":[0.99854183,0.00055823877,0.0004918825,0.00012464522,0.00015435199,0.00012906743],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00074585166,0.00017986003,0.00021550103,0.0009909865,0.00054044544,0.0013957189,0.00020731204,0.0002199389,0.003916916],"category_scores_gemma":[0.0038337419,0.00011961569,0.00014845775,0.00076617044,0.0004918754,0.00076971494,0.0010010197,0.00023915818,0.00060580135],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009990921,0.00010956616,0.8392154,0.00045010587,0.00012529087,0.0006580016,0.045817293,0.00044082708,0.012807248,0.0031718155,0.0030814044,0.09312406],"study_design_scores_gemma":[0.000003783219,0.00006651535,0.9701723,0.000082340885,0.000029965291,0.00033881195,0.018786756,0.00074478454,0.0012729706,0.00033839635,0.008148041,0.000015326801],"about_ca_topic_score_codex":0.0041835015,"about_ca_topic_score_gemma":0.0055773356,"teacher_disagreement_score":0.0041835015,"about_ca_system_score_codex":0.0003425154,"about_ca_system_score_gemma":0.00014796793,"threshold_uncertainty_score":0.0131034255},"labels":[],"label_agreement":null},{"id":"W4396770340","doi":"10.1386/smt_00151_5","title":"The Little Mermaid, Rob Marshall (dir.) (2023), USA: Walt Disney Pictures","year":2024,"lang":"en","type":"article","venue":"Studies in Musical Theatre","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cape Breton University","funders":"","keywords":"Art; Visual arts; Computer graphics (images); Art history; Computer science","score_opus":0.05040202284434173,"score_gpt":0.29141427692021177,"score_spread":0.24101225407587004,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4396770340","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00015208973,0.6326702,0.00037844107,0.23431033,0.07415594,0.000021480402,0.0005174773,0.00017455824,0.057619475],"genre_scores_gemma":[0.0038368742,0.37800172,0.00040854668,0.04944413,0.042311974,0.000059974947,0.00051140564,0.0002980908,0.52512723],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99898285,0.00015893516,0.000055458877,0.00015495405,0.000562814,0.000084988664],"domain_scores_gemma":[0.99568415,0.0009405502,0.00030107077,0.00010596736,0.0019305951,0.0010376893],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012215659,0.0010115211,0.0008734022,0.0018570519,0.0014706763,0.0051913033,0.0012081825,0.0043095592,0.14216202],"category_scores_gemma":[0.0067702676,0.00064293516,0.0003965544,0.002075255,0.0009725347,0.004788543,0.002579043,0.005109321,0.10136339],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005901591,0.0000014886056,0.000026308622,0.00006839182,0.0000012973488,0.000009486055,0.000012695064,0.0000062567588,0.000014342652,0.00047543904,0.9818397,0.01753873],"study_design_scores_gemma":[0.0000022756085,0.0000030971655,0.0001543098,0.00023877167,0.0000020326183,0.00004139779,0.000049140934,0.000008111375,0.00001507064,0.00022013107,0.99926144,0.000004185776],"about_ca_topic_score_codex":0.012778265,"about_ca_topic_score_gemma":0.024744876,"teacher_disagreement_score":0.14216202,"about_ca_system_score_codex":0.0023277956,"about_ca_system_score_gemma":0.0026905586,"threshold_uncertainty_score":0.47557938},"labels":[],"label_agreement":null},{"id":"W4396881140","doi":"10.32873/uno.dc.jrf.22.01.30","title":"LaZercism","year":2018,"lang":"en","type":"article","venue":"Journal of Religion & Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cape Breton University","funders":"","keywords":"Computer science","score_opus":0.023420201745177883,"score_gpt":0.23387419227962683,"score_spread":0.21045399053444894,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4396881140","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0021987131,0.2907106,0.0013427428,0.30194438,0.10795949,0.000067168265,0.0016323827,0.00067385926,0.29347068],"genre_scores_gemma":[0.025648985,0.06811611,0.0008651997,0.033082586,0.032048944,0.00006116011,0.00094729126,0.0006476225,0.83858204],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99897766,0.0002061246,0.00004984882,0.00024603136,0.00035464953,0.00016564268],"domain_scores_gemma":[0.99859875,0.00031283664,0.00014587781,0.00014041862,0.00042500198,0.00037716448],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001368437,0.0009524989,0.0005127359,0.0019524707,0.003984841,0.0064259954,0.00056700024,0.003372504,0.12218978],"category_scores_gemma":[0.004667993,0.00043776463,0.00035952768,0.00095821643,0.0019804763,0.0057393466,0.0034848398,0.004423262,0.04096488],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021082156,0.000008007594,0.00013134557,0.000072995164,0.0000031042816,0.00003683936,0.00026453732,0.00001236946,0.0000656995,0.0089253,0.95493376,0.03552489],"study_design_scores_gemma":[0.000001593377,0.0000039309016,0.00024148443,0.00012246102,0.000001317491,0.00006202702,0.0001611864,0.000010682935,0.000049490092,0.0013258852,0.9980167,0.0000031747068],"about_ca_topic_score_codex":0.0072229984,"about_ca_topic_score_gemma":0.015765231,"teacher_disagreement_score":0.12218978,"about_ca_system_score_codex":0.002824914,"about_ca_system_score_gemma":0.0024931855,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4396881296","doi":"10.32873/uno.dc.jrf.20.02.03","title":"The Lure","year":2016,"lang":"en","type":"article","venue":"Journal of Religion & Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cape Breton University","funders":"","keywords":"Psychology","score_opus":0.016192229415293535,"score_gpt":0.21260755590435643,"score_spread":0.1964153264890629,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4396881296","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006082085,0.23188849,0.0014745346,0.18301715,0.114460215,0.00008867151,0.0007932768,0.00040759204,0.46178794],"genre_scores_gemma":[0.077680185,0.10805527,0.0013544128,0.0436177,0.038159974,0.000089400615,0.000912812,0.0009788655,0.7291513],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99904984,0.00024869936,0.00004260291,0.00015325022,0.00032838588,0.00017716069],"domain_scores_gemma":[0.9982944,0.00036610267,0.00012585871,0.00013539885,0.0007387723,0.00033933733],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014329944,0.00070506585,0.00045521784,0.0019348596,0.0033608528,0.0067831473,0.0007254076,0.0018214544,0.044063058],"category_scores_gemma":[0.005163389,0.0003333385,0.00041924845,0.0011189645,0.0018636475,0.005071402,0.0030248424,0.005119217,0.01269301],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004126633,0.000012635984,0.00017818615,0.0002873998,0.000007571961,0.00009625944,0.0010371733,0.000034361663,0.00032093245,0.032363024,0.9164895,0.04913166],"study_design_scores_gemma":[0.0000012482153,0.0000067320666,0.00027358936,0.00017849091,0.0000023282046,0.000067500194,0.0004265893,0.000012122909,0.000077871155,0.00054450316,0.9984049,0.000004169882],"about_ca_topic_score_codex":0.0058786827,"about_ca_topic_score_gemma":0.014155142,"teacher_disagreement_score":0.044063058,"about_ca_system_score_codex":0.0024927561,"about_ca_system_score_gemma":0.002079179,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4396893278","doi":"10.7202/1111120ar","title":"Clint Eastwood and his Performance in The Bridges Of Madison County as a Precursor to the New Masculinity: The Close-Up of Robert Kincaid in the Rain","year":2024,"lang":"en","type":"article","venue":"Cinémas Revue d études cinématographiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Humanities","score_opus":0.02841205951498378,"score_gpt":0.25125700370538195,"score_spread":0.2228449441903982,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4396893278","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09366294,0.051203806,0.001681538,0.4167113,0.013933502,0.000074799405,0.00016171085,0.000068558205,0.42250186],"genre_scores_gemma":[0.5404837,0.018034263,0.0012371894,0.025697289,0.0022325346,0.000059630704,0.000057848003,0.00021038987,0.4119872],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9976756,0.0011647495,0.000028251567,0.0002826643,0.00043495832,0.0004137593],"domain_scores_gemma":[0.99717855,0.0006942701,0.00023363034,0.00008215389,0.0004340092,0.0013774513],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018304583,0.0004584929,0.00025546076,0.0007459714,0.015644208,0.0064421515,0.0006705525,0.0019548424,0.015406886],"category_scores_gemma":[0.00485656,0.00038002472,0.0001632977,0.00068304787,0.006392484,0.0034943328,0.0029606055,0.005529034,0.0015406192],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012021798,0.00005751993,0.0030268875,0.0001149729,0.000019193169,0.0012604666,0.13655934,0.000075810545,0.0007957229,0.14068907,0.6784781,0.038802713],"study_design_scores_gemma":[0.000004665792,0.000024755469,0.0034691317,0.00017681622,0.0000069609264,0.00051235565,0.049926564,0.000029800485,0.00026381118,0.0033055146,0.94225234,0.000027236212],"about_ca_topic_score_codex":0.072550334,"about_ca_topic_score_gemma":0.2703118,"teacher_disagreement_score":0.072550334,"about_ca_system_score_codex":0.004798716,"about_ca_system_score_gemma":0.0043210164,"threshold_uncertainty_score":0.14425606},"labels":[],"label_agreement":null},{"id":"W4396934874","doi":"10.33137/ijidi.v8i1.42351","title":"“So, We Decided to Make a Film”","year":2024,"lang":"en","type":"article","venue":"The International Journal of Information Diversity & Inclusion (IJIDI)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto; Tetra Tech (Canada); Canadian Association of Research Libraries","funders":"","keywords":"Computer science","score_opus":0.02320149122973312,"score_gpt":0.23644745077355336,"score_spread":0.21324595954382025,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4396934874","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06639417,0.011467553,0.01922199,0.47847846,0.072296344,0.0010954229,0.0030330315,0.0011311686,0.34688184],"genre_scores_gemma":[0.40963435,0.008330358,0.036423475,0.10912823,0.010238238,0.0010464177,0.0015355013,0.0011306371,0.42253286],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99850637,0.0006217938,0.000052958898,0.00021344636,0.00033695615,0.00026841759],"domain_scores_gemma":[0.9958121,0.0008730192,0.00019719936,0.00038574758,0.0015236734,0.0012082148],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027593265,0.0008221106,0.00040263895,0.0008582216,0.008478402,0.0063131317,0.0010309588,0.0035329943,0.028139787],"category_scores_gemma":[0.012559684,0.00026807105,0.0006872451,0.0005739521,0.005477568,0.0067630056,0.0029861107,0.009168761,0.009277418],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034163496,0.00016569237,0.0033083276,0.0007564602,0.00006318406,0.0020479118,0.0680729,0.00020575136,0.006856594,0.059005395,0.75257397,0.10660222],"study_design_scores_gemma":[0.000019402676,0.000057575744,0.0009432701,0.00032724786,0.000021125737,0.00042726495,0.023760237,0.00011642472,0.0009329566,0.0030800786,0.970271,0.000043561697],"about_ca_topic_score_codex":0.01775822,"about_ca_topic_score_gemma":0.028955165,"teacher_disagreement_score":0.028139787,"about_ca_system_score_codex":0.0027120924,"about_ca_system_score_gemma":0.0018827523,"threshold_uncertainty_score":0.09413701},"labels":[],"label_agreement":null},{"id":"W4397033270","doi":"10.18192/rceh.v45i3.6951","title":"MAR DIESTRO-DÓPIDO. Film Festivals: Cinema and Cultural Exchange. Cambridge: Legenda, 2021. 227 pp.","year":2024,"lang":"es","type":"article","venue":"Revista Canadiense de Estudios Hispánicos","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Movie theater; Art; Visual arts","score_opus":0.02144097768395362,"score_gpt":0.24090218242181552,"score_spread":0.2194612047378619,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4397033270","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009080051,0.9420126,0.00022863052,0.014779139,0.0028279661,0.000008936567,0.00054084987,0.00005505678,0.038638774],"genre_scores_gemma":[0.050383206,0.7435986,0.001124481,0.0032666547,0.0056218016,0.0000655584,0.00078621967,0.00017110685,0.19498228],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99965906,0.000115322684,0.000023222725,0.000048352376,0.00010082201,0.00005323384],"domain_scores_gemma":[0.9991856,0.0002898273,0.00014137723,0.000045383982,0.00018297353,0.00015479006],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00075264636,0.001461286,0.000584925,0.0030107598,0.0015384941,0.0035840792,0.00072814134,0.0017107056,0.0628296],"category_scores_gemma":[0.0022950221,0.000782991,0.0003771605,0.0033082867,0.0012741982,0.004767139,0.0014454102,0.0017091346,0.01133954],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007568618,0.000016836537,0.0007399011,0.0006803939,0.000014194035,0.00017152989,0.0033010368,0.00007625078,0.00023065871,0.015024731,0.8358521,0.14381674],"study_design_scores_gemma":[0.0000047052504,0.000010187144,0.0046311566,0.00094946986,0.0000073216997,0.00021856213,0.0026775063,0.00002875959,0.00009413678,0.0024483132,0.9889219,0.000007985365],"about_ca_topic_score_codex":0.026789544,"about_ca_topic_score_gemma":0.058856152,"teacher_disagreement_score":0.0628296,"about_ca_system_score_codex":0.002337222,"about_ca_system_score_gemma":0.001323076,"threshold_uncertainty_score":0.21018595},"labels":[],"label_agreement":null},{"id":"W4398133313","doi":"10.32873/uno.dc.jrf.18.01.20","title":"Watchers of the Sky","year":2014,"lang":"en","type":"article","venue":"Journal of Religion & Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cape Breton University","funders":"","keywords":"Sky; Astronomy; Physics","score_opus":0.014980838060517875,"score_gpt":0.20347897773804655,"score_spread":0.18849813967752868,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4398133313","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004593616,0.18763375,0.0011360584,0.23467124,0.09960164,0.00014320797,0.006938002,0.0009053462,0.46437708],"genre_scores_gemma":[0.018191695,0.046914384,0.0007018336,0.026731556,0.02616863,0.0000864085,0.00354993,0.00052440306,0.8771311],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997358,0.00004170436,0.000009629389,0.00006602494,0.00008719233,0.000059567785],"domain_scores_gemma":[0.9988643,0.00015247862,0.000114829825,0.000038869646,0.0002825041,0.00054698816],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071420363,0.0005977163,0.00026432125,0.0011889809,0.0016029968,0.0027420188,0.0003458226,0.0015486939,0.110305086],"category_scores_gemma":[0.0019829406,0.00028146943,0.00019967486,0.0008132507,0.00038280722,0.002678218,0.0018595285,0.0022535846,0.044615094],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012283283,0.0000032798791,0.00012487423,0.00003404807,0.0000013273094,0.000013811494,0.000075163545,0.000004703168,0.000081645994,0.001185284,0.98504466,0.013419032],"study_design_scores_gemma":[0.0000024911174,0.00000520268,0.0012854721,0.00009375918,0.000001352737,0.000026322323,0.00017660238,0.000011906373,0.000046841138,0.00020378633,0.99814343,0.0000028437735],"about_ca_topic_score_codex":0.008514543,"about_ca_topic_score_gemma":0.028794006,"teacher_disagreement_score":0.110305086,"about_ca_system_score_codex":0.0008395847,"about_ca_system_score_gemma":0.0008113254,"threshold_uncertainty_score":0.3690073},"labels":[],"label_agreement":null},{"id":"W4398155048","doi":"10.32873/uno.dc.jrf.18.01.27","title":"Dead Snow 2: Red vs. Dead","year":2014,"lang":"en","type":"article","venue":"Journal of Religion & Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"St. Thomas University; Memorial University of Newfoundland; Cape Breton University","funders":"","keywords":"Snow; Dead sea; Geography; Meteorology; Physical geography; Geology; Oceanography","score_opus":0.018570736364320266,"score_gpt":0.22185071692528852,"score_spread":0.20327998056096824,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4398155048","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0035844876,0.06753475,0.0007114084,0.6634248,0.082503304,0.000057649282,0.0022649947,0.00020769355,0.17971092],"genre_scores_gemma":[0.08035455,0.03585839,0.0009599553,0.35539016,0.07449587,0.00027112933,0.001755403,0.0010600644,0.44985446],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995565,0.0001531156,0.000023441326,0.000097365104,0.00009260461,0.00007701656],"domain_scores_gemma":[0.9984463,0.00074871856,0.00013763388,0.000058573158,0.00032604806,0.00028283382],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010167616,0.0006747497,0.00046095598,0.0011102997,0.0070027537,0.004689653,0.0007613091,0.005176981,0.061142612],"category_scores_gemma":[0.0055242926,0.0005103676,0.00040871758,0.0011198518,0.0021169712,0.007011816,0.0030081188,0.0084995655,0.013409089],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016519949,0.000005161573,0.00017414472,0.000026400616,0.000002490797,0.000025303123,0.0005647754,0.000007079034,0.000024388115,0.005310337,0.98828995,0.00555355],"study_design_scores_gemma":[0.0000115068115,0.000008328527,0.0035815341,0.00044907848,0.000008325176,0.0000795008,0.0052602156,0.000050570572,0.00009444484,0.003960006,0.9864792,0.000017198045],"about_ca_topic_score_codex":0.037544303,"about_ca_topic_score_gemma":0.1149432,"teacher_disagreement_score":0.061142612,"about_ca_system_score_codex":0.0022241275,"about_ca_system_score_gemma":0.0012610592,"threshold_uncertainty_score":0.2045424},"labels":[],"label_agreement":null},{"id":"W4398757303","doi":"10.1525/fq.2024.77.4.93","title":"Review: <i>Transatlantic Cinephilia: Film Culture between Latin America and France, 1945–1965</i>, by Rielle Navitski","year":2024,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Latin Americans; Art; Political science; Law","score_opus":0.010825721707265337,"score_gpt":0.21564079544047796,"score_spread":0.20481507373321262,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4398757303","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000047715715,0.9776878,0.000034682715,0.009186089,0.009248667,0.000036086058,0.00018336748,0.00001629846,0.003559229],"genre_scores_gemma":[0.0007879666,0.9775689,0.00006228952,0.009116058,0.0057172514,0.00009514599,0.00027979104,0.000017836464,0.006354728],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984767,0.000317042,0.00021051805,0.00020902645,0.00066766416,0.000119063116],"domain_scores_gemma":[0.9933695,0.0021477935,0.00070577103,0.00013423902,0.0032150517,0.00042766944],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00185957,0.0014650521,0.0028065906,0.004812816,0.0010936715,0.0044824206,0.0021449039,0.0029532954,0.031318817],"category_scores_gemma":[0.010111656,0.00071164494,0.0011677714,0.0076658344,0.0015031799,0.0042869416,0.0017615267,0.0036864795,0.013575156],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028798702,0.000006353279,0.00006334647,0.011884905,0.00005138616,0.00005526211,0.000085670355,0.000026099244,0.000048374728,0.0004463815,0.9113252,0.07597821],"study_design_scores_gemma":[0.000023570246,0.000028023878,0.00076700357,0.028822398,0.000095998126,0.0002493015,0.00018926036,0.00001314691,0.000041898544,0.0003059488,0.9694411,0.000022339858],"about_ca_topic_score_codex":0.010742923,"about_ca_topic_score_gemma":0.014200895,"teacher_disagreement_score":0.031318817,"about_ca_system_score_codex":0.0045101973,"about_ca_system_score_gemma":0.0074550626,"threshold_uncertainty_score":0.10477185},"labels":[],"label_agreement":null},{"id":"W4399089300","doi":"10.5622/illinois/9780252045288.003.0006","title":"An Interview with Su Friedrich","year":2023,"lang":"it","type":"book-chapter","venue":"University of Illinois Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Psychology; Psychoanalysis; History","score_opus":0.06121297989963572,"score_gpt":0.2032509165565795,"score_spread":0.14203793665694378,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399089300","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2264466,0.012428504,0.0005028966,0.47102186,0.004378155,0.00040286148,0.001918242,0.00019002752,0.28271082],"genre_scores_gemma":[0.48679662,0.0053389138,0.0006783694,0.19710767,0.00042815818,0.00079926266,0.0007558532,0.00011709323,0.30797812],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972658,0.0008278226,0.00010246479,0.00028920092,0.00048846175,0.0010262337],"domain_scores_gemma":[0.9972807,0.0008699937,0.00021301038,0.00008981729,0.0007075694,0.00083878555],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002348384,0.0005311739,0.0008058245,0.001393152,0.016302278,0.003235857,0.000683646,0.0040784962,0.02664537],"category_scores_gemma":[0.007816614,0.0004138298,0.0002240903,0.002064745,0.0035811106,0.0037001409,0.0031954618,0.007480132,0.004346338],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035263867,0.000105538216,0.0042219153,0.00014211501,0.0000051775264,0.0017136631,0.28464523,0.00003278448,0.00038514734,0.0091594,0.6815712,0.017982602],"study_design_scores_gemma":[0.0000048456955,0.000033753728,0.006420227,0.00034067532,0.000003103295,0.00048430415,0.30033457,0.000037983427,0.00009563551,0.0007278914,0.6914867,0.000030293862],"about_ca_topic_score_codex":0.11078128,"about_ca_topic_score_gemma":0.176683,"teacher_disagreement_score":0.11078128,"about_ca_system_score_codex":0.009345436,"about_ca_system_score_gemma":0.008353389,"threshold_uncertainty_score":0.2202729},"labels":[],"label_agreement":null},{"id":"W4399135474","doi":"10.1525/jpms.2024.36.2.76","title":"The Alien Resonances and Queer Obscurities of Hyperpop’s 100 gecs","year":2024,"lang":"en","type":"article","venue":"Journal of Popular Music Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Queer; Alien; Sociology; Materials science; Gender studies; Demography","score_opus":0.08156387418131673,"score_gpt":0.2802300039386346,"score_spread":0.1986661297573179,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399135474","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25203907,0.0011768128,0.0025803784,0.0074874535,0.00033599942,0.000028267166,0.00008682306,0.00007584811,0.73618925],"genre_scores_gemma":[0.92480606,0.0004703082,0.00050617807,0.0012233363,0.00009120637,0.000026981075,0.00004048798,0.00011772257,0.072717726],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99867874,0.000509318,0.000026899943,0.00012322087,0.00041011412,0.00025171123],"domain_scores_gemma":[0.9991636,0.00042327846,0.00004510477,0.00012719915,0.00010297856,0.00013777401],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013858752,0.0003387199,0.00019937751,0.0011279742,0.0069495486,0.009642468,0.00047355765,0.0012355926,0.010807039],"category_scores_gemma":[0.0029791924,0.000171049,0.00017804197,0.0009795723,0.020738052,0.0040323744,0.0065888544,0.003245155,0.000878465],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007928925,0.0000117304635,0.0012549151,0.000049453407,0.00000553887,0.00051940826,0.13702542,0.00015695755,0.0012948066,0.8335803,0.009744234,0.016277986],"study_design_scores_gemma":[0.000020089476,0.000047112426,0.0041607628,0.00023983276,0.00001090413,0.0006696361,0.16148345,0.000334736,0.0015480964,0.054090478,0.77735,0.000045005305],"about_ca_topic_score_codex":0.01320535,"about_ca_topic_score_gemma":0.02953048,"teacher_disagreement_score":0.01320535,"about_ca_system_score_codex":0.004818024,"about_ca_system_score_gemma":0.0015321764,"threshold_uncertainty_score":0.036153138},"labels":[],"label_agreement":null},{"id":"W4399187317","doi":"10.1515/9782760549395-002","title":"Preface","year":2018,"lang":"en","type":"book-chapter","venue":"Presses de l'Université du Québec eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Université de Montréal; Université du Québec à Trois-Rivières; Université du Québec à Montréal","funders":"","keywords":"Computer science","score_opus":0.01746156407421775,"score_gpt":0.16838293342526012,"score_spread":0.15092136935104236,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399187317","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010397299,0.018470554,0.0028490461,0.027847053,0.058381427,0.00025740644,0.011292224,0.0012752602,0.87858725],"genre_scores_gemma":[0.005254902,0.0055975015,0.0009854413,0.0032251433,0.0068236417,0.00007432179,0.004008183,0.00048765852,0.9735433],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99934393,0.000062584404,0.000024265113,0.000114140064,0.0003684922,0.00008655629],"domain_scores_gemma":[0.9960238,0.00040922652,0.00008594034,0.00027148725,0.0027810398,0.00042845364],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00081337354,0.00075535517,0.0007666065,0.0031054,0.0042759357,0.003968947,0.0014570875,0.0012061783,0.32986698],"category_scores_gemma":[0.0050504315,0.00032014135,0.00045006687,0.003018179,0.001062282,0.001993961,0.0012823127,0.002714331,0.14547844],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000072924804,0.000006803682,0.000074265845,0.000043067736,8.202139e-7,0.000024159615,0.00008658593,0.000033814667,0.000051175186,0.0053195762,0.9762892,0.018063217],"study_design_scores_gemma":[6.818853e-7,0.0000018961518,0.00020970943,0.00005138033,4.6500492e-7,0.0000235589,0.00004123422,0.0000113241185,0.000019471407,0.0005685329,0.99906963,0.0000021300148],"about_ca_topic_score_codex":0.18986684,"about_ca_topic_score_gemma":0.23712982,"teacher_disagreement_score":0.670133,"about_ca_system_score_codex":0.009986393,"about_ca_system_score_gemma":0.00576935,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4399187346","doi":"10.1515/9782760549395-017","title":"Canadian film development corporation investments, 1968–1980","year":2018,"lang":"en","type":"book-chapter","venue":"Presses de l'Université du Québec eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Corporation; Business; Materials science; Finance","score_opus":0.018628452097867,"score_gpt":0.15977091908767319,"score_spread":0.14114246698980618,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399187346","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03175808,0.08716931,0.0009553484,0.014327392,0.001638795,0.00017380378,0.07516173,0.0005400206,0.7882754],"genre_scores_gemma":[0.11799796,0.036383744,0.0010835628,0.0005012193,0.00020941687,0.00006188167,0.0134928245,0.00008978349,0.83017963],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99889886,0.00002844782,0.000029142833,0.00010607798,0.0007311839,0.00020629457],"domain_scores_gemma":[0.9982279,0.00009939264,0.00010400982,0.000061433544,0.0013297497,0.00017748232],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00053548877,0.0009591888,0.00032096406,0.007914783,0.0031957517,0.0038522973,0.0009114732,0.0008863047,0.03315267],"category_scores_gemma":[0.0033425987,0.00046156757,0.00027671823,0.011881604,0.0008062461,0.0014840892,0.00054922287,0.0010182807,0.0045473957],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010832938,0.000038346316,0.004942529,0.000293805,0.000024615922,0.0001305988,0.0007671355,0.00068107253,0.00023670812,0.042101048,0.75608444,0.19459146],"study_design_scores_gemma":[0.0000048622437,0.0000056138288,0.018561734,0.00010871577,0.000013295152,0.000028927334,0.00026213212,0.00015853919,0.0002697146,0.00047306286,0.9801031,0.000010282019],"about_ca_topic_score_codex":0.9834727,"about_ca_topic_score_gemma":0.9940234,"teacher_disagreement_score":0.09136785,"about_ca_system_score_codex":0.09136785,"about_ca_system_score_gemma":0.052978482,"threshold_uncertainty_score":0.6629232},"labels":[],"label_agreement":null},{"id":"W4399370189","doi":"10.3138/ctr.197.026","title":"Theatrical Collisions in Laurence Dauphinais’s <i>Cyclorama</i>","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Performance art; Art history; Visual arts","score_opus":0.03029522111919673,"score_gpt":0.24585704615090084,"score_spread":0.21556182503170412,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399370189","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11650754,0.31441703,0.0015770114,0.047315072,0.004390632,0.000075264215,0.000571123,0.00014672562,0.5149995],"genre_scores_gemma":[0.84907967,0.06285096,0.0008426591,0.0038590124,0.0008562393,0.000046446447,0.0001839377,0.00009465881,0.08218656],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99871206,0.0004199989,0.000023607741,0.00014424443,0.00040006082,0.0003001173],"domain_scores_gemma":[0.99900323,0.0003979875,0.00010547671,0.000051424562,0.00025710344,0.00018470791],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013578333,0.0004376305,0.0002134113,0.0012554001,0.006005298,0.0054610977,0.001007989,0.0009843352,0.009801382],"category_scores_gemma":[0.0022885425,0.00015773559,0.00018057866,0.0020311843,0.00591975,0.0014385037,0.0017622303,0.0016006982,0.00046105924],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018033665,0.000051279003,0.0021463945,0.0012550651,0.00004454041,0.001581801,0.0973642,0.0004634077,0.0018035143,0.4943999,0.2297609,0.17094864],"study_design_scores_gemma":[0.000003308885,0.000011441184,0.003268518,0.00022013673,0.000004532459,0.00021968709,0.011090272,0.000030482195,0.0002460238,0.00077141396,0.9841202,0.00001399108],"about_ca_topic_score_codex":0.752265,"about_ca_topic_score_gemma":0.8560248,"teacher_disagreement_score":0.752265,"about_ca_system_score_codex":0.026277784,"about_ca_system_score_gemma":0.014477886,"threshold_uncertainty_score":0.49838793},"labels":[],"label_agreement":null},{"id":"W4399412169","doi":"10.3366/edinburgh/9781474482387.001.0001","title":"Film Regulation in a Cultural Context","year":2023,"lang":"en","type":"book","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Psychology; History; Archaeology","score_opus":0.049027254459641664,"score_gpt":0.206941349673207,"score_spread":0.1579140952135653,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399412169","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.049985386,0.010274757,0.002587766,0.010418298,0.00052689447,0.000024966908,0.00004213558,0.000034675417,0.9261051],"genre_scores_gemma":[0.91121936,0.00846496,0.0011323867,0.0024802068,0.00048127244,0.000061233215,0.000057054407,0.00006191207,0.076041594],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977088,0.0013897815,0.0000686907,0.00022907359,0.00043928414,0.00016436607],"domain_scores_gemma":[0.9983365,0.000930569,0.00014672172,0.00021959304,0.00026675567,0.0000998841],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013431944,0.00021275789,0.00019514926,0.0009364808,0.003461604,0.008123399,0.0008492757,0.0010373465,0.0033809703],"category_scores_gemma":[0.0031420905,0.00021919697,0.00016376455,0.0013041843,0.016262297,0.0035916432,0.0024711993,0.0019485655,0.00035284876],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011164113,0.000021124091,0.000788713,0.00006221542,0.0000031682132,0.00016096981,0.044090997,0.00017883854,0.00031146122,0.92197204,0.008752862,0.02364636],"study_design_scores_gemma":[0.0000078802195,0.00002552938,0.004891095,0.00053986895,0.000009231485,0.0003520087,0.042733572,0.00040315834,0.0007394907,0.06904799,0.88122797,0.000022223947],"about_ca_topic_score_codex":0.014670449,"about_ca_topic_score_gemma":0.01322917,"teacher_disagreement_score":0.014670449,"about_ca_system_score_codex":0.0053617116,"about_ca_system_score_gemma":0.0020073443,"threshold_uncertainty_score":0.038902104},"labels":[],"label_agreement":null},{"id":"W4399713391","doi":"10.32920/26046649","title":"Towards Proprioceptive Storytelling: Unfolding Perceptual Narrative Structures In a VR Documentary","year":2024,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Ontario College of Art and Design; Toronto Metropolitan University; Centre for Social Innovation; York University","funders":"","keywords":"Embodied cognition; Narrative; Virtual reality; Storytelling; Affordance; Aesthetics; Perception; Psychology; Sociology; Human–computer interaction; Art; Computer science; Cognitive psychology","score_opus":0.04126475625529609,"score_gpt":0.26796634972828043,"score_spread":0.22670159347298435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399713391","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70789135,0.0013003615,0.06366911,0.0054049897,0.00014130691,0.00017515397,0.00042332505,0.00035317295,0.22064123],"genre_scores_gemma":[0.9735077,0.00042683491,0.014431607,0.00011326384,0.000024765974,0.000032812557,0.00010887202,0.00007319506,0.011280947],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902666,0.0006934492,0.000017741315,0.000105029685,0.000096008844,0.00006118142],"domain_scores_gemma":[0.9978607,0.0015504503,0.00020695521,0.0001474904,0.00008809851,0.00014625849],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017455951,0.00033447242,0.000118775395,0.0008017168,0.001486248,0.007092109,0.00070599676,0.0008970628,0.004941248],"category_scores_gemma":[0.005659039,0.00022410204,0.0002677548,0.00052634184,0.005060044,0.004034796,0.0024650123,0.0010520703,0.00043208848],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019411565,0.000105950814,0.0037984627,0.00039178316,0.000029178853,0.0018111707,0.6866,0.0024291235,0.012368567,0.2248669,0.0050322697,0.06237252],"study_design_scores_gemma":[0.000069398615,0.000294386,0.016871331,0.00078431435,0.00006286263,0.0024204785,0.51317954,0.010887123,0.0125446,0.0710633,0.37170303,0.00011972014],"about_ca_topic_score_codex":0.0023934792,"about_ca_topic_score_gemma":0.004268336,"teacher_disagreement_score":0.007092109,"about_ca_system_score_codex":0.0012657655,"about_ca_system_score_gemma":0.00050150044,"threshold_uncertainty_score":0.016530156},"labels":[],"label_agreement":null},{"id":"W4399713442","doi":"10.32920/26046649.v1","title":"Towards Proprioceptive Storytelling: Unfolding Perceptual Narrative Structures In a VR Documentary","year":2024,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Ontario College of Art and Design; Toronto Metropolitan University; Centre for Social Innovation; York University","funders":"","keywords":"Embodied cognition; Narrative; Virtual reality; Aesthetics; Affordance; Perception; Storytelling; Converse; Psychology; Sociology; Art; Human–computer interaction; Computer science; Epistemology; Cognitive psychology; Philosophy","score_opus":0.04126475625529609,"score_gpt":0.26796634972828043,"score_spread":0.22670159347298435,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399713442","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70789135,0.0013003615,0.06366911,0.0054049897,0.00014130691,0.00017515397,0.00042332505,0.00035317295,0.22064123],"genre_scores_gemma":[0.9735077,0.00042683491,0.014431607,0.00011326384,0.000024765974,0.000032812557,0.00010887202,0.00007319506,0.011280947],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99902666,0.0006934492,0.000017741315,0.000105029685,0.000096008844,0.00006118142],"domain_scores_gemma":[0.9978607,0.0015504503,0.00020695521,0.0001474904,0.00008809851,0.00014625849],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017455951,0.00033447242,0.000118775395,0.0008017168,0.001486248,0.007092109,0.00070599676,0.0008970628,0.004941248],"category_scores_gemma":[0.005659039,0.00022410204,0.0002677548,0.00052634184,0.005060044,0.004034796,0.0024650123,0.0010520703,0.00043208848],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019411565,0.000105950814,0.0037984627,0.00039178316,0.000029178853,0.0018111707,0.6866,0.0024291235,0.012368567,0.2248669,0.0050322697,0.06237252],"study_design_scores_gemma":[0.000069398615,0.000294386,0.016871331,0.00078431435,0.00006286263,0.0024204785,0.51317954,0.010887123,0.0125446,0.0710633,0.37170303,0.00011972014],"about_ca_topic_score_codex":0.0023934792,"about_ca_topic_score_gemma":0.004268336,"teacher_disagreement_score":0.007092109,"about_ca_system_score_codex":0.0012657655,"about_ca_system_score_gemma":0.00050150044,"threshold_uncertainty_score":0.016530156},"labels":[],"label_agreement":null},{"id":"W4399826657","doi":"10.1093/oso/9780197758236.003.0026","title":"Produced by a Convicted Felon","year":2024,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Art; Art history; Performance art; Prison; History; Visual arts; Literature; Archaeology","score_opus":0.027686007138428195,"score_gpt":0.1811873946696578,"score_spread":0.1535013875312296,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399826657","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.064759366,0.0060795774,0.0027675338,0.08083655,0.012817062,0.00011161267,0.00095042016,0.0005245111,0.83115345],"genre_scores_gemma":[0.07364827,0.00086657103,0.0004110379,0.0069135767,0.00039365765,0.000022317436,0.00018190527,0.00014393474,0.9174187],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993826,0.00010807735,0.000020511421,0.00013498876,0.00020131479,0.00015252022],"domain_scores_gemma":[0.999655,0.000071974486,0.000024771665,0.00003208842,0.00011294047,0.00010322571],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005540713,0.00072709774,0.00038942043,0.0009435285,0.00890222,0.003114006,0.0008111406,0.0025416284,0.07360869],"category_scores_gemma":[0.0015160303,0.00024123464,0.00033255987,0.00044741458,0.0020751473,0.0018222479,0.0033185098,0.004417523,0.015607161],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009312931,0.00009938991,0.0014505421,0.00010160123,0.000012943005,0.007755061,0.017934812,0.00018455667,0.0013913469,0.0970446,0.81575084,0.058181275],"study_design_scores_gemma":[0.000003869746,0.00003720329,0.0010275983,0.00011573123,0.000004470003,0.0019467429,0.004859777,0.00012621806,0.00042610706,0.0018634262,0.9895744,0.000014438183],"about_ca_topic_score_codex":0.023358583,"about_ca_topic_score_gemma":0.0540936,"teacher_disagreement_score":0.07360869,"about_ca_system_score_codex":0.0045777997,"about_ca_system_score_gemma":0.0018644382,"threshold_uncertainty_score":0.24624562},"labels":[],"label_agreement":null},{"id":"W4399872242","doi":"10.23974/ijol.2024.vol9.2.358","title":"The Founding of Film in Museums","year":2024,"lang":"en","type":"article","venue":"International Journal of Librarianship","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia; Royal British Columbia Museum","funders":"","keywords":"Art; Visual arts; Art history","score_opus":0.04945529979914744,"score_gpt":0.26262352492867735,"score_spread":0.21316822512952993,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399872242","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10134197,0.087450095,0.008016088,0.052720495,0.0025307497,0.00015105968,0.0006312175,0.00032926915,0.7468291],"genre_scores_gemma":[0.85325134,0.033024877,0.0059471685,0.003366986,0.0026876729,0.00009030643,0.00022729312,0.0003682937,0.10103613],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99666685,0.0018088026,0.00014319051,0.0004455586,0.0005148103,0.0004208471],"domain_scores_gemma":[0.9927995,0.0037712827,0.00071731553,0.0010570093,0.00075669034,0.000898164],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005065864,0.00042182795,0.0005176017,0.0038535015,0.00828825,0.015261043,0.00096881646,0.0015910956,0.016603203],"category_scores_gemma":[0.012235556,0.00070887856,0.0004883645,0.0037474635,0.01218214,0.0131232105,0.0069294083,0.0036284814,0.0014440371],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014315662,0.00004714627,0.0034649689,0.00043290344,0.000028924487,0.00061836437,0.059228644,0.00017155251,0.00059426983,0.812519,0.039369494,0.08338151],"study_design_scores_gemma":[0.000021237152,0.000047789294,0.0060856785,0.000913782,0.000022533237,0.00041344206,0.0154149635,0.00015245829,0.00072947884,0.032260977,0.9439038,0.000033917295],"about_ca_topic_score_codex":0.009415,"about_ca_topic_score_gemma":0.014580201,"teacher_disagreement_score":0.016603203,"about_ca_system_score_codex":0.0070633106,"about_ca_system_score_gemma":0.002680291,"threshold_uncertainty_score":0.055543244},"labels":[],"label_agreement":null},{"id":"W4399980066","doi":"10.1007/978-981-97-3418-4_18","title":"Disrupting the Clichéd Images of Migrant Youth in Japan: A Deleuzian Account of Cinema Time and Education","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Movie theater; Cliché; Gender studies; Art; Literature; Sociology; Art history; History; Aesthetics","score_opus":0.022090357675299245,"score_gpt":0.22363275445338102,"score_spread":0.20154239677808178,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4399980066","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.61775374,0.0051438194,0.001467369,0.012393893,0.00027515215,0.000020379903,0.000095310716,0.000032769873,0.36281762],"genre_scores_gemma":[0.98541856,0.00063864276,0.0002129992,0.00029870874,0.000053156593,0.0000043347573,0.000012406166,0.000021163822,0.013339992],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9995977,0.0001397611,0.000008899541,0.000044801993,0.000049925733,0.00015880473],"domain_scores_gemma":[0.9993204,0.00016928022,0.00015856081,0.000049409773,0.00011658216,0.00018575933],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007298569,0.00029831118,0.0001427933,0.0009860299,0.0056062844,0.0054038265,0.00070258876,0.0013781099,0.005455804],"category_scores_gemma":[0.0016107868,0.00019908059,0.0001461725,0.0008922116,0.006917577,0.0040959143,0.0027233323,0.002050283,0.00026706338],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000661307,0.000042305972,0.007684208,0.00008603643,0.000009848414,0.001399943,0.6365068,0.00012129264,0.0011551076,0.31959394,0.0113982055,0.021936227],"study_design_scores_gemma":[0.0000127925805,0.00005236411,0.04446361,0.00027726698,0.000037833463,0.0011819543,0.67958814,0.00058008987,0.001088509,0.037249293,0.23542736,0.000040775612],"about_ca_topic_score_codex":0.024925264,"about_ca_topic_score_gemma":0.05894359,"teacher_disagreement_score":0.024925264,"about_ca_system_score_codex":0.002794136,"about_ca_system_score_gemma":0.0014771129,"threshold_uncertainty_score":0.049560368},"labels":[],"label_agreement":null},{"id":"W4400165695","doi":"10.1007/978-3-031-56627-1_6","title":"Conclusion: Accessible Moments and Darkness on the Edge of Town","year":2024,"lang":"en","type":"book-chapter","venue":"Palgrave science fiction and fantasy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Seneca Polytechnic","funders":"","keywords":"Darkness; Enhanced Data Rates for GSM Evolution; Art; Art history; Visual arts; Aesthetics; Computer science; Artificial intelligence; Optics; Physics","score_opus":0.04350839085852289,"score_gpt":0.25370869079701497,"score_spread":0.21020029993849207,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400165695","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017458612,0.0077903317,0.0064377775,0.22398981,0.009111335,0.000048862003,0.0006627774,0.00010026818,0.7344003],"genre_scores_gemma":[0.59359115,0.008068162,0.0026066785,0.04355885,0.0049392194,0.00008248083,0.00041724992,0.00029996573,0.34643623],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961984,0.00012685725,0.000009868149,0.00008427078,0.00007507905,0.000084052874],"domain_scores_gemma":[0.9990102,0.00043472784,0.00006631483,0.000091346345,0.00022945882,0.00016783996],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00056007487,0.00039460702,0.0002654284,0.0006561627,0.0029473004,0.0065705953,0.00090825645,0.0027973533,0.04773459],"category_scores_gemma":[0.0027676998,0.00012759275,0.00028388607,0.0008129319,0.005786542,0.0073935594,0.0026731854,0.00416831,0.006591373],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024441613,0.000008066841,0.00016303183,0.000104237726,0.0000038173544,0.00012545587,0.00870938,0.00005962032,0.00011033274,0.8783192,0.10561001,0.0067624366],"study_design_scores_gemma":[0.000009393482,0.000006528555,0.00060178235,0.0003445056,0.0000064150786,0.00021093464,0.022809062,0.000069298585,0.0002407966,0.182786,0.79290384,0.0000113561355],"about_ca_topic_score_codex":0.0035206822,"about_ca_topic_score_gemma":0.0061108954,"teacher_disagreement_score":0.04773459,"about_ca_system_score_codex":0.001991499,"about_ca_system_score_gemma":0.0011176266,"threshold_uncertainty_score":0.15968812},"labels":[],"label_agreement":null},{"id":"W4400275514","doi":"10.5406/19346018.76.2.06","title":"“Everything for Someone”: The Evolution of Sundance Now's Specialty Streaming Service","year":2024,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Service (business); Specialty; Live streaming; Aesthetics; Advertising; Media studies; Psychology; Internet privacy; Sociology; Art; Multimedia; Business; Computer science; Marketing; Psychiatry","score_opus":0.023757183236064003,"score_gpt":0.2416428305825562,"score_spread":0.21788564734649218,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400275514","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43646625,0.005523038,0.014604619,0.09355484,0.0046828515,0.00020929339,0.001115277,0.0024636146,0.4413803],"genre_scores_gemma":[0.7420541,0.0037844642,0.016457995,0.017658787,0.0021174268,0.0000760429,0.0020298182,0.0011708594,0.21465044],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.99888366,0.00017227075,0.00003674038,0.00020645597,0.00045161525,0.00024921497],"domain_scores_gemma":[0.9974872,0.00014386007,0.00009943204,0.000083971354,0.00060390856,0.0015816243],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016202019,0.00020005678,0.00011281834,0.0006927787,0.001875965,0.0045619803,0.0008422273,0.0016184665,0.011892509],"category_scores_gemma":[0.003463924,0.00021413017,0.00022873381,0.00084264996,0.0014036795,0.004468991,0.0029820348,0.0031130943,0.0029740327],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034262546,0.0004274409,0.01613483,0.00023750134,0.000017770928,0.0013698536,0.012644584,0.00052780745,0.010000996,0.15989073,0.39762345,0.40078247],"study_design_scores_gemma":[0.000013982013,0.00018648161,0.014243957,0.00010268796,0.0000057935235,0.00078060594,0.0042077675,0.0011684282,0.0007482973,0.0019131661,0.97659415,0.00003475531],"about_ca_topic_score_codex":0.02173677,"about_ca_topic_score_gemma":0.034533132,"teacher_disagreement_score":0.02173677,"about_ca_system_score_codex":0.004110704,"about_ca_system_score_gemma":0.0029662158,"threshold_uncertainty_score":0.04322052},"labels":[],"label_agreement":null},{"id":"W4400515747","doi":"10.1080/17458927.2024.2360251","title":"Alison O’Daniel, <i>The Tuba Thieves</i>","year":2024,"lang":"en","type":"article","venue":"The Senses and Society","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Ontario College of Art and Design","funders":"","keywords":"Gerontology; Art; Environmental ethics; Medicine; Philosophy","score_opus":0.022754091345637235,"score_gpt":0.21818905495392385,"score_spread":0.1954349636082866,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400515747","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007545785,0.12479203,0.00064635224,0.7712021,0.055288967,0.0000141737755,0.00019652206,0.00009352266,0.04701178],"genre_scores_gemma":[0.036793627,0.11102656,0.001087031,0.40267557,0.039903436,0.00007678137,0.00026831235,0.00044065347,0.40772805],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99862134,0.0004034954,0.000064476066,0.00034504465,0.00043364684,0.00013195621],"domain_scores_gemma":[0.99699956,0.001536876,0.00026976858,0.000105826926,0.000647876,0.0004400354],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015198714,0.0009629238,0.00051521586,0.0010710735,0.0046908613,0.006358089,0.0009974812,0.0050535495,0.023663789],"category_scores_gemma":[0.0073475093,0.00047100842,0.00025286255,0.0010005268,0.004517197,0.0062335213,0.0019905716,0.008596037,0.012096983],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000142717045,0.000005300506,0.000121107536,0.000078115314,0.0000031734126,0.00004032468,0.000951722,0.000012807856,0.000077616816,0.010417328,0.97931963,0.0089587085],"study_design_scores_gemma":[0.0000020419523,0.0000025509216,0.0003004769,0.000118271695,0.0000013969382,0.0000713623,0.0009024027,0.000014775062,0.00010173862,0.0022228286,0.9962536,0.000008557668],"about_ca_topic_score_codex":0.026957726,"about_ca_topic_score_gemma":0.057817284,"teacher_disagreement_score":0.026957726,"about_ca_system_score_codex":0.0030830193,"about_ca_system_score_gemma":0.0022765205,"threshold_uncertainty_score":0.07916325},"labels":[],"label_agreement":null},{"id":"W4400604188","doi":"10.1093/aesthj/ayae003","title":"Cinema, displayed","year":2024,"lang":"en","type":"article","venue":"The British Journal of Aesthetics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Movie theater; Art; Art history","score_opus":0.019776147898206687,"score_gpt":0.22215300392620577,"score_spread":0.20237685602799907,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400604188","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.034631073,0.010317205,0.0046376404,0.014413187,0.0016170329,0.000027625667,0.00018135602,0.00008802877,0.93408686],"genre_scores_gemma":[0.86782444,0.005977156,0.0019886463,0.002251988,0.001229593,0.00004070406,0.00013276286,0.00016850412,0.12038621],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9992448,0.00031868846,0.000023932884,0.00014188672,0.00017831902,0.00009235369],"domain_scores_gemma":[0.9991192,0.0003298903,0.000111925474,0.00012189434,0.00016439433,0.00015270092],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006302708,0.0002500754,0.0001497807,0.0009683541,0.0021963792,0.007482132,0.00046174912,0.00086569425,0.02009173],"category_scores_gemma":[0.0031174289,0.000117167234,0.00012866006,0.0009125225,0.007641317,0.0046651824,0.0025131807,0.0017259908,0.0013169553],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038263348,0.000019504221,0.0006668033,0.0001466465,0.000003389545,0.00011531368,0.021134907,0.00006776356,0.0005245336,0.9231794,0.025106775,0.02899672],"study_design_scores_gemma":[0.000011540982,0.000027627668,0.0031220294,0.00037774036,0.0000071583354,0.0005323837,0.014458673,0.0001648595,0.0003341777,0.07000814,0.9109446,0.000011062988],"about_ca_topic_score_codex":0.002684862,"about_ca_topic_score_gemma":0.0029157554,"teacher_disagreement_score":0.02009173,"about_ca_system_score_codex":0.0024085348,"about_ca_system_score_gemma":0.0007130913,"threshold_uncertainty_score":0.067213595},"labels":[],"label_agreement":null},{"id":"W4400779700","doi":"10.22148/001c.118152","title":"A Digital Archaeology of Early Hispanic Film Culture: Film Magazines and the Male Fan Reader","year":2024,"lang":"en","type":"article","venue":"Journal of Cultural Analytics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Fandom; Reading (process); Popular culture; Affordance; Interactivity; Film studies; Appropriation; Media studies; Visual arts; Art; Sociology; History; Multimedia; Computer science; Linguistics","score_opus":0.02592223816153074,"score_gpt":0.23650642669449048,"score_spread":0.21058418853295974,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400779700","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9322938,0.0039021096,0.0015354074,0.0018620284,0.00016521603,0.00003424539,0.0004211177,0.000027200047,0.059758827],"genre_scores_gemma":[0.9870415,0.002118433,0.0007559472,0.0001584367,0.00015185878,0.000017573835,0.00015741061,0.00004958727,0.00954925],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99953055,0.0002117962,0.000014102823,0.00008707456,0.00007245709,0.00008414602],"domain_scores_gemma":[0.99892956,0.0004933507,0.00017953193,0.0001003191,0.00017234916,0.00012482844],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012888801,0.00031189478,0.00027390258,0.0034556233,0.002922028,0.004373794,0.0005669138,0.0004612735,0.0053694122],"category_scores_gemma":[0.002049571,0.0001980327,0.00010846703,0.0030391437,0.00326085,0.001994312,0.0017279348,0.000648951,0.00041664403],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018895113,0.00009816267,0.0644571,0.00037710337,0.000029053906,0.0037237282,0.79584455,0.00008882842,0.0023816137,0.023105,0.006081127,0.10362482],"study_design_scores_gemma":[0.000008795729,0.000060759558,0.085074425,0.0004541819,0.00002540259,0.001399622,0.72209054,0.00015451426,0.001307626,0.0019416164,0.18746488,0.000017676593],"about_ca_topic_score_codex":0.011828043,"about_ca_topic_score_gemma":0.034321964,"teacher_disagreement_score":0.011828043,"about_ca_system_score_codex":0.002056476,"about_ca_system_score_gemma":0.00089230057,"threshold_uncertainty_score":0.023518384},"labels":[],"label_agreement":null},{"id":"W4400791245","doi":"10.1515/9780228021612-003","title":"Introduction – The Interactive Documentary in Canada","year":2024,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.011767207687746459,"score_gpt":0.17596141562588494,"score_spread":0.1641942079381385,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400791245","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010734738,0.007419522,0.00040075503,0.008936432,0.009717299,0.00017004789,0.012170272,0.0006635503,0.95944864],"genre_scores_gemma":[0.0038190573,0.0026674287,0.00031522248,0.0007461121,0.00046541347,0.000036441517,0.0018177727,0.00026114826,0.98987144],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986206,0.0000583433,0.00003189586,0.000105070634,0.0008919769,0.0002920319],"domain_scores_gemma":[0.9979019,0.000120647586,0.00003339901,0.00007858598,0.0015465756,0.0003187988],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0007726608,0.0011453775,0.0007365988,0.0034796526,0.007108319,0.010489036,0.0013888208,0.0018993791,0.364789],"category_scores_gemma":[0.0027063142,0.00047569105,0.00060071645,0.0069474494,0.0014254764,0.0015428998,0.001627821,0.0021491332,0.102251604],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014295353,0.000008748271,0.00008137091,0.00006777004,0.00000125973,0.000027951517,0.00012434873,0.0000581056,0.00009838221,0.0049389265,0.9762537,0.018325282],"study_design_scores_gemma":[0.000001752818,0.0000016199542,0.00040421647,0.000042763284,0.000001108159,0.000008400337,0.00012622391,0.000018104265,0.000038376835,0.00021255673,0.99914026,0.000004542737],"about_ca_topic_score_codex":0.9543075,"about_ca_topic_score_gemma":0.9744733,"teacher_disagreement_score":0.364789,"about_ca_system_score_codex":0.037546836,"about_ca_system_score_gemma":0.06400703,"threshold_uncertainty_score":0.9060514},"labels":[],"label_agreement":null},{"id":"W4400791731","doi":"10.1515/9780228021612-020","title":"Afterword – On the Outside Looking In: Perspective on the New Media Documentary in Canada","year":2024,"lang":"en","type":"book-chapter","venue":"McGill-Queen's University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Perspective (graphical); Documentary film; Media studies; Sociology; History; Art; Visual arts","score_opus":0.020005230402303602,"score_gpt":0.1854433132632001,"score_spread":0.1654380828608965,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400791731","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014691755,0.056354363,0.00041673693,0.2030239,0.016469445,0.000082052225,0.002215084,0.00010591496,0.7066408],"genre_scores_gemma":[0.12844644,0.029390756,0.00050127576,0.02590005,0.0030920147,0.000034167788,0.0006512985,0.0002554627,0.81172854],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9983708,0.00009181348,0.00004640765,0.00014365859,0.0007413698,0.00060597307],"domain_scores_gemma":[0.997214,0.00041796864,0.000087865184,0.000054558663,0.001636912,0.0005887274],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008633022,0.0004667864,0.0005462759,0.0029955148,0.018777814,0.018914612,0.0020095166,0.004247339,0.065693565],"category_scores_gemma":[0.003169852,0.00034441342,0.00042131098,0.0068567214,0.004690347,0.00404385,0.0018657073,0.004825401,0.0059494535],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003189806,0.000019100937,0.0011072195,0.00020014717,0.000007935028,0.0002611116,0.009701639,0.0001502256,0.00025486285,0.10806677,0.8502988,0.029900327],"study_design_scores_gemma":[0.000001592896,0.0000029426342,0.0021593058,0.0001830957,0.0000040533055,0.000045479213,0.008154551,0.000041016265,0.000076762975,0.0011772575,0.9881345,0.000019317442],"about_ca_topic_score_codex":0.9915291,"about_ca_topic_score_gemma":0.99654526,"teacher_disagreement_score":0.09631526,"about_ca_system_score_codex":0.09631526,"about_ca_system_score_gemma":0.11873722,"threshold_uncertainty_score":0.6988194},"labels":[],"label_agreement":null},{"id":"W4400881598","doi":"10.33137/rr.v47i2.43682","title":"Ostovich, Helen, Peter Cockett, and Andrew Griffin, eds. Queen’s Men Editions 2.0","year":2024,"lang":"en","type":"article","venue":"Renaissance and Reformation","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Griffin; Queen (butterfly); Art; Art history; Classics; Zoology; Biology","score_opus":0.015744534162292427,"score_gpt":0.2199249255783353,"score_spread":0.20418039141604286,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400881598","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00082916825,0.7355464,0.002794216,0.018219354,0.01182382,0.000040532803,0.00059943117,0.0007890548,0.22935806],"genre_scores_gemma":[0.00831639,0.52479094,0.0032722773,0.0026512046,0.006262908,0.00008684686,0.0011097818,0.0007954698,0.45271417],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988513,0.00020469446,0.000075187425,0.000121852485,0.00065893057,0.000088035886],"domain_scores_gemma":[0.99831957,0.0006983924,0.00014179117,0.00013004108,0.0003566609,0.00035357734],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017628219,0.001448385,0.001118468,0.0032840988,0.0013213049,0.00937011,0.0019088837,0.002183243,0.07796891],"category_scores_gemma":[0.0024529288,0.0012837976,0.00069992355,0.004063857,0.00166761,0.007374568,0.0028258425,0.0031535702,0.06250391],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029161465,0.000024063773,0.0002555365,0.00082291546,0.000009338181,0.00009548591,0.0013822605,0.00019387275,0.00019887806,0.011012331,0.76912206,0.21685414],"study_design_scores_gemma":[0.0000022088961,0.0000034515417,0.0004725919,0.0006269037,0.000003642076,0.00009728737,0.00052631117,0.00004087388,0.000040158033,0.0011648223,0.99701595,0.0000059073222],"about_ca_topic_score_codex":0.014131984,"about_ca_topic_score_gemma":0.021341288,"teacher_disagreement_score":0.07796891,"about_ca_system_score_codex":0.0029007336,"about_ca_system_score_gemma":0.0037305078,"threshold_uncertainty_score":0.260832},"labels":[],"label_agreement":null},{"id":"W4400996524","doi":"10.54254/2754-1169/102/2024ed0055","title":"Analyzing the Reasons for Prime Video’s Better Performance","year":2024,"lang":"en","type":"article","venue":"Advances in Economics Management and Political Sciences","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McMaster University","funders":"","keywords":"Prime time; Prime (order theory); Position (finance); Computer science; Resource (disambiguation); Business; Appeal; Loyalty; Triple play (telecommunications); Marketing; Advertising; Telecommunications; Political science","score_opus":0.021793579790332026,"score_gpt":0.2635026833302592,"score_spread":0.2417091035399272,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4400996524","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9365075,0.0005971535,0.0011132612,0.0036669888,0.000117765165,0.00007435123,0.00034642778,0.000054782708,0.05752173],"genre_scores_gemma":[0.99409926,0.00019651858,0.00039072917,0.00019028877,0.00005641219,0.000011692383,0.00012408807,0.000019058853,0.004911913],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99855775,0.00029514814,0.000065910295,0.00015823082,0.00054615433,0.00037677155],"domain_scores_gemma":[0.99207556,0.0029646175,0.001701982,0.00026224295,0.00199044,0.001005234],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001820812,0.00020156152,0.00014684041,0.0007942515,0.00085656723,0.0030130267,0.00039957537,0.0007218775,0.011255259],"category_scores_gemma":[0.013746186,0.000093755196,0.00020014738,0.000885383,0.000590756,0.001453952,0.00054938154,0.0008963592,0.001858243],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0010608446,0.0007481833,0.7232108,0.00046663117,0.000106081374,0.0014186939,0.011606461,0.0005996139,0.0070337155,0.019876558,0.03028782,0.20358461],"study_design_scores_gemma":[0.000028538483,0.00048394233,0.9237181,0.00014464607,0.00005581668,0.0006609732,0.02850522,0.003021143,0.003590857,0.0021028274,0.037614997,0.000072990886],"about_ca_topic_score_codex":0.006046511,"about_ca_topic_score_gemma":0.0079720495,"teacher_disagreement_score":0.011255259,"about_ca_system_score_codex":0.0010933414,"about_ca_system_score_gemma":0.0009310694,"threshold_uncertainty_score":0.03765261},"labels":[],"label_agreement":null},{"id":"W4401050282","doi":"10.55975/wmho7558","title":"Born At Home Film: A Manifesto","year":2024,"lang":"en","type":"article","venue":"The Student Midwife","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Manifesto; Political science; Law","score_opus":0.027974835663244803,"score_gpt":0.24983563534702025,"score_spread":0.22186079968377545,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401050282","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0054241973,0.009426746,0.001059728,0.0555834,0.012454825,0.00050324854,0.008176383,0.0006221343,0.9067494],"genre_scores_gemma":[0.041867282,0.00739751,0.0014473143,0.009160393,0.0027800454,0.00041629173,0.0050478955,0.0009594299,0.9309239],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99812967,0.0002953197,0.00009101143,0.0001524601,0.00097018975,0.0003613548],"domain_scores_gemma":[0.9960375,0.0010033186,0.00024225794,0.00028440374,0.000965311,0.0014672228],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0041469545,0.00046848945,0.00021402769,0.0013569626,0.003758737,0.011822777,0.0010918977,0.0026347549,0.048007604],"category_scores_gemma":[0.0069785938,0.00037881103,0.00022085449,0.0019123817,0.0019274895,0.0036262758,0.003779404,0.003297504,0.015141092],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025570664,0.000033630087,0.00020369967,0.00016825856,0.0000025087168,0.00021161186,0.0030505368,0.00004454107,0.0006965396,0.035009585,0.93454087,0.026012735],"study_design_scores_gemma":[0.0000034935927,0.000004551991,0.00056451064,0.00006972221,0.0000010673223,0.000028511573,0.0004992723,0.000009999154,0.000103139995,0.00037361652,0.99833727,0.0000048473116],"about_ca_topic_score_codex":0.04739806,"about_ca_topic_score_gemma":0.08208715,"teacher_disagreement_score":0.048007604,"about_ca_system_score_codex":0.0042228485,"about_ca_system_score_gemma":0.009166001,"threshold_uncertainty_score":0.16060144},"labels":[],"label_agreement":null},{"id":"W4401472064","doi":"10.7312/lopa21640","title":"My Affair with Art House Cinema","year":2024,"lang":"en","type":"book","venue":"Columbia University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Quarter (Canadian coin); Art; Art history; Visual arts; History; Archaeology","score_opus":0.021928793357885782,"score_gpt":0.16836994799162633,"score_spread":0.14644115463374055,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401472064","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0021981632,0.025565954,0.0010779693,0.18560553,0.03667377,0.00003363343,0.00013931487,0.00021307623,0.74849254],"genre_scores_gemma":[0.03040228,0.008713559,0.0005894486,0.03541602,0.01766372,0.000053636337,0.00007230676,0.0002781647,0.90681076],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985789,0.0004761754,0.000022145172,0.00017566714,0.0005673937,0.0001797951],"domain_scores_gemma":[0.9983637,0.00050233287,0.00007707181,0.00012074348,0.00045824575,0.00047787637],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001053769,0.00055433245,0.00027841507,0.0009745627,0.0047985516,0.00825636,0.00069240114,0.0030646592,0.050971296],"category_scores_gemma":[0.0045764744,0.00026294834,0.00025864752,0.00066331326,0.0025623767,0.006034491,0.0025828283,0.005505088,0.013803917],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007304711,0.000012038701,0.00008541706,0.00002745317,0.0000013973629,0.000058215268,0.0010467378,0.000011837824,0.00014096891,0.03286694,0.9453852,0.020356439],"study_design_scores_gemma":[7.1506923e-7,0.0000027817564,0.00010873546,0.000053192165,6.8894815e-7,0.00006835489,0.0003704401,0.000016234828,0.00006285364,0.000723041,0.99859065,0.0000023452503],"about_ca_topic_score_codex":0.008429861,"about_ca_topic_score_gemma":0.015498453,"teacher_disagreement_score":0.050971296,"about_ca_system_score_codex":0.0021001825,"about_ca_system_score_gemma":0.0012139336,"threshold_uncertainty_score":0.17051595},"labels":[],"label_agreement":null},{"id":"W4401632409","doi":"10.22215/etd/2024-16140","title":"Lost in Time: Archiving Sudanese Film Heritage","year":2024,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Colonialism; Movie theater; Scholarship; Context (archaeology); Power (physics); History; Visual arts; Media studies; Geography; Art; Political science; Art history; Archaeology; Sociology; Law","score_opus":0.01527404374647715,"score_gpt":0.22773891211209446,"score_spread":0.21246486836561732,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401632409","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.765673,0.012966224,0.007463806,0.01532045,0.000565326,0.00014676467,0.0011102525,0.00011959805,0.19663464],"genre_scores_gemma":[0.9691057,0.007956078,0.005918128,0.00039662488,0.00016175413,0.000041839052,0.000345507,0.00007973637,0.015994681],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9982286,0.001115331,0.000077616685,0.00010976932,0.00026704653,0.00020167403],"domain_scores_gemma":[0.996102,0.0015938996,0.00073482975,0.00062816817,0.0006709845,0.00027009693],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0042207153,0.00032511642,0.0002885283,0.0060938494,0.0066833827,0.015808543,0.00078954356,0.0007774601,0.0058568227],"category_scores_gemma":[0.011978146,0.00024433297,0.00017615024,0.0068037896,0.0040380065,0.00720612,0.005481226,0.0012320112,0.000575249],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002508329,0.00008191386,0.035854053,0.0005304398,0.000069479225,0.002312494,0.41526663,0.00060634536,0.0017188577,0.152256,0.015199844,0.3758531],"study_design_scores_gemma":[0.00000847949,0.00006012025,0.040412005,0.0017114951,0.00005621846,0.001236739,0.59590936,0.0011881267,0.0017831508,0.028896565,0.32868895,0.00004870228],"about_ca_topic_score_codex":0.019035209,"about_ca_topic_score_gemma":0.03252754,"teacher_disagreement_score":0.019035209,"about_ca_system_score_codex":0.004635281,"about_ca_system_score_gemma":0.00313055,"threshold_uncertainty_score":0.03784883},"labels":[],"label_agreement":null},{"id":"W4401757305","doi":"10.3138/cras-2024-002","title":"The Elusive Killer in Didactic Cinema: Conceptualizing Munch-ian Art and Adorno’s Negative Dialectics in Horror","year":2024,"lang":"en","type":"article","venue":"Canadian Review of American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Dialectic; Movie theater; Art; Literature; Aesthetics; Philosophy; Art history; Epistemology","score_opus":0.03529983622374159,"score_gpt":0.2890203783846711,"score_spread":0.2537205421609295,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401757305","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20865093,0.0123902755,0.024909856,0.029310098,0.00086891046,0.000092288275,0.0000421184,0.00007928547,0.7236562],"genre_scores_gemma":[0.9863848,0.0012572433,0.001470872,0.00081268157,0.00013075414,0.000033156502,0.000009441576,0.000034249384,0.009866791],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9978994,0.001553261,0.000029515346,0.00012722856,0.0002080741,0.00018258035],"domain_scores_gemma":[0.9976441,0.001568481,0.00023231824,0.00015964791,0.00017192068,0.00022353123],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026791238,0.00050054316,0.00023088284,0.002059016,0.006232009,0.010312465,0.0009905268,0.0018749026,0.002647539],"category_scores_gemma":[0.0048501575,0.00023871713,0.00021331485,0.0007410785,0.041456852,0.0077197826,0.004900922,0.0035094367,0.00026116715],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021971731,0.00001303822,0.00058229506,0.000070632734,0.0000037231216,0.00019049335,0.20811944,0.00010484945,0.00026731,0.78266054,0.0020343014,0.00593144],"study_design_scores_gemma":[0.000032198128,0.000075415584,0.0031565034,0.0010072504,0.000029358695,0.001172636,0.33535105,0.001373467,0.0009282572,0.3098777,0.34694564,0.000050518905],"about_ca_topic_score_codex":0.004705274,"about_ca_topic_score_gemma":0.0070959483,"teacher_disagreement_score":0.010312465,"about_ca_system_score_codex":0.003924542,"about_ca_system_score_gemma":0.0013650144,"threshold_uncertainty_score":0.028474748},"labels":[],"label_agreement":null},{"id":"W4401960894","doi":"10.1007/978-981-97-2657-8_4","title":"Blurred Lines: Sexual Abuse (or not) in ‘Big Little Lies’","year":2024,"lang":"en","type":"book-chapter","venue":"Sustainable development goals series","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Psychology; Sexual abuse; Criminology; Psychoanalysis; Medicine; Medical emergency; Suicide prevention; Poison control","score_opus":0.032619208162457135,"score_gpt":0.22200881461105054,"score_spread":0.1893896064485934,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4401960894","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.043336645,0.017254129,0.0058351085,0.09677696,0.0023079698,0.000039808758,0.000067315195,0.00004319317,0.83433884],"genre_scores_gemma":[0.8596101,0.0050064796,0.0014596493,0.017848585,0.0007435924,0.00007444548,0.00004944612,0.00011609765,0.115091674],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99742645,0.0016124655,0.00005459225,0.00016778274,0.00035559837,0.00038309788],"domain_scores_gemma":[0.99753845,0.0014582287,0.00026252048,0.00019213866,0.00026162696,0.00028696583],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025897585,0.00030782496,0.00033958477,0.0006333991,0.006309406,0.0067897676,0.0008343565,0.0036280488,0.011892061],"category_scores_gemma":[0.008595549,0.00026968014,0.0001878714,0.0008967573,0.023542851,0.012156763,0.0054953797,0.0074047945,0.0012819952],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017736314,0.000012040644,0.00032435587,0.000042123924,0.0000028065601,0.00018763293,0.0999923,0.000030613937,0.000101415164,0.85316956,0.027799798,0.01831963],"study_design_scores_gemma":[0.000008280975,0.000025987521,0.0012100082,0.00080958375,0.0000067910655,0.00086580886,0.138687,0.00012532629,0.0002682917,0.29001066,0.567962,0.000020361942],"about_ca_topic_score_codex":0.005118729,"about_ca_topic_score_gemma":0.010295674,"teacher_disagreement_score":0.011892061,"about_ca_system_score_codex":0.0020687054,"about_ca_system_score_gemma":0.0019196222,"threshold_uncertainty_score":0.03978288},"labels":[],"label_agreement":null},{"id":"W4402053237","doi":"10.1080/23268743.2024.2382101","title":"Erotic countermapping and queer urban publics: the hardcore cinema of Arthur J. Bressan, Jr","year":2024,"lang":"en","type":"article","venue":"Porn Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Queer; Publics; Movie theater; Sociology; Media studies; Gender studies; Art; Art history; Political science; Law","score_opus":0.06257514962183035,"score_gpt":0.26202490841185005,"score_spread":0.1994497587900197,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402053237","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5963848,0.011912538,0.0030941905,0.12546268,0.0008238916,0.000032354877,0.00014413727,0.000095357645,0.2620499],"genre_scores_gemma":[0.98248094,0.0023601914,0.00030981077,0.0012094278,0.00025607005,0.000008600547,0.000014960047,0.00002898071,0.013331088],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9992293,0.000501257,0.000007444043,0.00006215387,0.00008203169,0.000117777716],"domain_scores_gemma":[0.9983469,0.0010906463,0.00021723597,0.000080673126,0.00011020255,0.00015436117],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013588722,0.00034147614,0.00019039534,0.0011462785,0.0066628475,0.0062016975,0.00045236136,0.00093967974,0.0039629852],"category_scores_gemma":[0.002724476,0.00015800279,0.00013720358,0.0008447004,0.01249627,0.0028183695,0.0020817055,0.0023197567,0.00012396254],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009226906,0.00005118555,0.003964781,0.00011774165,0.000018400053,0.0008038561,0.45577425,0.00037973447,0.00066467945,0.4703771,0.04131388,0.02644215],"study_design_scores_gemma":[0.000017367685,0.000047437814,0.010256144,0.0003868698,0.00002790034,0.00042995127,0.38534728,0.00065695686,0.00080522674,0.023849275,0.57813895,0.000036782574],"about_ca_topic_score_codex":0.05528742,"about_ca_topic_score_gemma":0.09465083,"teacher_disagreement_score":0.05528742,"about_ca_system_score_codex":0.0057717026,"about_ca_system_score_gemma":0.0013250564,"threshold_uncertainty_score":0.10993123},"labels":[],"label_agreement":null},{"id":"W4402148358","doi":"10.47788/xlvw2388","title":"13. Splicing Back against the Censors: How Archive/ Counter-Archive Saved the Ontario Board of Censors’ Film Censorship Records from Destruction","year":2024,"lang":"en","type":"book-chapter","venue":"University of Exeter Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Censorship; On board; Political science; History; Law; Archaeology","score_opus":0.040935675280206606,"score_gpt":0.1775027756547134,"score_spread":0.13656710037450678,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402148358","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.054294914,0.0019071999,0.0025194446,0.010671225,0.0006367514,0.000052514915,0.0004683383,0.00014945191,0.9293002],"genre_scores_gemma":[0.38482112,0.0014899857,0.0015609281,0.0019272665,0.00014833015,0.000034345983,0.00038083983,0.00037448088,0.60926276],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99876606,0.0002586464,0.00003725853,0.0001601199,0.00051159464,0.00026632435],"domain_scores_gemma":[0.99796706,0.00060504157,0.00012601174,0.0003663521,0.000720092,0.00021540938],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015118489,0.00032077194,0.00020806235,0.0012127674,0.01571123,0.010942637,0.0012819226,0.0020755553,0.026423682],"category_scores_gemma":[0.006544298,0.00028372073,0.00025249878,0.0018663139,0.010241997,0.0041239997,0.0024808957,0.0024577992,0.0034504873],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007622713,0.000028794757,0.005399682,0.0001121822,0.00001309611,0.0009863536,0.31055486,0.00023365754,0.00082941644,0.4217185,0.17591242,0.084134735],"study_design_scores_gemma":[0.00000951526,0.000011470416,0.0058191754,0.00023686847,0.000020729178,0.00025789728,0.04267682,0.00025916207,0.00071981916,0.009101306,0.94086266,0.00002463955],"about_ca_topic_score_codex":0.76005894,"about_ca_topic_score_gemma":0.90384364,"teacher_disagreement_score":0.23994106,"about_ca_system_score_codex":0.023818348,"about_ca_system_score_gemma":0.01727979,"threshold_uncertainty_score":0.48270822},"labels":[],"label_agreement":null},{"id":"W4402241266","doi":"10.1007/978-3-031-55256-4_28","title":"A Defense of Norman McLaren’s Place in Experimental Film History in Canada","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"York University","funders":"","keywords":"Art history; Art; History","score_opus":0.0276293312153307,"score_gpt":0.1875038970585657,"score_spread":0.159874565843235,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402241266","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10774251,0.014795807,0.003357581,0.21553253,0.0010731643,0.000089988374,0.0004801488,0.000096243384,0.65683204],"genre_scores_gemma":[0.8800893,0.0046065045,0.0015086677,0.009177734,0.00016089155,0.000050698764,0.000087591005,0.00011623802,0.104202315],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99679863,0.0005664708,0.00006112852,0.00045030547,0.0008841253,0.0012393845],"domain_scores_gemma":[0.9942994,0.0018699772,0.00022979842,0.00022743679,0.0019511345,0.001422236],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002652748,0.00040013777,0.000599785,0.0031040923,0.03576099,0.015362017,0.0032383727,0.004864372,0.015421511],"category_scores_gemma":[0.010265162,0.0004712357,0.0003163829,0.0052631213,0.0262259,0.0054101963,0.0033127423,0.0066486667,0.00055792765],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003177358,0.00002621399,0.0017282147,0.000035646703,0.000006498363,0.00013555218,0.018962588,0.00019751998,0.000100079546,0.92024565,0.038552642,0.019977523],"study_design_scores_gemma":[0.00003954538,0.000027039894,0.015059868,0.0005802656,0.000027210057,0.00019349279,0.08681548,0.0013629053,0.0008968176,0.12130766,0.7735636,0.00012617392],"about_ca_topic_score_codex":0.9942298,"about_ca_topic_score_gemma":0.99721414,"teacher_disagreement_score":0.15385419,"about_ca_system_score_codex":0.15385419,"about_ca_system_score_gemma":0.18909653,"threshold_uncertainty_score":0.9814092},"labels":[],"label_agreement":null},{"id":"W4402243381","doi":"10.1007/978-3-031-55256-4_18","title":"Disarticulating Authorship: Vicky Smith’s Direct Animations","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Dementia Research Alliance","funders":"","keywords":"Computer science; Art","score_opus":0.05209638976485651,"score_gpt":0.23620365789191491,"score_spread":0.1841072681270584,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402243381","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022689596,0.0031273144,0.07013794,0.023983188,0.007856251,0.000036075646,0.00017695826,0.0011125332,0.8708801],"genre_scores_gemma":[0.53298324,0.0021724878,0.037451506,0.0020830727,0.002856676,0.0000742542,0.00018006733,0.00131402,0.42088476],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99952054,0.00028278786,0.000010899797,0.00004320799,0.00010358319,0.000039036804],"domain_scores_gemma":[0.9969361,0.0020238534,0.00009529817,0.0004152735,0.00033995917,0.00018943036],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008296967,0.00041007673,0.00012785826,0.0007180914,0.0014075013,0.0029734587,0.00052959984,0.0011515471,0.025269296],"category_scores_gemma":[0.010961785,0.00017080829,0.00014052808,0.00047096625,0.001788964,0.0033235003,0.0018865472,0.001978659,0.0028161698],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000063015344,0.00002968215,0.0004020373,0.00009421172,0.00000860456,0.00014346145,0.0071882484,0.0014420155,0.0011548375,0.62140125,0.18224886,0.18582366],"study_design_scores_gemma":[0.000016074948,0.000021309845,0.0003134067,0.00016465143,0.00001057439,0.00028333545,0.0016608965,0.0071701272,0.0016445017,0.15802407,0.8306718,0.000019267212],"about_ca_topic_score_codex":0.0014748612,"about_ca_topic_score_gemma":0.0032037378,"teacher_disagreement_score":0.025269296,"about_ca_system_score_codex":0.00068773155,"about_ca_system_score_gemma":0.0003782387,"threshold_uncertainty_score":0.08453423},"labels":[],"label_agreement":null},{"id":"W4402243822","doi":"10.1007/978-3-031-55256-4_14","title":"“If These Lands Could Speak:” Dislocating Archives Through Process Cinema","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Movie theater; Process (computing); History; Art; Computer science; Art history; Programming language","score_opus":0.0425488082468587,"score_gpt":0.25289278649797425,"score_spread":0.21034397825111556,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402243822","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.039019894,0.0032080137,0.008710121,0.03990887,0.0017435432,0.00005168961,0.000089476256,0.0001677419,0.9071006],"genre_scores_gemma":[0.7061249,0.002038692,0.0037803312,0.005244382,0.0009971198,0.000083475556,0.00008188988,0.00035282326,0.28129637],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981766,0.0011315023,0.00003013885,0.00016565513,0.00030044306,0.00019569101],"domain_scores_gemma":[0.99741757,0.0015495807,0.00020727506,0.00032204457,0.00027031935,0.00023325773],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023679142,0.00050461746,0.00021257519,0.0009836508,0.0055695,0.012023454,0.0010196986,0.0029366072,0.02010032],"category_scores_gemma":[0.0100962045,0.00026408798,0.00019052064,0.0008153011,0.011552785,0.014026649,0.0035598252,0.0048371893,0.003204615],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007989869,0.000068826936,0.0009799686,0.00013354939,0.000008402023,0.00020399109,0.113433704,0.000117337324,0.0006739668,0.73630285,0.078064315,0.0699332],"study_design_scores_gemma":[0.000030199719,0.000049079372,0.0018293298,0.0005412359,0.000027167844,0.00048714623,0.07820303,0.00060424965,0.0019743473,0.13186009,0.7843634,0.000030748288],"about_ca_topic_score_codex":0.0050330083,"about_ca_topic_score_gemma":0.009085458,"teacher_disagreement_score":0.02010032,"about_ca_system_score_codex":0.0019907514,"about_ca_system_score_gemma":0.0017950825,"threshold_uncertainty_score":0.067242265},"labels":[],"label_agreement":null},{"id":"W4402247424","doi":"10.1525/fq.2024.78.1.79","title":"Breaking Boundaries","year":2024,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.020187593365384386,"score_gpt":0.22437355660161437,"score_spread":0.20418596323622998,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402247424","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0038352925,0.040976446,0.012768942,0.28303894,0.07661745,0.000051156472,0.0003643845,0.00045409147,0.58189327],"genre_scores_gemma":[0.23731174,0.041409437,0.011361822,0.16563652,0.07100038,0.00028814282,0.00089641515,0.001846673,0.47024894],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9954426,0.0015833152,0.0002617344,0.0009214744,0.0012543858,0.00053633936],"domain_scores_gemma":[0.99056315,0.004400559,0.0004636213,0.0010905341,0.002112958,0.0013690786],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005064893,0.00055509515,0.0006550296,0.0016873971,0.0045217625,0.014458305,0.0018303065,0.0047659064,0.06842631],"category_scores_gemma":[0.029629737,0.00045492934,0.00043355068,0.0010914485,0.008462522,0.014601859,0.007857833,0.0066836104,0.018909737],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003424322,0.00001169173,0.00024369922,0.00014258608,0.0000074970353,0.00013709362,0.0028395085,0.00007908195,0.00014375376,0.37995,0.5587908,0.057620063],"study_design_scores_gemma":[0.0000037751968,0.000004541193,0.00013060388,0.0002257074,0.000002164389,0.00005398463,0.0010460544,0.000059413578,0.00005459885,0.05909715,0.939317,0.0000049831365],"about_ca_topic_score_codex":0.0028873757,"about_ca_topic_score_gemma":0.0042441497,"teacher_disagreement_score":0.06842631,"about_ca_system_score_codex":0.0031881658,"about_ca_system_score_gemma":0.004154109,"threshold_uncertainty_score":0.22890884},"labels":[],"label_agreement":null},{"id":"W4402249169","doi":"10.1525/fq.2024.78.1.5","title":"Transitions","year":2024,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.021549764491099212,"score_gpt":0.2179534867879264,"score_spread":0.19640372229682718,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402249169","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015137903,0.0033054857,0.00194691,0.043957327,0.035513602,0.000200495,0.0028464512,0.0010546157,0.9096613],"genre_scores_gemma":[0.012702615,0.002726024,0.0015104954,0.020054128,0.0037566398,0.00023774987,0.0027113298,0.0011615882,0.9551394],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.996766,0.0006300949,0.00015623617,0.0006597723,0.0010802619,0.0007076211],"domain_scores_gemma":[0.99604297,0.00045517372,0.00016073775,0.0005511745,0.0013932128,0.0013967069],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0022548113,0.0006462393,0.0004927708,0.0010737946,0.0044704275,0.009676168,0.0020676856,0.0029767957,0.4469143],"category_scores_gemma":[0.011592438,0.00033163634,0.000699008,0.0011135999,0.0014185706,0.00651689,0.0073334,0.004328139,0.28014222],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025707319,0.000020016374,0.0002169352,0.0000989341,0.0000024960468,0.00008519075,0.00070079556,0.000017886729,0.00007279757,0.03623827,0.92262036,0.0399007],"study_design_scores_gemma":[0.000002148236,0.0000036970273,0.00011551283,0.00006583832,6.362983e-7,0.000026901513,0.0002704398,0.0000056130775,0.000017038485,0.0013593958,0.9981305,0.0000021483406],"about_ca_topic_score_codex":0.0033680897,"about_ca_topic_score_gemma":0.005608358,"teacher_disagreement_score":0.4469143,"about_ca_system_score_codex":0.002891365,"about_ca_system_score_gemma":0.0059898505,"threshold_uncertainty_score":0.7889097},"labels":[],"label_agreement":null},{"id":"W4402490859","doi":"10.1080/09670882.2024.2398700","title":"“Blurring the main story”: news in the work of Ciaran Carson","year":2024,"lang":"en","type":"article","venue":"Irish Studies Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Queen's University; Queen's University Belfast; Department for the Economy","keywords":"Work (physics); Art; Literature; History; Engineering; Mechanical engineering","score_opus":0.10655495596243968,"score_gpt":0.3163506829800979,"score_spread":0.2097957270176582,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402490859","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16049317,0.2371703,0.001005083,0.20965812,0.007479978,0.000096852535,0.00015063648,0.000099047065,0.3838468],"genre_scores_gemma":[0.8405401,0.07484742,0.0007499793,0.023592722,0.0026714483,0.0001089413,0.00010095015,0.00022021611,0.057168204],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99151367,0.005759793,0.00017731151,0.00062349695,0.0010053787,0.0009203446],"domain_scores_gemma":[0.9812639,0.014096461,0.00094154384,0.000514113,0.0014060518,0.0017780146],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008591271,0.00068693893,0.00069702865,0.004612562,0.014790521,0.01632656,0.0016124162,0.003341781,0.0045937067],"category_scores_gemma":[0.015669782,0.00072144344,0.00022072102,0.004319529,0.020897675,0.0072561386,0.0047208443,0.005581375,0.00084484764],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011847406,0.00004729934,0.0014037964,0.00075251557,0.000025570162,0.0018225525,0.68721646,0.00011042228,0.0002293156,0.091693014,0.17389739,0.04268317],"study_design_scores_gemma":[0.00000896497,0.000027795275,0.00220473,0.00084476045,0.000010787666,0.0005045587,0.24194612,0.000032226544,0.00017541792,0.0025972032,0.7516122,0.00003526553],"about_ca_topic_score_codex":0.0949805,"about_ca_topic_score_gemma":0.106212124,"teacher_disagreement_score":0.0949805,"about_ca_system_score_codex":0.016359845,"about_ca_system_score_gemma":0.008004914,"threshold_uncertainty_score":0.18885529},"labels":[],"label_agreement":null},{"id":"W4402561179","doi":"10.1093/9780197758755.003.0003","title":"Two Decades of Collaboration","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography","score_opus":0.033245545919534464,"score_gpt":0.24512745191067042,"score_spread":0.21188190599113596,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402561179","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023895383,0.056259193,0.020602044,0.2470682,0.022550251,0.00023851111,0.0004457411,0.00072160043,0.6282191],"genre_scores_gemma":[0.3598203,0.028978795,0.014098035,0.055442218,0.010081376,0.0008038524,0.00075098075,0.0013389799,0.5286855],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9730461,0.0132638365,0.0010507243,0.0040265354,0.005709375,0.0029035173],"domain_scores_gemma":[0.9540165,0.014462701,0.0016534652,0.009227316,0.007530944,0.013109059],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.021497652,0.00088135083,0.001079025,0.003733341,0.011942526,0.025095392,0.0038846314,0.00620377,0.048283685],"category_scores_gemma":[0.036037713,0.0007306349,0.0008584951,0.004354674,0.016177565,0.027589684,0.021780888,0.010770054,0.016536085],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000090888585,0.00011899548,0.00085207727,0.00026864576,0.000033774082,0.0003334837,0.026680926,0.00017147839,0.00025050665,0.69957584,0.1904197,0.08120379],"study_design_scores_gemma":[0.000011375951,0.000022968592,0.00028966172,0.000399756,0.000003882561,0.00012915085,0.0057850108,0.0000912831,0.000058756043,0.035756793,0.95743936,0.000012054801],"about_ca_topic_score_codex":0.0035720177,"about_ca_topic_score_gemma":0.0043759313,"teacher_disagreement_score":0.048283685,"about_ca_system_score_codex":0.010987202,"about_ca_system_score_gemma":0.01079962,"threshold_uncertainty_score":0.16152507},"labels":[],"label_agreement":null},{"id":"W4402568076","doi":"10.1386/ts_00032_1","title":"[Bones cracking]: Reading and listening to Foley and captions","year":2024,"lang":"en","type":"article","venue":"The Soundtrack","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Foley; Active listening; Reading (process); Cracking; Art; Psychology; Linguistics; Communication; Materials science; Medicine; Philosophy; Composite material; Surgery","score_opus":0.03470130385870128,"score_gpt":0.250664683136537,"score_spread":0.2159633792778357,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402568076","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4940761,0.005273721,0.019182134,0.013114967,0.0024458235,0.00015870163,0.00016838321,0.0007867592,0.46479344],"genre_scores_gemma":[0.95610845,0.0012186288,0.0034960283,0.0024066574,0.0005549042,0.00004462693,0.00007026703,0.0003355006,0.035764858],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987777,0.0007021044,0.000020801375,0.00012596408,0.00019755475,0.00017581895],"domain_scores_gemma":[0.99865997,0.00087507674,0.000095936535,0.00008843822,0.0001315709,0.00014902794],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011577879,0.0005738854,0.00028864,0.00058341696,0.0046420046,0.006728663,0.0006912651,0.0020528398,0.0073942943],"category_scores_gemma":[0.005730415,0.0002306382,0.00031457108,0.0003643755,0.009349687,0.0049927053,0.0035489474,0.002755465,0.0012871572],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014654284,0.00005171718,0.0013972224,0.0003354186,0.000016682261,0.0018381728,0.8816363,0.00013789932,0.0065185977,0.048261788,0.019318335,0.04034135],"study_design_scores_gemma":[0.000023189468,0.0002529941,0.00584943,0.0005294141,0.000047547543,0.0024951792,0.4761833,0.00061284285,0.0047726445,0.01594264,0.49316415,0.0001267452],"about_ca_topic_score_codex":0.0029847878,"about_ca_topic_score_gemma":0.005031543,"teacher_disagreement_score":0.0073942943,"about_ca_system_score_codex":0.001171544,"about_ca_system_score_gemma":0.0005447325,"threshold_uncertainty_score":0.024736345},"labels":[],"label_agreement":null},{"id":"W4402679275","doi":"10.1007/s10824-024-09522-0","title":"Beyond the big screen: secondary channel releases and their impact on the theatrical market","year":2024,"lang":"en","type":"article","venue":"Journal of Cultural Economics","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Cultural economics; Channel (broadcasting); The arts; Economics; Business; Marketing; Advertising; Visual arts; Art; Telecommunications; Engineering","score_opus":0.02885966672259413,"score_gpt":0.22998601778824965,"score_spread":0.20112635106565552,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402679275","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.61185163,0.0013533033,0.00091050705,0.008064183,0.00039505557,0.000074260526,0.00054816523,0.00011213732,0.37669083],"genre_scores_gemma":[0.9769433,0.0004099894,0.00015774967,0.0006038881,0.00027507727,0.000017239121,0.00009381865,0.000063279535,0.021435682],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.9987633,0.00045252137,0.000026625747,0.000095467476,0.00038386826,0.00027812217],"domain_scores_gemma":[0.9808384,0.011454822,0.001989165,0.00085098704,0.0019359272,0.0029307203],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017702567,0.00032863187,0.00027983883,0.0011199344,0.0024881032,0.010779919,0.000716849,0.0012736643,0.059181638],"category_scores_gemma":[0.017310742,0.0001647051,0.00027643054,0.0012148705,0.0026031593,0.00536392,0.0026587269,0.0020471867,0.002566895],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0072599836,0.0039562862,0.10718221,0.00085878774,0.00020692903,0.0024866844,0.048916426,0.0025634642,0.0059043122,0.33017385,0.17339438,0.3170967],"study_design_scores_gemma":[0.0007071908,0.00219701,0.41175896,0.0012787692,0.00038811401,0.00075173314,0.14400457,0.011440352,0.005070085,0.1118274,0.31023353,0.00034221425],"about_ca_topic_score_codex":0.014477219,"about_ca_topic_score_gemma":0.020678895,"teacher_disagreement_score":0.059181638,"about_ca_system_score_codex":0.0019957332,"about_ca_system_score_gemma":0.0017815704,"threshold_uncertainty_score":0.19798225},"labels":[],"label_agreement":null},{"id":"W4402740245","doi":"10.1177/13505068241280525","title":"‘Make it look a little like a festival’: Film exhibition and festival organizing at <i>Films Femmes Méditerranée</i> during the COVID-19 pandemic","year":2024,"lang":"en","type":"article","venue":"European Journal of Women s Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Exhibition; Coronavirus disease 2019 (COVID-19); Pandemic; Film festival; 2019-20 coronavirus outbreak; Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2); Art; Media studies; Art history; Visual arts; Humanities; Sociology; Virology; Medicine","score_opus":0.08622907643498094,"score_gpt":0.27403306631979185,"score_spread":0.1878039898848109,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402740245","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9092578,0.0037408997,0.0008284291,0.013898314,0.0009556053,0.00017758076,0.00021942271,0.00005340287,0.07086866],"genre_scores_gemma":[0.9816504,0.0016386642,0.00067020627,0.0012079123,0.00027879162,0.00009090632,0.00007545661,0.00004598406,0.014341729],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9976482,0.0015659981,0.000025917905,0.00013215982,0.00012962463,0.00049811805],"domain_scores_gemma":[0.9985405,0.0006209161,0.00014909882,0.00007957005,0.000103804734,0.000506046],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029020426,0.0006844599,0.0003032115,0.0009713989,0.019654503,0.006353391,0.0010488748,0.0023393244,0.005382282],"category_scores_gemma":[0.0037647162,0.00036226198,0.0003579782,0.00089769723,0.008562604,0.0028663136,0.0054630716,0.003184738,0.00046242346],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000095473006,0.000056867862,0.0036895934,0.0002533536,0.000017741659,0.0025986694,0.9638255,0.00007035979,0.0016005036,0.0069326996,0.011073484,0.00978575],"study_design_scores_gemma":[0.0000069619637,0.000076259945,0.007878207,0.00019514337,0.0000082677025,0.0005888401,0.83707434,0.00003012062,0.00034019037,0.00032000837,0.15345828,0.000023395027],"about_ca_topic_score_codex":0.016266057,"about_ca_topic_score_gemma":0.05205853,"teacher_disagreement_score":0.019654503,"about_ca_system_score_codex":0.0040077344,"about_ca_system_score_gemma":0.0017803726,"threshold_uncertainty_score":0.032342732},"labels":[],"label_agreement":null},{"id":"W4402969638","doi":"10.1117/12.3031814","title":"LIVE: latent image and video encoding","year":2024,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Computer science; Encoding (memory); Computer vision; Image (mathematics); Artificial intelligence; Computer graphics (images)","score_opus":0.030457314056318616,"score_gpt":0.23433607805677126,"score_spread":0.20387876400045263,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402969638","genre_codex":"methods","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021353245,0.0007673292,0.94837904,0.00072872837,0.00032023544,0.00015799329,0.0012237878,0.008133016,0.018936533],"genre_scores_gemma":[0.4271744,0.0012373948,0.52054256,0.0004983344,0.00028511966,0.00024390809,0.0034871397,0.001175072,0.045356024],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997279,0.00003081439,0.00001285726,0.00003786195,0.00014793445,0.000042638494],"domain_scores_gemma":[0.99952114,0.00007628009,0.00003727752,0.00018485708,0.0001415383,0.000038877293],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002823265,0.00040392138,0.0002714746,0.000618015,0.00025027216,0.0011715395,0.0008811548,0.00061749807,0.015193893],"category_scores_gemma":[0.0014882479,0.00018148107,0.00027729687,0.0006547759,0.00045329652,0.0015513514,0.0013000371,0.0011310773,0.0034369815],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008871189,0.00016931913,0.0009313992,0.0002889749,0.000039594786,0.00039089652,0.00023054825,0.023558859,0.15927012,0.17012142,0.03940953,0.60470223],"study_design_scores_gemma":[0.00015100528,0.00030109045,0.0011022541,0.00012057345,0.000028618091,0.001084256,0.00014367215,0.65817827,0.17422837,0.049001563,0.11556817,0.00009210657],"about_ca_topic_score_codex":0.00202221,"about_ca_topic_score_gemma":0.002675281,"teacher_disagreement_score":0.015193893,"about_ca_system_score_codex":0.0006289734,"about_ca_system_score_gemma":0.00045909843,"threshold_uncertainty_score":0.050828576},"labels":[],"label_agreement":null},{"id":"W4402976579","doi":"10.19145/e-gifder.1504837","title":"A SYSTEMATIC ANALYSIS OF AUTEUR THEORY IN CINEMA IN GRADUATE THESES IN TURKEY","year":2024,"lang":"en","type":"article","venue":"Gümüşhane Üniversitesi İletişim Fakültesi Elektronik Dergisi","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Auteur theory; Movie theater; Sociology; Art; Art history","score_opus":0.02742705739936216,"score_gpt":0.22756192204303066,"score_spread":0.2001348646436685,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4402976579","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9556189,0.037032202,0.0007113218,0.00051889935,0.000090849426,0.0009058715,0.0019320191,0.0000128315505,0.0031771376],"genre_scores_gemma":[0.9822833,0.013576239,0.0014215177,0.00021384846,0.0000419709,0.00073474663,0.0012688923,0.000007544131,0.00045203295],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9894817,0.004619793,0.0023573663,0.00091988384,0.0021717574,0.00044955034],"domain_scores_gemma":[0.9670318,0.01834046,0.008503405,0.0009989548,0.0043634484,0.0007619717],"candidate_categories":["bibliometrics"],"consensus_categories":[],"category_scores_codex":[0.009090912,0.00032350494,0.00095197896,0.016501186,0.0010264843,0.0017572364,0.0007341086,0.00055612676,0.0014760513],"category_scores_gemma":[0.03279522,0.00039933622,0.00082783774,0.009971564,0.0012216647,0.001464688,0.0019276977,0.00050453,0.00014991872],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00033307483,0.00024779298,0.6432852,0.04112755,0.00046295702,0.0017792383,0.14004466,0.000116876465,0.001297595,0.002172332,0.0036129823,0.16551973],"study_design_scores_gemma":[0.000032822503,0.00025649552,0.8032123,0.013981435,0.0003733426,0.0013681424,0.15584646,0.00016372748,0.0004962645,0.0003374803,0.023879256,0.0000522145],"about_ca_topic_score_codex":0.011144571,"about_ca_topic_score_gemma":0.021908337,"teacher_disagreement_score":0.9834988,"about_ca_system_score_codex":0.00267661,"about_ca_system_score_gemma":0.006282119,"threshold_uncertainty_score":0.04807794},"labels":[],"label_agreement":null},{"id":"W4403094160","doi":"10.1525/azt.2015.40.2.297","title":"Review: <i>Mex-Ciné: Mexican Filmmaking, Production, and Consumption in the Twenty-First Century</i>, by Frederick Luis Aldama","year":2015,"lang":"en","type":"article","venue":"Aztlán A Journal of Chicano Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Filmmaking; Consumption (sociology); Production (economics); Political science; Art; Art history; Economics; Movie theater; Aesthetics; Macroeconomics","score_opus":0.06157473100137032,"score_gpt":0.28130161651351404,"score_spread":0.21972688551214373,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403094160","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00006595761,0.99293655,0.000008266137,0.0046904692,0.0016990055,0.0000016626889,0.00005760815,0.0000027280748,0.0005377698],"genre_scores_gemma":[0.00097608496,0.9930167,0.000018396078,0.0022915425,0.0030428467,0.00000537924,0.00006360786,0.0000022708186,0.00058323256],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997049,0.00005826084,0.000040872565,0.00007898961,0.00007911996,0.000037845813],"domain_scores_gemma":[0.99724436,0.001344227,0.00041041046,0.00004883932,0.0006888391,0.00026342654],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008325617,0.0013189241,0.0017662755,0.0029141575,0.0007332014,0.003473895,0.0010822321,0.002698113,0.007235119],"category_scores_gemma":[0.0034755445,0.0004792296,0.00049204985,0.0073265126,0.0010541762,0.002175908,0.0012407746,0.002698783,0.0020533947],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010510569,0.000029102968,0.00055700314,0.02100919,0.00015415538,0.00007521408,0.00025493876,0.00008806013,0.000159877,0.0020236308,0.7630774,0.2124663],"study_design_scores_gemma":[0.00002034177,0.00003272116,0.004918647,0.020232806,0.0002074613,0.00018660043,0.0005246774,0.000028976183,0.000067736735,0.00051107263,0.97324514,0.000023946206],"about_ca_topic_score_codex":0.018220328,"about_ca_topic_score_gemma":0.032175876,"teacher_disagreement_score":0.018220328,"about_ca_system_score_codex":0.0022289115,"about_ca_system_score_gemma":0.004368917,"threshold_uncertainty_score":0.036228538},"labels":[],"label_agreement":null},{"id":"W4403197210","doi":"10.3828/liverpool/9781802074765.003.0007","title":"Genre Cinema and Colonialism","year":2024,"lang":"en","type":"book-chapter","venue":"Liverpool University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Colonialism; Art; Literature; History; Archaeology","score_opus":0.03199002746973114,"score_gpt":0.18189180084672832,"score_spread":0.14990177337699717,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403197210","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.035624005,0.031884067,0.00047494727,0.010433268,0.0013688178,0.000025918556,0.00009511006,0.000050594674,0.9200433],"genre_scores_gemma":[0.6281686,0.0364399,0.00073516404,0.0029725828,0.0016574097,0.000047890597,0.00015977818,0.00015356152,0.32966515],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995473,0.00018465436,0.000008975733,0.000049077,0.000104532286,0.00010547902],"domain_scores_gemma":[0.99919397,0.0003420609,0.00006576888,0.000062891195,0.00015835246,0.00017698781],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00058303727,0.0004251966,0.00020497249,0.0020819423,0.0062726215,0.007257193,0.0005765892,0.00072742836,0.019720227],"category_scores_gemma":[0.0017524685,0.00022067306,0.00015352346,0.0014770215,0.0065826993,0.00273575,0.0017306299,0.0020556904,0.0010789632],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057189478,0.00006391787,0.002269749,0.00044440795,0.000012897443,0.00064435124,0.1333755,0.00011156077,0.0013984845,0.6394885,0.12253571,0.099597864],"study_design_scores_gemma":[0.0000054336206,0.000013285009,0.003846958,0.00054199604,0.0000061966552,0.0003515859,0.018976897,0.00007992487,0.00022560287,0.005531017,0.97041154,0.000009437712],"about_ca_topic_score_codex":0.12230168,"about_ca_topic_score_gemma":0.19699971,"teacher_disagreement_score":0.12230168,"about_ca_system_score_codex":0.009265526,"about_ca_system_score_gemma":0.0023439585,"threshold_uncertainty_score":0.24317962},"labels":[],"label_agreement":null},{"id":"W4403197236","doi":"10.3828/liverpool/9781802074765.003.0010","title":"Impossible Queerness in Three Transnational Films by Xavier Dolan","year":2024,"lang":"en","type":"book-chapter","venue":"Liverpool University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.027296823728530432,"score_gpt":0.18512079702818518,"score_spread":0.15782397329965475,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403197236","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11445377,0.029625213,0.00097220676,0.06402782,0.0023196302,0.000027584512,0.00022200648,0.000048458838,0.78830326],"genre_scores_gemma":[0.6949409,0.016115041,0.0004271465,0.005355991,0.00063404255,0.00003278713,0.00011000967,0.00010964109,0.28227445],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992453,0.00041860918,0.000008951286,0.00007692087,0.00013723984,0.00011307133],"domain_scores_gemma":[0.99922514,0.00048082398,0.00005945129,0.000029945117,0.00011946503,0.00008518392],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008636,0.00049995945,0.0001817883,0.0006816205,0.007942389,0.006769681,0.00040587006,0.001243923,0.007011503],"category_scores_gemma":[0.0020382204,0.00016144724,0.00016468877,0.0009796097,0.006669184,0.0035119606,0.0015073539,0.0030713973,0.00051636505],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007008549,0.000031658405,0.0013440158,0.000080285085,0.000011572871,0.0005755146,0.23924203,0.0001478186,0.00027547998,0.5993839,0.13871378,0.020123817],"study_design_scores_gemma":[0.000004938458,0.000010699642,0.002348701,0.00032194625,0.00000611057,0.00020547818,0.08856148,0.0001260539,0.00022958453,0.006786658,0.90137726,0.000021049655],"about_ca_topic_score_codex":0.22371134,"about_ca_topic_score_gemma":0.34716853,"teacher_disagreement_score":0.22371134,"about_ca_system_score_codex":0.009553306,"about_ca_system_score_gemma":0.002790469,"threshold_uncertainty_score":0.44481838},"labels":[],"label_agreement":null},{"id":"W4403197242","doi":"10.3828/liverpool/9781802074765.003.0001","title":"Introduction","year":2024,"lang":"en","type":"book-chapter","venue":"Liverpool University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Philosophy","score_opus":0.027151554109127445,"score_gpt":0.17048376143462093,"score_spread":0.14333220732549348,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403197242","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0020700786,0.011117072,0.0020353724,0.011140092,0.0044758157,0.00020176206,0.009695645,0.0008764195,0.95838773],"genre_scores_gemma":[0.013322033,0.005496755,0.0017322263,0.003297161,0.0009022137,0.00010344883,0.0050658737,0.00026713422,0.9698131],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99867105,0.000115063885,0.000037727616,0.00025502732,0.00062975683,0.0002913709],"domain_scores_gemma":[0.99789363,0.00016984326,0.000055565662,0.00013376129,0.0014330661,0.00031411264],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0010027369,0.00089448143,0.0005527505,0.0019251911,0.0050588488,0.0055166227,0.001996347,0.00266486,0.409762],"category_scores_gemma":[0.0035068695,0.0002643525,0.000457573,0.0022883215,0.0010545683,0.0020416686,0.001718055,0.0016136649,0.12568459],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029926116,0.000026545882,0.00088063837,0.00022802211,0.00000447811,0.00015619792,0.00089805573,0.0001392026,0.00033664278,0.04798974,0.8562493,0.09306129],"study_design_scores_gemma":[8.8080486e-7,0.000002854409,0.0004270866,0.000095807525,8.821726e-7,0.00003907758,0.00013274161,0.000013874162,0.00003139265,0.00051868195,0.9987332,0.0000035264597],"about_ca_topic_score_codex":0.47189432,"about_ca_topic_score_gemma":0.52570313,"teacher_disagreement_score":0.590238,"about_ca_system_score_codex":0.013923929,"about_ca_system_score_gemma":0.01166974,"threshold_uncertainty_score":0.9382952},"labels":[],"label_agreement":null},{"id":"W4403197263","doi":"10.3828/liverpool/9781802074765.003.0006","title":"“Buddies” to the Rescue","year":2024,"lang":"en","type":"book-chapter","venue":"Liverpool University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geography","score_opus":0.0383855806736934,"score_gpt":0.18277859898454601,"score_spread":0.1443930183108526,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403197263","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013171649,0.01743983,0.0022050126,0.03567204,0.0025461088,0.000052903313,0.00036588273,0.00017059527,0.928376],"genre_scores_gemma":[0.21032737,0.011625032,0.0013602905,0.009503619,0.0008258143,0.00004811935,0.00031180072,0.00018721796,0.76581067],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993882,0.00019549495,0.000007671643,0.00008007626,0.0001648454,0.00016366181],"domain_scores_gemma":[0.9993742,0.00013721631,0.00003600197,0.00005110991,0.00021540742,0.00018613535],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00059693155,0.00065301877,0.0002690494,0.0007884098,0.0060439142,0.004834296,0.0009061184,0.00126449,0.029511308],"category_scores_gemma":[0.001659233,0.00016528579,0.00024603057,0.000859228,0.00489019,0.0017216614,0.0014740083,0.0031990008,0.004768804],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032022843,0.000028044578,0.0012077121,0.0001336412,0.00001097653,0.00024188841,0.015088218,0.00023780332,0.00019486483,0.34136927,0.58713853,0.054317113],"study_design_scores_gemma":[0.000001853556,0.000007262013,0.0014084877,0.0001531416,0.0000020376249,0.0000943156,0.0055774385,0.000067542736,0.000053306612,0.0029016377,0.9897266,0.0000062720183],"about_ca_topic_score_codex":0.37754902,"about_ca_topic_score_gemma":0.59900725,"teacher_disagreement_score":0.37754902,"about_ca_system_score_codex":0.010769754,"about_ca_system_score_gemma":0.0071904236,"threshold_uncertainty_score":0.75070286},"labels":[],"label_agreement":null},{"id":"W4403417388","doi":"10.3138/md-67-3-rev7","title":"Anna-Sophie Jürgens and Mirjam Hildbrand, eds. <i>Circus and the Avant-Gardes: History, Imaginary, Innovation</i>","year":2024,"lang":"en","type":"article","venue":"Modern Drama","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"The Imaginary; Art history; Art; Psychoanalysis; Psychology","score_opus":0.024444678082159867,"score_gpt":0.21464862171765653,"score_spread":0.19020394363549667,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403417388","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001357753,0.80953807,0.0018869778,0.033553265,0.011312197,0.00002274231,0.0001648565,0.00013666705,0.14202753],"genre_scores_gemma":[0.0094689885,0.8211758,0.0018591174,0.002968621,0.0052671526,0.000041673815,0.0001371492,0.00014636344,0.1589351],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995671,0.000103708604,0.000022631388,0.00005514439,0.00021296312,0.00003849596],"domain_scores_gemma":[0.99916494,0.00048760412,0.000052234267,0.000023905355,0.00016573582,0.00010565145],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00083823095,0.0011399643,0.000628956,0.0018552975,0.0016145717,0.004716097,0.0006306112,0.0014310259,0.017419234],"category_scores_gemma":[0.0017693182,0.0007234194,0.0003876455,0.0024786228,0.0015390267,0.0063141994,0.0013490944,0.0024837956,0.015399394],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033501274,0.000039806975,0.00027435107,0.0007318978,0.0000087381295,0.00010183911,0.0034642173,0.0002371109,0.0002403064,0.038672257,0.8257541,0.13044192],"study_design_scores_gemma":[0.000001582258,0.000004787297,0.00045514375,0.00040732537,0.0000037515445,0.00013450957,0.001098967,0.000049669354,0.000059213147,0.0046570753,0.9931225,0.00000548421],"about_ca_topic_score_codex":0.006502433,"about_ca_topic_score_gemma":0.015073746,"teacher_disagreement_score":0.017419234,"about_ca_system_score_codex":0.0015151809,"about_ca_system_score_gemma":0.002053473,"threshold_uncertainty_score":0.058273196},"labels":[],"label_agreement":null},{"id":"W4403469431","doi":"10.1080/17460654.2024.2410308","title":"Ireland Bros.’ Pan-American Electric Carnival: Canadians’ border-crossing circuits of early cinema","year":2024,"lang":"en","type":"article","venue":"Early Popular Visual Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Toronto Metropolitan University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Movie theater; Border crossing; Art; Visual arts; Media studies; Art history; Advertising; History; Sociology; Archaeology; Immigration; Business","score_opus":0.018473342519485868,"score_gpt":0.27437441881966956,"score_spread":0.2559010763001837,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4403469431","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.412097,0.008970197,0.0012384794,0.055342186,0.0004483187,0.00005938207,0.0018366014,0.000099455356,0.51990837],"genre_scores_gemma":[0.9267234,0.0029828604,0.0006243117,0.0016498498,0.00007709639,0.000012234631,0.00024567818,0.00004768561,0.06763681],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99962485,0.00005260593,0.000006227132,0.00005978397,0.00011547336,0.0001411004],"domain_scores_gemma":[0.99881446,0.00021067403,0.000118321885,0.0000401313,0.00048926176,0.00032711995],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00059200847,0.00022833071,0.00010599306,0.001242486,0.0065422305,0.005326609,0.00043124205,0.0005926823,0.011953188],"category_scores_gemma":[0.00216204,0.0001542267,0.000113320464,0.001611803,0.0033717235,0.001361562,0.0011153123,0.00090305996,0.00040691352],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029857163,0.00007935806,0.045461524,0.00029337266,0.000035871384,0.00089836866,0.1887556,0.00047548156,0.0018146517,0.277954,0.32209507,0.16183804],"study_design_scores_gemma":[0.000009280496,0.00001827936,0.07371811,0.00015018399,0.000019898032,0.00016623519,0.09193298,0.00027637818,0.00038239144,0.00219867,0.83107823,0.00004933695],"about_ca_topic_score_codex":0.97246706,"about_ca_topic_score_gemma":0.99051887,"teacher_disagreement_score":0.038413644,"about_ca_system_score_codex":0.038413644,"about_ca_system_score_gemma":0.017784487,"threshold_uncertainty_score":0.2787118},"labels":[],"label_agreement":null},{"id":"W4404024979","doi":"10.1073/pnas.2409770121","title":"Measuring diversity in Hollywood through the large-scale computational analysis of film","year":2024,"lang":"en","type":"article","venue":"Proceedings of the National Academy of Sciences","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"Andrew W. Mellon Foundation","keywords":"Hollywood; Representation (politics); Diversity (politics); Affordance; Film industry; Ethnic group; Computer science; Scale (ratio); Pipeline (software); Data science; Visual arts; Political science; Human–computer interaction; Movie theater; Law; Art; Politics; Geography","score_opus":0.10428440547331352,"score_gpt":0.2849207730285917,"score_spread":0.18063636755527818,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404024979","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.858765,0.0007061047,0.12103235,0.0018233408,0.000041087915,0.00009796241,0.002477655,0.00022406931,0.01483246],"genre_scores_gemma":[0.96497416,0.00020944842,0.032106757,0.00008858604,0.00003106648,0.000049469887,0.0015817462,0.000038993006,0.0009197889],"study_design_codex":"observational","study_design_gemma":"simulation_or_modeling","domain_scores_codex":[0.999408,0.00026176983,0.000024999948,0.00014985299,0.0000955547,0.00005981856],"domain_scores_gemma":[0.9953099,0.0032097094,0.0006406887,0.00044535316,0.0002366108,0.00015777451],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011482708,0.0002941646,0.00035297527,0.0023675088,0.0008023607,0.0024722128,0.00079938554,0.00044702238,0.0025145952],"category_scores_gemma":[0.009126284,0.00021207616,0.0004428616,0.0020256592,0.0010725837,0.0031495043,0.0015221671,0.0010287752,0.00026545266],"study_design_candidate":"simulation_or_modeling","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00043929592,0.0005130811,0.3825972,0.00046723758,0.00032950102,0.0005845733,0.0076824487,0.16369511,0.007520691,0.17124428,0.012662876,0.25226372],"study_design_scores_gemma":[0.000021982934,0.0000716756,0.20240365,0.00014469937,0.00005906764,0.00020622472,0.0063440325,0.60086757,0.0042387694,0.17014052,0.015434088,0.00006765992],"about_ca_topic_score_codex":0.009874996,"about_ca_topic_score_gemma":0.016706176,"teacher_disagreement_score":0.009874996,"about_ca_system_score_codex":0.0010576613,"about_ca_system_score_gemma":0.00038513634,"threshold_uncertainty_score":0.019635022},"labels":[],"label_agreement":null},{"id":"W4404096910","doi":"10.59350/z13z7-ng935","title":"CfP: Graduate conference \"Atmospheres of Violence\". May 3-5, 2023 @ Harvard University (US). Deadline: Jan 15, 2023.","year":2023,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science; Engineering physics; Engineering","score_opus":0.09323436971203831,"score_gpt":0.24610678679749207,"score_spread":0.15287241708545374,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404096910","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018382594,0.009368017,0.0009891533,0.035932746,0.01845625,0.00028464338,0.024156721,0.0017705525,0.9072036],"genre_scores_gemma":[0.0052036755,0.0015480325,0.00030980023,0.0013743417,0.0027726453,0.000109955974,0.0057750363,0.0005020677,0.9824044],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959344,0.000037635764,0.000012124372,0.00008440505,0.00014335892,0.00012907982],"domain_scores_gemma":[0.9983595,0.0001143106,0.000052714804,0.00010106885,0.00039953625,0.0009728056],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0010690464,0.0012849156,0.0009064548,0.0014381149,0.0025564022,0.005250639,0.0012615216,0.0030873546,0.77202326],"category_scores_gemma":[0.0022868977,0.00032666491,0.00059196836,0.0016655552,0.00051583303,0.003186672,0.0029899932,0.0019968858,0.44340494],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000120814875,0.000008218087,0.000041305466,0.000017392313,5.559583e-7,0.0000073346228,0.000010031046,0.00000813076,0.000020158552,0.00058201875,0.99159944,0.0076934],"study_design_scores_gemma":[0.000011537611,0.000013577008,0.0020069557,0.000100927944,0.0000017460518,0.000015320375,0.00011367196,0.000059306796,0.00005974055,0.0010948544,0.9965172,0.0000052046757],"about_ca_topic_score_codex":0.015062162,"about_ca_topic_score_gemma":0.030556846,"teacher_disagreement_score":0.22797674,"about_ca_system_score_codex":0.002710022,"about_ca_system_score_gemma":0.0029390585,"threshold_uncertainty_score":0.32518113},"labels":[],"label_agreement":null},{"id":"W4404249535","doi":"10.54254/2753-7064/43/20240160","title":"Redefining Female Identity Through the Female Gaze: A Comparative Analysis of Gender Narratives in Feminist Cinema","year":2024,"lang":"en","type":"article","venue":"Communications in Humanities Research","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Movie theater; Gaze; Narrative; Identity (music); Gender studies; Male gaze; Gender identity; Sociology; Psychology; Art; Aesthetics; Visual arts; Psychoanalysis; Literature","score_opus":0.557074952990666,"score_gpt":0.46938646236451737,"score_spread":0.08768849062614864,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404249535","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.86068255,0.006667909,0.0038389047,0.006449679,0.0002899822,0.000056262197,0.000161454,0.00002683069,0.12182646],"genre_scores_gemma":[0.9881861,0.0017303727,0.00048684442,0.0002847877,0.0000731341,0.000027068987,0.000045067954,0.0000381672,0.009128538],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.99759126,0.0017263059,0.000043010856,0.00015701527,0.00024357924,0.00023882199],"domain_scores_gemma":[0.9960141,0.003056778,0.00034729674,0.00011839221,0.00025482225,0.00020860122],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029024237,0.00039506736,0.00026315977,0.001893051,0.0064496635,0.005165381,0.00046658,0.000931041,0.0045121373],"category_scores_gemma":[0.0062704785,0.00024835012,0.00016632148,0.0011369035,0.006754321,0.0044070007,0.0031205097,0.0014524603,0.000300877],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028044255,0.000007703534,0.0016112229,0.00007317348,0.000003961074,0.0003506958,0.97803473,0.000014868023,0.0010549575,0.011722577,0.001149217,0.0059488146],"study_design_scores_gemma":[0.000003342629,0.000024881932,0.0065140054,0.00028606298,0.000009283771,0.0004891124,0.8764258,0.00008870789,0.0010142862,0.0012679703,0.11386271,0.00001384616],"about_ca_topic_score_codex":0.0071192104,"about_ca_topic_score_gemma":0.017938627,"teacher_disagreement_score":0.0071192104,"about_ca_system_score_codex":0.0033668,"about_ca_system_score_gemma":0.0011830961,"threshold_uncertainty_score":0.02442795},"labels":[],"label_agreement":null},{"id":"W4404252759","doi":"10.4324/9781003156574-23","title":"Rising, Lifting, Resisting","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Geology","score_opus":0.04858922071554289,"score_gpt":0.22619878809028068,"score_spread":0.1776095673747378,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404252759","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13813627,0.00707159,0.0026798346,0.015621328,0.0010116745,0.00008901038,0.00032352193,0.00020555207,0.83486134],"genre_scores_gemma":[0.5998022,0.008360981,0.0020432186,0.0022978547,0.00019885792,0.000029957615,0.0001660473,0.00029491633,0.38680598],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981988,0.00018705339,0.000018699944,0.00020173167,0.0007639213,0.0006297631],"domain_scores_gemma":[0.9988733,0.00013451488,0.000079082354,0.000057831898,0.00049088715,0.00036432128],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010139279,0.00062926393,0.0003659141,0.0017260482,0.018227007,0.010730945,0.0011364764,0.0010342248,0.018774379],"category_scores_gemma":[0.0031636788,0.0002898962,0.00023013602,0.0018924229,0.011248718,0.002685633,0.0035535693,0.0024760645,0.001958119],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013249443,0.000050118288,0.0074051814,0.0003047138,0.000023383534,0.0014305627,0.22965844,0.00039545822,0.0032882362,0.40910906,0.15623868,0.19196369],"study_design_scores_gemma":[0.0000031809848,0.000013621248,0.004579627,0.00023099138,0.00001137475,0.00018192832,0.0527278,0.00011317214,0.0005012103,0.00338275,0.9382355,0.000018836316],"about_ca_topic_score_codex":0.85039735,"about_ca_topic_score_gemma":0.9123099,"teacher_disagreement_score":0.85039735,"about_ca_system_score_codex":0.028759817,"about_ca_system_score_gemma":0.029809795,"threshold_uncertainty_score":0.30096734},"labels":[],"label_agreement":null},{"id":"W4404260114","doi":"","title":"Les imaginaires sociaux de la scène de crime dans la photographie contemporaine (1970-2018)","year":2023,"lang":"en","type":"dissertation","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of British Columbia; Strong; University of Chicago; Harvard University; Wayne State University","keywords":"Photography; Visual arts; Crime scene; Art; Sociology; Criminology","score_opus":0.025738334490324914,"score_gpt":0.2594962322595469,"score_spread":0.23375789776922196,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404260114","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32338113,0.038242355,0.001913881,0.015962338,0.0009959673,0.00003998554,0.0004349503,0.00004064141,0.6189888],"genre_scores_gemma":[0.93948066,0.012453349,0.00054168573,0.00035477403,0.00040694696,0.000027644657,0.00010152608,0.000039191058,0.04659416],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99734205,0.0014659632,0.00007790719,0.00030373308,0.00048258645,0.00032775826],"domain_scores_gemma":[0.99686545,0.0016460455,0.00055692036,0.00017091355,0.00041269255,0.00034795428],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022668291,0.00049364264,0.00030674157,0.0047716587,0.008843985,0.009979885,0.00046967936,0.0017311086,0.008173907],"category_scores_gemma":[0.005696365,0.0003871562,0.00023896764,0.0038584948,0.014137465,0.0051508048,0.0028883766,0.0031160703,0.0008031911],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008621427,0.000025492427,0.0052273027,0.00016466,0.000010243769,0.00068583054,0.48787552,0.0000988163,0.00029377762,0.4602019,0.012004974,0.03332528],"study_design_scores_gemma":[0.000007908669,0.000028296443,0.024115277,0.00042027194,0.00000991229,0.0014174469,0.18414842,0.000120714736,0.00038151085,0.007603244,0.78171706,0.000030025416],"about_ca_topic_score_codex":0.066593535,"about_ca_topic_score_gemma":0.07270671,"teacher_disagreement_score":0.066593535,"about_ca_system_score_codex":0.011395637,"about_ca_system_score_gemma":0.004223841,"threshold_uncertainty_score":0.13241184},"labels":[],"label_agreement":null},{"id":"W4404523796","doi":"10.1515/jcfs-2024-0003","title":"Towards a Techno-Hauntological Aesthetic: Immiscible Time and the Spiritual Imagination in <i>Bodyless</i> (Shishenji, 2019) by Huang Hsin-Chien","year":2024,"lang":"en","type":"article","venue":"Journal of Chinese Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"BLISS; Dream; Interpretation (philosophy); Aesthetics; Illusion; Soul; Virtual reality; Art; Politics; Space (punctuation); Key (lock); Reading (process); Visual arts; Sociology; Psychology; Computer science; Philosophy; Law; Cognitive psychology; Artificial intelligence; Epistemology; Political science; Psychotherapist","score_opus":0.012745058970853596,"score_gpt":0.2598977808177107,"score_spread":0.2471527218468571,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404523796","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35999513,0.0108088,0.027792059,0.07970637,0.0025184436,0.000073744755,0.0000737985,0.00013923035,0.5188924],"genre_scores_gemma":[0.9845783,0.00088488107,0.0013394469,0.0008416509,0.0001718401,0.000018259647,0.000010776737,0.000031723324,0.012123101],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99952257,0.00032447622,0.000008044669,0.000038091195,0.000055869346,0.000050930543],"domain_scores_gemma":[0.99947697,0.00029296576,0.000048222973,0.000059998092,0.00005183027,0.00007006679],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013625582,0.00032105463,0.0001268629,0.0006307563,0.003117611,0.005211612,0.0004460742,0.0010235972,0.0020736263],"category_scores_gemma":[0.0012028934,0.00012803481,0.00018449916,0.00044668184,0.022686385,0.0036231985,0.0024140507,0.00320789,0.00012512747],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027561086,0.000013641905,0.00039992106,0.000059834743,0.000004455831,0.0004135878,0.15328436,0.00014872749,0.0008087905,0.8335986,0.005535446,0.005704973],"study_design_scores_gemma":[0.00003436684,0.00009984533,0.003112063,0.00042352863,0.000021803433,0.0009834149,0.26809114,0.0026882135,0.0016371105,0.2468073,0.47604966,0.00005155837],"about_ca_topic_score_codex":0.0030034662,"about_ca_topic_score_gemma":0.004156761,"teacher_disagreement_score":0.005211612,"about_ca_system_score_codex":0.002564603,"about_ca_system_score_gemma":0.0009989447,"threshold_uncertainty_score":0.018607616},"labels":[],"label_agreement":null},{"id":"W4404634671","doi":"10.1093/ccc/tcae045","title":"My body is a short-circuit that doesn’t need fixing: a disabled remediation of Zoom","year":2024,"lang":"en","type":"article","venue":"Communication Culture and Critique","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Simon Fraser University","funders":"Social Sciences and Humanities Research Council of Canada","keywords":"Zoom; Environmental remediation; Computer science; Geology; Petroleum engineering; Biology; Contamination","score_opus":0.04662269526417956,"score_gpt":0.27678882317173326,"score_spread":0.2301661279075537,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404634671","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6814032,0.0021997965,0.014975059,0.10041217,0.0013354775,0.00014424176,0.0000794265,0.000380728,0.19906977],"genre_scores_gemma":[0.9669393,0.0006407699,0.00268002,0.0041914545,0.000097164055,0.00005184732,0.000014831163,0.00007234142,0.02531235],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99568707,0.0028437327,0.000091462556,0.00028123218,0.00059784815,0.00049860793],"domain_scores_gemma":[0.99350125,0.0037216982,0.00064972433,0.00058802706,0.00064204034,0.0008972637],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0042267255,0.00049860077,0.0003732615,0.0015738124,0.011743084,0.0051356973,0.0014136678,0.0033205543,0.00835596],"category_scores_gemma":[0.013957746,0.00023870393,0.00036646935,0.0007900082,0.015847808,0.0049689123,0.006189742,0.0036038137,0.00079176424],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012941415,0.0006142771,0.0069680964,0.00026416127,0.000022513592,0.010030414,0.7127694,0.00024010593,0.0026797736,0.13316359,0.04985856,0.08325973],"study_design_scores_gemma":[0.00006254494,0.00022655724,0.006664803,0.00061499956,0.000029036797,0.006050005,0.665212,0.00104416,0.0018531553,0.029976195,0.28819454,0.00007204332],"about_ca_topic_score_codex":0.009494561,"about_ca_topic_score_gemma":0.015496632,"teacher_disagreement_score":0.011743084,"about_ca_system_score_codex":0.0038872822,"about_ca_system_score_gemma":0.0025186206,"threshold_uncertainty_score":0.028204322},"labels":[],"label_agreement":null},{"id":"W4404644722","doi":"10.3138/ctr.198.006","title":"Collecting to Create: <i>Cabaret Noir</i>","year":2024,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Visual arts; Performance art; Art history; Aesthetics; Sociology","score_opus":0.035499425532360226,"score_gpt":0.2479978970168247,"score_spread":0.2124984714844645,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404644722","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0054853493,0.028786147,0.005366709,0.41708338,0.054974787,0.0009569515,0.0024390002,0.0015314948,0.48337623],"genre_scores_gemma":[0.039656017,0.016536044,0.006397641,0.103788674,0.007282266,0.0009995432,0.0015982224,0.0015827195,0.8221589],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977386,0.00070295564,0.000046358808,0.0002195417,0.0009019288,0.00039062815],"domain_scores_gemma":[0.9928456,0.00068812247,0.00026723358,0.00027596852,0.0031604103,0.0027627621],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003209319,0.00074163376,0.0004915864,0.0016906502,0.010489368,0.005125404,0.0014875244,0.001928006,0.09232575],"category_scores_gemma":[0.011221364,0.00041103308,0.00053121033,0.0012453094,0.0022857364,0.003175945,0.003909155,0.004172033,0.029751388],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00000512423,0.000004838558,0.00010842251,0.000053756015,0.0000015059735,0.00004410369,0.0013259212,0.000009887032,0.0001224397,0.0014066036,0.9897077,0.007209731],"study_design_scores_gemma":[0.0000013858238,0.0000031806946,0.0004065357,0.00006568619,0.0000013247682,0.00006045308,0.0027094588,0.0000073803153,0.00005486167,0.0001365686,0.9965462,0.0000069833723],"about_ca_topic_score_codex":0.14436181,"about_ca_topic_score_gemma":0.3863233,"teacher_disagreement_score":0.14436181,"about_ca_system_score_codex":0.0065864236,"about_ca_system_score_gemma":0.010728424,"threshold_uncertainty_score":0.30886042},"labels":[],"label_agreement":null},{"id":"W4404697480","doi":"10.1177/14647001241291436","title":"I would rather be a cyborg than a Barbie: hyperfeminine nostalgia and patriarchal futurity in <i>Barbie</i>","year":2024,"lang":"en","type":"article","venue":"Feminist Theory","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Art; Aesthetics; Androgyny; Sociology; Gender studies; Masculinity","score_opus":0.022707374022105188,"score_gpt":0.2333768676890686,"score_spread":0.21066949366696341,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404697480","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5563676,0.0048645996,0.0042405236,0.024421562,0.00061695336,0.000053559248,0.00007087548,0.00009933923,0.409265],"genre_scores_gemma":[0.9661709,0.0010923562,0.00047394677,0.0010672162,0.000060820206,0.000024991765,0.000016831758,0.00008216144,0.03101085],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998517,0.00080421875,0.000021639711,0.00013902936,0.00018191774,0.00033623664],"domain_scores_gemma":[0.9987197,0.000683184,0.00019782569,0.00008320305,0.00012775864,0.00018830074],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014176469,0.0004946539,0.00038047836,0.0009318423,0.017227085,0.0092437705,0.0009663095,0.0027143285,0.003924307],"category_scores_gemma":[0.003560421,0.00047248905,0.00020528917,0.0007339897,0.025156146,0.0046398523,0.0046829446,0.005088747,0.0005787061],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040155453,0.000013123498,0.000494219,0.000077599005,0.000005439386,0.0008699752,0.87677485,0.000040224673,0.0009914956,0.11359284,0.0038595845,0.0032405895],"study_design_scores_gemma":[0.000007581078,0.00004693614,0.0029717349,0.00036970174,0.000021572441,0.0011720045,0.6272568,0.00015399957,0.0011699998,0.008391473,0.35838738,0.00005079781],"about_ca_topic_score_codex":0.046765182,"about_ca_topic_score_gemma":0.07514788,"teacher_disagreement_score":0.046765182,"about_ca_system_score_codex":0.005867352,"about_ca_system_score_gemma":0.0017491982,"threshold_uncertainty_score":0.09298593},"labels":[],"label_agreement":null},{"id":"W4404762500","doi":"10.2174/138920372601241122105141","title":"Preface","year":2024,"lang":"en","type":"article","venue":"Current Protein and Peptide Science","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.04883937828003593,"score_gpt":0.27587188329488926,"score_spread":0.22703250501485334,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404762500","genre_codex":"other","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015347117,0.011252209,0.006292612,0.05179119,0.1830631,0.00043264634,0.009526125,0.0019235348,0.73418385],"genre_scores_gemma":[0.008462712,0.006480807,0.0029682436,0.013665565,0.026385594,0.00031880458,0.0089318445,0.0012616894,0.9315247],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99809104,0.0002619447,0.00014039355,0.00035180003,0.00096896774,0.00018580863],"domain_scores_gemma":[0.9938891,0.000893889,0.00023819404,0.0006066087,0.0032366056,0.0011355706],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0019074043,0.0009645058,0.000793641,0.0020672714,0.0030805317,0.0055483747,0.0018152238,0.0020870306,0.46957552],"category_scores_gemma":[0.014213644,0.00034694307,0.0006455447,0.0017819564,0.0009836822,0.004255971,0.0030919604,0.0038138202,0.34818864],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002204233,0.000013989326,0.000109272034,0.00009916945,0.000002472279,0.0000636041,0.00012522713,0.00003934776,0.00010479416,0.0069959788,0.95525175,0.03717226],"study_design_scores_gemma":[0.000002399429,0.000008016455,0.00013102338,0.00007781453,0.000001047774,0.000070425056,0.00007165412,0.000016334969,0.0000460404,0.0014151753,0.9981566,0.0000034979005],"about_ca_topic_score_codex":0.0029865764,"about_ca_topic_score_gemma":0.0032142287,"teacher_disagreement_score":0.5304245,"about_ca_system_score_codex":0.0023552107,"about_ca_system_score_gemma":0.0035673333,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4404815860","doi":"10.21240/merz/2010.2.21","title":"„Frozen Land – Moving Pictures“","year":2010,"lang":"de","type":"article","venue":"merz | medien + erziehung","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer graphics (images); Computer science; Geography; Visual arts; Art","score_opus":0.015163147282895582,"score_gpt":0.21491803963055156,"score_spread":0.19975489234765598,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404815860","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0114537915,0.0048484188,0.056870185,0.009953771,0.013204518,0.0008819717,0.04562143,0.03026721,0.8268987],"genre_scores_gemma":[0.0845676,0.004706105,0.07366222,0.0035946814,0.0028468017,0.0006856547,0.06705845,0.0063736513,0.75650495],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99974495,0.000048525286,0.0000110753235,0.000057548208,0.00009208815,0.000045728102],"domain_scores_gemma":[0.9994424,0.00007123168,0.000020550635,0.00014244726,0.00018758442,0.00013584107],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00044620963,0.0011073843,0.00030174223,0.0009695598,0.0011824224,0.0021941618,0.0011803765,0.0014566934,0.3247305],"category_scores_gemma":[0.0018056502,0.00045433434,0.00059880316,0.00095997145,0.00045043515,0.002645656,0.002531517,0.0011207573,0.1109771],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019532304,0.000025628944,0.00033032056,0.000255427,0.000016343969,0.00024706384,0.00037090766,0.00027165157,0.0026859443,0.0052886326,0.89899397,0.091318816],"study_design_scores_gemma":[0.000022139211,0.000031590134,0.0010858375,0.00009788617,0.000009862234,0.00013357792,0.00022652636,0.0006569502,0.0006620367,0.0011310246,0.9959233,0.000019293744],"about_ca_topic_score_codex":0.009406523,"about_ca_topic_score_gemma":0.021685278,"teacher_disagreement_score":0.3247305,"about_ca_system_score_codex":0.00063274684,"about_ca_system_score_gemma":0.00056088634,"threshold_uncertainty_score":0.96319},"labels":[],"label_agreement":null},{"id":"W4404880905","doi":"10.1007/978-3-031-74446-4_7","title":"Literary Adaptation on Turkish Television: The Interplay of Commerciality, Nationality, and Culture in Adapting Canonical Texts","year":2024,"lang":"en","type":"book-chapter","venue":"Palgrave studies in adaptation and visual culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Turkish; Adaptation (eye); Nationality; Non canonical; Sociology; History; Psychology; Linguistics; Immigration; Biology; Neuroscience; Philosophy; Archaeology","score_opus":0.09754229947060301,"score_gpt":0.35176583830918234,"score_spread":0.25422353883857934,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404880905","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.64410955,0.0012460283,0.0012826655,0.0012267039,0.000128667,0.000024850991,0.00008629738,0.00004651751,0.35184872],"genre_scores_gemma":[0.99543494,0.00021007558,0.00012819112,0.00003831022,0.00002242542,0.0000069655334,0.000040301366,0.00003904574,0.0040796497],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987463,0.00073791714,0.000042583142,0.00013279577,0.00015575225,0.00018458998],"domain_scores_gemma":[0.9984149,0.0007301709,0.00016493318,0.0001933118,0.00035485392,0.00014183001],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00085894234,0.00040889412,0.00018206637,0.0014033134,0.002625331,0.0047699697,0.0006581556,0.0005981854,0.008672512],"category_scores_gemma":[0.0054036723,0.00013980741,0.00015870883,0.0022647295,0.004635835,0.0025590225,0.0021481693,0.001021038,0.0007999319],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005453142,0.00013992205,0.021094635,0.0003382662,0.000044913424,0.0024474412,0.60155064,0.0007286394,0.009257293,0.19146106,0.013647178,0.15874471],"study_design_scores_gemma":[0.000032191267,0.00023186723,0.21205112,0.00043841437,0.00009341024,0.002318177,0.5213582,0.0022451964,0.0044193612,0.031322002,0.22538233,0.00010777702],"about_ca_topic_score_codex":0.006208546,"about_ca_topic_score_gemma":0.006332278,"teacher_disagreement_score":0.008672512,"about_ca_system_score_codex":0.0025845452,"about_ca_system_score_gemma":0.00067130534,"threshold_uncertainty_score":0.029012442},"labels":[],"label_agreement":null},{"id":"W4404901307","doi":"10.1007/978-3-031-67698-7_4","title":"Reorienting Queer AfroAsias in Hong Khaou’s Monsoon (2019)","year":2024,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Queer; Monsoon; Gender studies; History; Geography; Climatology; Sociology; Geology","score_opus":0.03283135585652094,"score_gpt":0.21260474298669862,"score_spread":0.17977338713017768,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4404901307","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31678346,0.023115594,0.0009668036,0.062561125,0.007729684,0.0001726112,0.00096218707,0.00011293915,0.5875955],"genre_scores_gemma":[0.5157718,0.0067722374,0.0008131041,0.005370758,0.00066705,0.000051221057,0.00024532634,0.00007973852,0.47022873],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998567,0.000026323436,0.000004046917,0.000016281694,0.000017166649,0.0000794867],"domain_scores_gemma":[0.9998311,0.000024199922,0.000016225877,0.00001110203,0.000037962367,0.00007938649],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00051912153,0.00032101944,0.00010415035,0.00045377403,0.0074752965,0.0024881624,0.00034064232,0.0009073409,0.013362432],"category_scores_gemma":[0.0005406999,0.00015726821,0.00014070453,0.00078023586,0.0018880148,0.0020634434,0.0014024383,0.0019907875,0.0011607982],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013892009,0.000086607775,0.012437968,0.0004532136,0.000018888924,0.0021481132,0.44367,0.000120945326,0.0022849194,0.1336504,0.28663966,0.118350446],"study_design_scores_gemma":[0.0000062328513,0.00002133859,0.017584411,0.00013996812,0.000008701397,0.00020991336,0.07932299,0.000044124823,0.0002921833,0.0013297296,0.90102774,0.00001267053],"about_ca_topic_score_codex":0.14665484,"about_ca_topic_score_gemma":0.44200143,"teacher_disagreement_score":0.14665484,"about_ca_system_score_codex":0.004199866,"about_ca_system_score_gemma":0.0041681323,"threshold_uncertainty_score":0.29160243},"labels":[],"label_agreement":null},{"id":"W4405311254","doi":"10.5149/northcarolina/9781469675480.003.0003","title":"The Famous Lady Lovers in the Early Twentieth-Century Black Popular Entertainment Industry","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Entertainment; Art; History; Art history; Visual arts","score_opus":0.03750308417475719,"score_gpt":0.22017184742813223,"score_spread":0.18266876325337505,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405311254","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12491916,0.02547233,0.00089623313,0.017492047,0.001174884,0.000053521093,0.0001483308,0.000058787806,0.8297847],"genre_scores_gemma":[0.14560878,0.009742507,0.00031725958,0.00068479666,0.00041816212,0.000017854969,0.000035299843,0.000056749202,0.8431185],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997633,0.000068618676,0.000003057618,0.000029859812,0.00007172094,0.000063348765],"domain_scores_gemma":[0.9997975,0.000077808174,0.000023617718,0.000006376002,0.000029647079,0.000064999884],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003207603,0.0002750855,0.00015263337,0.0009729142,0.0037532968,0.0031676153,0.00031402693,0.0007750815,0.020692676],"category_scores_gemma":[0.00035001157,0.00017388337,0.00009327553,0.0007375013,0.0014353531,0.0011496308,0.00093184324,0.0011320943,0.0024604695],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007760555,0.00014290736,0.004497899,0.0002738291,0.000009236771,0.0014121315,0.14437573,0.00016345237,0.0014823574,0.38860983,0.28413627,0.17481875],"study_design_scores_gemma":[0.0000020744073,0.00002779425,0.006202967,0.0001891576,0.0000028562679,0.00025663804,0.029101057,0.00010335014,0.00033400737,0.002162441,0.96160936,0.000008200098],"about_ca_topic_score_codex":0.01813637,"about_ca_topic_score_gemma":0.076296695,"teacher_disagreement_score":0.020692676,"about_ca_system_score_codex":0.00197048,"about_ca_system_score_gemma":0.0008390925,"threshold_uncertainty_score":0.06922388},"labels":[],"label_agreement":null},{"id":"W4405403144","doi":"10.4000/12xfs","title":"Deux visions du noir : le roman Jack’s Return Home de Ted Lewis et le film Get Carter de Mike Hodges","year":2024,"lang":"fr","type":"article","venue":"E-rea","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Ministère de l’Emploi et de la Solidarité Sociale (Québec)","funders":"","keywords":"Vision; Art; Humanities; Philosophy; Theology","score_opus":0.01591821394805863,"score_gpt":0.2280634339630878,"score_spread":0.2121452200150292,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405403144","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23566288,0.021413412,0.0078082113,0.081286594,0.0048424643,0.00009766559,0.00010729331,0.00014418353,0.64863735],"genre_scores_gemma":[0.83287936,0.005296269,0.0013502479,0.0065019657,0.00046172546,0.000073343916,0.000054963868,0.00018530061,0.15319683],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977513,0.0014857015,0.000030136673,0.00019327913,0.00023873459,0.0003008936],"domain_scores_gemma":[0.99922097,0.0002505968,0.0001029829,0.00006374686,0.00011192876,0.00024971456],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016450884,0.00058902096,0.00028838037,0.00085122767,0.008780977,0.007202992,0.0010091917,0.0020717226,0.00925229],"category_scores_gemma":[0.0030106986,0.00036220453,0.00026336382,0.0008346925,0.01628315,0.0058662174,0.004262689,0.00500882,0.0011113966],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015971373,0.000041919648,0.0014216285,0.00016484204,0.000007471164,0.0015569403,0.54243875,0.000091382186,0.0007502266,0.3751529,0.055237982,0.022976294],"study_design_scores_gemma":[0.00001703795,0.000050131788,0.0015715042,0.0002706399,0.000009111463,0.00069588324,0.30585143,0.00008740355,0.00039787774,0.008448465,0.6825647,0.00003579042],"about_ca_topic_score_codex":0.03864315,"about_ca_topic_score_gemma":0.07091077,"teacher_disagreement_score":0.03864315,"about_ca_system_score_codex":0.006480316,"about_ca_system_score_gemma":0.0021783663,"threshold_uncertainty_score":0.07683647},"labels":[],"label_agreement":null},{"id":"W4405472821","doi":"10.1353/pal.2024.a947274","title":"Nothing to See Here: Containing Eva's Man","year":2024,"lang":"en","type":"article","venue":"Palimpsest","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nothing; Art; Philosophy; Epistemology","score_opus":0.04234877334460075,"score_gpt":0.2590180579395715,"score_spread":0.21666928459497076,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4405472821","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32512954,0.009684459,0.002300243,0.120140254,0.0050773355,0.000036446083,0.00013025221,0.00018736278,0.5373141],"genre_scores_gemma":[0.89456356,0.0022216155,0.00025885346,0.005702882,0.0005163755,0.00001760989,0.000029344208,0.00009518519,0.09659452],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99886465,0.0006502429,0.000014953339,0.000079529855,0.00017558022,0.00021495025],"domain_scores_gemma":[0.99832314,0.00085004215,0.0002080247,0.000067657515,0.00019082286,0.00036030414],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00094395695,0.00041659718,0.00032984032,0.0007761273,0.011289431,0.008042654,0.00078164344,0.0018137014,0.005808667],"category_scores_gemma":[0.0030744693,0.00022556793,0.00016355715,0.0006374603,0.011354057,0.0027734875,0.0034737925,0.004381671,0.0008092403],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008901632,0.00008419854,0.0023264321,0.00013595521,0.000017547503,0.0030154686,0.5933472,0.000104878556,0.00058620767,0.26157367,0.11749355,0.021225853],"study_design_scores_gemma":[0.000005810917,0.000030304505,0.0014161528,0.00024210218,0.000012575916,0.0010353259,0.42325395,0.00010263738,0.0005113442,0.005928162,0.5674439,0.000017737557],"about_ca_topic_score_codex":0.017096948,"about_ca_topic_score_gemma":0.037956417,"teacher_disagreement_score":0.017096948,"about_ca_system_score_codex":0.0032518222,"about_ca_system_score_gemma":0.002035242,"threshold_uncertainty_score":0.033994853},"labels":[],"label_agreement":null},{"id":"W4406044803","doi":"10.1525/9780520402775-020","title":"17. Chronicling a National History: Hye Bossin’s Canadian Film Weekly and Year Book","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"University of Toronto; Queen's University; McGill University","keywords":"Political science; History; Gender studies; Sociology","score_opus":0.032537659663988194,"score_gpt":0.19696679606085385,"score_spread":0.16442913639686565,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406044803","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015773579,0.022723217,0.0003641997,0.03969899,0.0053665414,0.000051538183,0.0011955716,0.00009489,0.9289278],"genre_scores_gemma":[0.015873408,0.006974514,0.0003112799,0.0038103277,0.00033947252,0.000022464044,0.00024259431,0.0000812511,0.97234464],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931705,0.00004923454,0.000013708114,0.000050937993,0.00028203227,0.0002871517],"domain_scores_gemma":[0.99935967,0.000057026562,0.000014981181,0.000018581279,0.0003814251,0.00016829255],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057393685,0.0009244344,0.00038866978,0.0034867164,0.013798757,0.00834346,0.0010322394,0.0028488976,0.07870354],"category_scores_gemma":[0.0015262491,0.00045907564,0.00037016865,0.0045358385,0.0029289478,0.0028656977,0.0013314317,0.0032317685,0.01006324],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000073693154,0.00000811981,0.0001909184,0.00003854354,0.0000019178503,0.000053963395,0.0014119989,0.000038413345,0.00004211002,0.07767025,0.89990014,0.020636274],"study_design_scores_gemma":[9.540728e-7,9.604926e-7,0.00049993297,0.000041724303,0.0000016411896,0.000013556443,0.00071974116,0.000012078873,0.000025634163,0.0010487558,0.99763024,0.0000047104645],"about_ca_topic_score_codex":0.9758756,"about_ca_topic_score_gemma":0.99473864,"teacher_disagreement_score":0.07870354,"about_ca_system_score_codex":0.05387358,"about_ca_system_score_gemma":0.048160505,"threshold_uncertainty_score":0.39088202},"labels":[],"label_agreement":null},{"id":"W4406245378","doi":"10.70898/regards.v0i31.981","title":"“Cinema is a Machine of Empathy”: Restoring and Curating Iranian’s Cinematic Heritage. An interview with Ehsan Khoshbakht","year":2024,"lang":"en","type":"article","venue":"Regards","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal","funders":"","keywords":"Empathy; Movie theater; Psychology; Visual arts; Art; Social psychology","score_opus":0.044125018291971525,"score_gpt":0.2571591815235165,"score_spread":0.213034163231545,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406245378","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.40193668,0.023654705,0.0035068619,0.24927242,0.0030459706,0.00019624445,0.0001326709,0.00010597883,0.31814852],"genre_scores_gemma":[0.9705856,0.0032236413,0.00070739887,0.010341755,0.000505969,0.000047561294,0.000014964213,0.000027435059,0.014545646],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980519,0.001441508,0.000023802173,0.00007718394,0.00016422842,0.00024145126],"domain_scores_gemma":[0.99768126,0.0013708157,0.0002459036,0.00007531467,0.00033633417,0.0002902915],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0038928732,0.00043463032,0.00015933508,0.0010827793,0.011216239,0.004831239,0.0006221439,0.0024121236,0.0033928729],"category_scores_gemma":[0.0057093115,0.0002472918,0.00015680298,0.0008787564,0.012066193,0.0048754984,0.0021415162,0.003930541,0.0003086463],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033105574,0.00004781536,0.0016080888,0.000107203974,0.0000071972067,0.00048903684,0.8396614,0.000046033078,0.00066585385,0.07574546,0.060092174,0.0214966],"study_design_scores_gemma":[0.000010709042,0.000024102814,0.0051868954,0.00021304704,0.000007451203,0.00040336122,0.58677614,0.00010378604,0.0002913226,0.0030610738,0.40390307,0.000019060077],"about_ca_topic_score_codex":0.01766686,"about_ca_topic_score_gemma":0.0334892,"teacher_disagreement_score":0.01766686,"about_ca_system_score_codex":0.004744074,"about_ca_system_score_gemma":0.0028909224,"threshold_uncertainty_score":0.035128057},"labels":[],"label_agreement":null},{"id":"W4406307897","doi":"10.4472/9783035805451","title":"Display, Distribute, Disrupt. Contemporary Moving Image Practices","year":2024,"lang":"de","type":"book","venue":"DIAPHANES eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Image (mathematics); Computer graphics (images); Computer science; Computer vision; Visual arts; Art","score_opus":0.049804405789913075,"score_gpt":0.2707214410520034,"score_spread":0.22091703526209033,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406307897","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0349515,0.0026828505,0.005780256,0.009243749,0.00054594554,0.000051095532,0.0001672585,0.0003724989,0.9462048],"genre_scores_gemma":[0.58741206,0.0025646973,0.0034093177,0.0015708,0.0004875269,0.00007603336,0.00021102982,0.0005060636,0.4037625],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991917,0.0002830906,0.000027750779,0.0001235286,0.0002430854,0.0001308303],"domain_scores_gemma":[0.99899894,0.0002553255,0.000109430235,0.00033672265,0.00013807802,0.00016155675],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007447472,0.0003463771,0.00015757715,0.0014312944,0.0038126283,0.008002483,0.00069364975,0.0012272192,0.08576047],"category_scores_gemma":[0.0035822084,0.0002076733,0.00019604483,0.0028885095,0.0056660515,0.0057562664,0.004266064,0.0012074542,0.009941969],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012021939,0.0000632129,0.0032340724,0.00025489382,0.000010204623,0.0005146414,0.09251001,0.00018044829,0.0019902939,0.5536512,0.10148175,0.24598898],"study_design_scores_gemma":[0.000010979261,0.000027841274,0.002912503,0.00017476916,0.0000071536547,0.00032252492,0.027655449,0.0002033273,0.00041215308,0.024367644,0.94389594,0.000009782661],"about_ca_topic_score_codex":0.010671952,"about_ca_topic_score_gemma":0.012340632,"teacher_disagreement_score":0.08576047,"about_ca_system_score_codex":0.0032302008,"about_ca_system_score_gemma":0.0012406275,"threshold_uncertainty_score":0.28689736},"labels":[],"label_agreement":null},{"id":"W4406335049","doi":"10.70898/regards.v0i30.871","title":"The Politics of Popular Music in Iranian Cinema: A Case Study of Dariush Mehrjui’s \"Santouri\" (2007)","year":2023,"lang":"en","type":"article","venue":"Regards","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Alberta","funders":"","keywords":"Censorship; Movie theater; Parallels; Theme (computing); Politics; Context (archaeology); Narrative; Storytelling; Ambivalence; Media studies; State (computer science); Aesthetics; Sociology; Literature; Art; Political science; Law; History; Psychology; Social psychology","score_opus":0.05186174189990734,"score_gpt":0.2622680237110488,"score_spread":0.21040628181114146,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406335049","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95570034,0.0013567436,0.00018531908,0.0025942922,0.00008579088,0.0000352294,0.000058183694,0.000009039757,0.03997504],"genre_scores_gemma":[0.994829,0.00082770194,0.0001735747,0.00024241279,0.00008030855,0.000012120547,0.000025775205,0.000007672877,0.0038014678],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99919206,0.0004204128,0.000015385542,0.00006159976,0.0001261953,0.0001843943],"domain_scores_gemma":[0.99857414,0.0008460514,0.00021389202,0.00007008706,0.00011960533,0.00017618206],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014120754,0.00034130772,0.00024256796,0.0015642531,0.00940018,0.003937458,0.0009767695,0.0018170228,0.003799073],"category_scores_gemma":[0.0024237563,0.00020323969,0.00020707241,0.0015217005,0.0052136397,0.0017096561,0.0017103187,0.001671526,0.00031642392],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011715281,0.000297174,0.021570342,0.00024215507,0.000026724165,0.009637047,0.8994027,0.00013722885,0.0019629495,0.030078065,0.010165305,0.02636324],"study_design_scores_gemma":[0.000015757354,0.000085950516,0.035338208,0.00015985064,0.000019476078,0.0016630155,0.83766747,0.00018655579,0.0006265745,0.000796215,0.12342242,0.000018499784],"about_ca_topic_score_codex":0.01676865,"about_ca_topic_score_gemma":0.055196002,"teacher_disagreement_score":0.01676865,"about_ca_system_score_codex":0.0036508525,"about_ca_system_score_gemma":0.0012138954,"threshold_uncertainty_score":0.033342063},"labels":[],"label_agreement":null},{"id":"W4406347188","doi":"10.36114/jlf.2024.12.25.3.689","title":"The Passion and Experimentation of Amateur Filmmaking: Focusing on James Henry Morris’s &lt;Archives Korea, 1930-1940&gt;","year":2024,"lang":"en","type":"article","venue":"The Journal of Literature and Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Passion; Amateur; Art history; Art; Visual arts; Performance art; Media studies; History; Sociology; Psychology; Archaeology; Movie theater; Social psychology","score_opus":0.017533781915373373,"score_gpt":0.24535550115838328,"score_spread":0.22782171924300992,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406347188","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.82562965,0.00714925,0.0006945264,0.0050887153,0.00017570026,0.00004984345,0.00013443506,0.00004246403,0.16103545],"genre_scores_gemma":[0.9757177,0.0022566041,0.000263717,0.00039272098,0.0000587661,0.000016484935,0.00003321295,0.00004776083,0.021212973],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99876994,0.00059861696,0.000027588398,0.00016426243,0.0001916189,0.00024800116],"domain_scores_gemma":[0.9980057,0.0010006162,0.00027513696,0.00014541764,0.00026325358,0.00030986918],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015995259,0.00040702312,0.00018682281,0.0016577952,0.010252902,0.006161282,0.0006406976,0.0008372651,0.00328913],"category_scores_gemma":[0.00322761,0.00028084486,0.00012107929,0.001631513,0.014590365,0.0036746836,0.003791499,0.0019685023,0.0003904155],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004819478,0.000018149178,0.0032302523,0.00011546815,0.0000067127185,0.0016715248,0.94061095,0.0000385992,0.0013619228,0.035589285,0.004691257,0.012617734],"study_design_scores_gemma":[0.0000051668067,0.000046413228,0.01579356,0.0002768868,0.000016798731,0.0010102822,0.5163097,0.00005494001,0.001830109,0.0013229296,0.46328306,0.000050130235],"about_ca_topic_score_codex":0.11085944,"about_ca_topic_score_gemma":0.34174806,"teacher_disagreement_score":0.11085944,"about_ca_system_score_codex":0.00908093,"about_ca_system_score_gemma":0.002967134,"threshold_uncertainty_score":0.22042835},"labels":[],"label_agreement":null},{"id":"W4406422029","doi":"10.1007/978-3-031-70729-2_6","title":"Booming Harmonics: Feminist Ecologies of Process Cinema","year":2025,"lang":"en","type":"book-chapter","venue":"Experimental film and artists' moving image","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Movie theater; Process (computing); Harmonics; Sociology; Aesthetics; Art; Visual arts; Computer science; Engineering; Electrical engineering","score_opus":0.02022584675875907,"score_gpt":0.2511640770771795,"score_spread":0.23093823031842045,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406422029","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01723273,0.0035412165,0.015579242,0.01025159,0.00019241025,0.000032191674,0.00016255344,0.00006466583,0.9529434],"genre_scores_gemma":[0.7962238,0.002717712,0.005266787,0.0010828043,0.0005229392,0.00010646656,0.0001356238,0.0003114284,0.19363244],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9992575,0.00044070592,0.000009123934,0.00010685354,0.000088525994,0.00009726853],"domain_scores_gemma":[0.9980463,0.0014037943,0.00008658994,0.00017513247,0.00014759255,0.00014052441],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010659934,0.00039944015,0.00024516368,0.001627284,0.0038565814,0.009030476,0.00084674,0.0012584631,0.036784768],"category_scores_gemma":[0.0036822718,0.00026938925,0.00017956136,0.0013488341,0.011817725,0.008056624,0.0023046527,0.0019219504,0.0015089579],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008047164,0.0000078675685,0.00013044562,0.000016611068,8.6585317e-7,0.000022570808,0.007053247,0.00008056328,0.00009051729,0.981059,0.0036588588,0.007871401],"study_design_scores_gemma":[0.000012825462,0.000021366384,0.0015219252,0.00016864389,0.0000041605745,0.0001163518,0.020461442,0.0011309859,0.00046120174,0.5156713,0.46041802,0.000011765579],"about_ca_topic_score_codex":0.0062105088,"about_ca_topic_score_gemma":0.0085944515,"teacher_disagreement_score":0.036784768,"about_ca_system_score_codex":0.0036795647,"about_ca_system_score_gemma":0.0012174572,"threshold_uncertainty_score":0.123057306},"labels":[],"label_agreement":null},{"id":"W4406473186","doi":"10.1080/23268743.2024.2439339","title":"‘You can’t do that’? The ambiguities of Wet and Messy fetish videos","year":2025,"lang":"en","type":"article","venue":"Porn Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Aesthetics; Art; Psychology","score_opus":0.05204695877691798,"score_gpt":0.2610731186973903,"score_spread":0.20902615992047233,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406473186","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.51528823,0.011160845,0.010207353,0.032801535,0.00064908864,0.00007493352,0.00037369874,0.000066453365,0.4293778],"genre_scores_gemma":[0.9893694,0.0015684026,0.00073793175,0.0005072064,0.00014149735,0.000015889635,0.00005171685,0.000045103763,0.007562837],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9969386,0.0020314176,0.00006291618,0.00023449658,0.0004858581,0.00024683992],"domain_scores_gemma":[0.9930992,0.0047479854,0.0007618774,0.0004801942,0.0006595581,0.00025105273],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0034519222,0.00026887222,0.00020804648,0.0025061688,0.0036706564,0.0079224445,0.0006785063,0.00082643516,0.0045617595],"category_scores_gemma":[0.016612438,0.00017890391,0.00012098027,0.002325844,0.017636357,0.00714539,0.002331638,0.0017159618,0.00029881162],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001019792,0.000020858994,0.0050505092,0.00017368604,0.000008933137,0.00035256674,0.29893628,0.00016581743,0.00034852198,0.6312716,0.007761655,0.055807613],"study_design_scores_gemma":[0.000011589941,0.00004946723,0.02478573,0.0011500674,0.000019935702,0.0004997338,0.5368758,0.0006501858,0.0010310411,0.08950743,0.34537852,0.000040565796],"about_ca_topic_score_codex":0.036157347,"about_ca_topic_score_gemma":0.06155868,"teacher_disagreement_score":0.036157347,"about_ca_system_score_codex":0.006332227,"about_ca_system_score_gemma":0.0019815133,"threshold_uncertainty_score":0.07189375},"labels":[],"label_agreement":null},{"id":"W4406527044","doi":"10.1080/23268743.2024.2433451","title":"Porn scholars coming together: founders reflect on 10 years of the SCMS Adult Film History Scholarly Interest Group","year":2024,"lang":"en","type":"article","venue":"Porn Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Conversation; Oral history; Media studies; Sociology; Movie theater; History; Art history; Anthropology","score_opus":0.11842016258452474,"score_gpt":0.28557153708579847,"score_spread":0.1671513745012737,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406527044","genre_codex":"empirical","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.87166053,0.004725258,0.001331346,0.06512758,0.0024686304,0.00024335923,0.00020358666,0.000087928056,0.054151773],"genre_scores_gemma":[0.9452101,0.0028084426,0.0009525021,0.01165221,0.0009681533,0.00023822002,0.00017170014,0.00014494552,0.037853796],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9895303,0.0057330765,0.000309918,0.0008105612,0.0014617239,0.002154304],"domain_scores_gemma":[0.9751242,0.010543313,0.0027310953,0.0010120489,0.0025824148,0.008006959],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.016722625,0.0007296517,0.0010503853,0.0029896577,0.02979135,0.011604514,0.0021873282,0.004373952,0.008486767],"category_scores_gemma":[0.0365809,0.0010354972,0.00044452187,0.0027472237,0.012027187,0.012040687,0.019229397,0.010062652,0.0012595609],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022531962,0.00004578198,0.002790737,0.000044590488,0.0000034900695,0.00068099936,0.981713,0.000008532087,0.00020692716,0.0025874632,0.0066126133,0.0052833473],"study_design_scores_gemma":[0.0000017784332,0.000019763951,0.0008685803,0.00006293976,0.0000016460951,0.00014534098,0.96262544,0.000010051948,0.000046630783,0.00025136414,0.035959672,0.0000068685354],"about_ca_topic_score_codex":0.010034978,"about_ca_topic_score_gemma":0.02283672,"teacher_disagreement_score":0.02979135,"about_ca_system_score_codex":0.00612467,"about_ca_system_score_gemma":0.004884671,"threshold_uncertainty_score":0.08843875},"labels":[],"label_agreement":null},{"id":"W4406547484","doi":"10.1163/26659891-bja10048","title":"Why Trans Cinema Doesn’t Exist","year":2025,"lang":"en","type":"article","venue":"Studies in World Cinema","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Movie theater; Art; Art history","score_opus":0.057876080701975134,"score_gpt":0.3030099676347155,"score_spread":0.24513388693274035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406547484","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.124315895,0.010856272,0.008793961,0.21082541,0.0027847863,0.00006168615,0.00029900493,0.00014242332,0.6419205],"genre_scores_gemma":[0.95997125,0.002322852,0.00094894954,0.009132663,0.00073027506,0.000047368034,0.000086715736,0.00016506617,0.026594982],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9945709,0.0030133147,0.00014835462,0.00075054594,0.00082292984,0.0006939161],"domain_scores_gemma":[0.98392254,0.009856241,0.0011049351,0.0013286069,0.0022925246,0.0014951896],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0064547895,0.00028585078,0.0003895942,0.0014789623,0.0056367987,0.011405203,0.0009522376,0.0033821708,0.024902642],"category_scores_gemma":[0.024176104,0.00029617586,0.0002816396,0.0010773605,0.0175064,0.014778388,0.0034749978,0.0042841705,0.0025607124],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050725925,0.000029243234,0.0022864994,0.00013834983,0.000008277392,0.00038318065,0.046792142,0.000037471073,0.0003709854,0.90519786,0.025528854,0.019176427],"study_design_scores_gemma":[0.000026326501,0.000059375347,0.0048315823,0.0009935239,0.000023285114,0.0013633948,0.114308424,0.00035741186,0.0007261653,0.22503628,0.6522345,0.000039642346],"about_ca_topic_score_codex":0.0066181193,"about_ca_topic_score_gemma":0.005913227,"teacher_disagreement_score":0.024902642,"about_ca_system_score_codex":0.0046047107,"about_ca_system_score_gemma":0.0016927272,"threshold_uncertainty_score":0.083307624},"labels":[],"label_agreement":null},{"id":"W4406621822","doi":"10.3366/film.2025.0297","title":"The Dweller on the Threshold: Whiteness, the Family and the End of Classical Cinema","year":2025,"lang":"en","type":"article","venue":"Film-Philosophy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"St. Francis Xavier University","funders":"","keywords":"Movie theater; Art; Aesthetics; Sociology; Visual arts","score_opus":0.030183253966179175,"score_gpt":0.22022059173168176,"score_spread":0.19003733776550258,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406621822","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4078923,0.025471887,0.004660341,0.06241434,0.0010572559,0.000028221279,0.000031543517,0.00008163037,0.49836263],"genre_scores_gemma":[0.9788426,0.0016786994,0.0002683168,0.0019550587,0.00015581113,0.00000977534,0.000004548193,0.000026180309,0.017059077],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984901,0.0010545888,0.000015425534,0.00009437532,0.00015725313,0.0001882167],"domain_scores_gemma":[0.9990175,0.00060381845,0.00007953391,0.00005166725,0.00007630079,0.00017114388],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018065873,0.00027191653,0.00018654174,0.0007453592,0.011504521,0.0067317546,0.0004935189,0.0013352095,0.0038287262],"category_scores_gemma":[0.0027613437,0.00016645712,0.000120272874,0.00041210026,0.021736776,0.0057978607,0.0027103224,0.0027827097,0.00024805052],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004520865,0.000027702676,0.00068515167,0.00004035377,0.000004624551,0.0004583061,0.44689634,0.00006780638,0.00041661944,0.5244526,0.013150328,0.013754955],"study_design_scores_gemma":[0.000020261843,0.000067543406,0.0031862543,0.0005046911,0.000013303042,0.0007219769,0.33928746,0.00033288734,0.00082901935,0.12745346,0.5275439,0.000039254755],"about_ca_topic_score_codex":0.017443817,"about_ca_topic_score_gemma":0.02111794,"teacher_disagreement_score":0.017443817,"about_ca_system_score_codex":0.005229682,"about_ca_system_score_gemma":0.0017173354,"threshold_uncertainty_score":0.037944198},"labels":[],"label_agreement":null},{"id":"W4406622783","doi":"10.3366/film.2025.0298","title":"Speculative Transitions: Hegel, John Huston’s <i>Moby Dick</i> and the Dissolve","year":2025,"lang":"en","type":"article","venue":"Film-Philosophy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Hegelianism; Philosophy; Epistemology","score_opus":0.018845234962031037,"score_gpt":0.21768567652248802,"score_spread":0.198840441560457,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406622783","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.43947932,0.02514336,0.026714908,0.10433616,0.0010514942,0.000044430526,0.00006855308,0.00012307047,0.4030387],"genre_scores_gemma":[0.98533577,0.0014863857,0.0009883316,0.00091865927,0.00011553208,0.000008573223,0.000009631213,0.000027646081,0.011109361],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993185,0.00043250885,0.000012322475,0.00007575605,0.000085649044,0.00007537799],"domain_scores_gemma":[0.99881196,0.00087974395,0.000103334576,0.00005293309,0.00006672494,0.00008530565],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001197157,0.00023209765,0.000177452,0.00082946394,0.0033647553,0.005094172,0.0005010577,0.0013604907,0.0029096953],"category_scores_gemma":[0.003609897,0.00020147389,0.00012316769,0.00062619353,0.01809191,0.006212372,0.0025686792,0.0025232597,0.00018065168],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016327296,0.0000066471057,0.0002052302,0.00001741991,0.0000017602046,0.00009421669,0.022366991,0.00009746291,0.00006943712,0.97246414,0.0017327499,0.0029276416],"study_design_scores_gemma":[0.000022868004,0.00003102163,0.0012973082,0.0001887631,0.000008259919,0.00023337736,0.046330065,0.001031743,0.00063536165,0.7680653,0.18213135,0.000024538233],"about_ca_topic_score_codex":0.0116019985,"about_ca_topic_score_gemma":0.014325471,"teacher_disagreement_score":0.0116019985,"about_ca_system_score_codex":0.0054442147,"about_ca_system_score_gemma":0.0012051333,"threshold_uncertainty_score":0.039500713},"labels":[],"label_agreement":null},{"id":"W4406668145","doi":"10.1016/b978-0-240-52185-5.00001-1","title":"10.1016/b978-0-240-52185-5.00001-1","year":2000,"lang":"en","type":"book-chapter","venue":"Time to knit","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Computer science; Materials science","score_opus":0.017313073815787533,"score_gpt":0.16672046153871986,"score_spread":0.14940738772293233,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406668145","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017975662,0.0003628556,0.0009790455,0.00040650927,0.0001433507,0.00004047254,0.00084130926,0.0009401567,0.99610656],"genre_scores_gemma":[0.0006783796,0.00023148675,0.00041943148,0.000113148206,0.00003716827,0.000031414253,0.0005209339,0.0002399296,0.99772817],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995009,0.000035833542,0.0000316701,0.00016936053,0.00017326242,0.00008895959],"domain_scores_gemma":[0.998273,0.0004902521,0.00013729499,0.00026021656,0.00034631655,0.00049283885],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00094637886,0.0017532102,0.0012321555,0.0018618647,0.0012151783,0.0049449624,0.002430189,0.003993344,0.98089707],"category_scores_gemma":[0.002217608,0.00071067887,0.0006548202,0.0019913928,0.0010273668,0.004550924,0.0028527025,0.0019786581,0.99042636],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000089521214,0.000104435385,0.0003711443,0.00029008143,0.000010986411,0.00008352528,0.000072386785,0.0002880252,0.0012127241,0.0073518967,0.40530625,0.58481914],"study_design_scores_gemma":[0.000012477815,0.00002855476,0.00049654295,0.00022220291,0.0000058826413,0.0001410834,0.00006615739,0.00013315218,0.0002369492,0.0013479865,0.99729913,0.000010007617],"about_ca_topic_score_codex":0.0028642032,"about_ca_topic_score_gemma":0.0028000004,"teacher_disagreement_score":0.019102931,"about_ca_system_score_codex":0.0010348635,"about_ca_system_score_gemma":0.000856446,"threshold_uncertainty_score":0.027247906},"labels":[],"label_agreement":null},{"id":"W4406668592","doi":"10.1016/b978-0-240-52185-5.00009-6","title":"10.1016/b978-0-240-52185-5.00009-6","year":2000,"lang":"en","type":"book-chapter","venue":"Time to knit","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Documentary film; Visual arts; Art; Art history","score_opus":0.017384853881244174,"score_gpt":0.16640191772917753,"score_spread":0.14901706384793337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406668592","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00018265838,0.0003829124,0.0010662659,0.00036704747,0.00014262016,0.000044063636,0.00094954745,0.0011280323,0.99573684],"genre_scores_gemma":[0.0006856237,0.00023418169,0.00045388864,0.00011712619,0.000035887417,0.000033834214,0.0005649209,0.00027498225,0.99759954],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.99947363,0.00003723603,0.000035454268,0.000183453,0.00017410624,0.00009612309],"domain_scores_gemma":[0.99814355,0.0005534086,0.0001513694,0.00030155262,0.00033634502,0.00051374553],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0010264497,0.0019617232,0.0013315267,0.0019069368,0.0012763537,0.005071568,0.0026912661,0.0042116526,0.9824296],"category_scores_gemma":[0.0021706717,0.00079761643,0.0007388379,0.0020290443,0.0011116021,0.0049352143,0.0031862962,0.0020802964,0.99138427],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010881519,0.00012037143,0.0003861526,0.0003434325,0.00001341726,0.00009190928,0.00007786653,0.00032207256,0.0015084337,0.0077419444,0.37317598,0.6161096],"study_design_scores_gemma":[0.000016018304,0.000034828794,0.00051840936,0.0002504585,0.000007157341,0.00015566962,0.00007414301,0.00014918466,0.00030611845,0.0015192585,0.9969568,0.00001183357],"about_ca_topic_score_codex":0.0028603643,"about_ca_topic_score_gemma":0.0027323982,"teacher_disagreement_score":0.017570376,"about_ca_system_score_codex":0.0010228022,"about_ca_system_score_gemma":0.0008388067,"threshold_uncertainty_score":0.025061905},"labels":[],"label_agreement":null},{"id":"W4406694366","doi":"10.3366/edinburgh/9781474441643.003.0024","title":"Global Cinema","year":2020,"lang":"en","type":"book-chapter","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Art history","score_opus":0.04052660578596517,"score_gpt":0.1927335347867661,"score_spread":0.15220692900080093,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406694366","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0065472634,0.009951066,0.000812896,0.004361765,0.002094471,0.000020797357,0.00023543145,0.00012374933,0.97585267],"genre_scores_gemma":[0.17013131,0.014024081,0.0011174581,0.0025572076,0.0018670083,0.00004721997,0.00049367157,0.00023562954,0.8095265],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997813,0.00006278119,0.0000059191166,0.00004967926,0.00005373848,0.000046502388],"domain_scores_gemma":[0.99981123,0.000047234127,0.000013628398,0.000026458925,0.00003925894,0.000062346604],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002881852,0.00048069458,0.0001839413,0.0010558385,0.0017849844,0.0050725453,0.00043269873,0.000734583,0.066977456],"category_scores_gemma":[0.00074894953,0.00012308176,0.00015085525,0.0010833152,0.0013230817,0.0023845036,0.0020683343,0.0010873382,0.007737808],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004354883,0.0000350134,0.00070109725,0.00032775622,0.000007669383,0.00019028768,0.014743554,0.00015716112,0.0014140272,0.42243615,0.4120729,0.14787084],"study_design_scores_gemma":[8.8481175e-7,0.0000039325587,0.00036889865,0.00006307498,0.0000013546162,0.00005586849,0.00132235,0.000027458593,0.00008274399,0.002046188,0.99602556,0.0000016042941],"about_ca_topic_score_codex":0.0029383195,"about_ca_topic_score_gemma":0.0056404886,"teacher_disagreement_score":0.066977456,"about_ca_system_score_codex":0.0015427734,"about_ca_system_score_gemma":0.0007814245,"threshold_uncertainty_score":0.2240619},"labels":[],"label_agreement":null},{"id":"W4406983799","doi":"10.7202/1115018ar","title":"Intermedial Encounters in Experimental Cinema: The Body as Performance Space1","year":2024,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Visual arts","score_opus":0.02758204847479081,"score_gpt":0.28225232879008605,"score_spread":0.25467028031529526,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406983799","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.75811696,0.0035224638,0.010017847,0.003121882,0.00032095882,0.0002432298,0.00023812939,0.00005840706,0.2243602],"genre_scores_gemma":[0.9939091,0.00045228653,0.0013318775,0.00013088855,0.00006896519,0.000090401554,0.00004325988,0.00001715619,0.003956069],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972537,0.002075734,0.00005636331,0.00022055619,0.00022111305,0.00017251105],"domain_scores_gemma":[0.9956678,0.003035464,0.00035980943,0.00049146224,0.00012473567,0.00032079205],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024516305,0.00042497698,0.00027459365,0.0010831578,0.003593671,0.0058118617,0.0009568854,0.0010983099,0.011294946],"category_scores_gemma":[0.007194108,0.00028600043,0.00021408546,0.0008034008,0.016909292,0.004419857,0.006440537,0.0018280648,0.00045901313],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00062996027,0.0010205341,0.009366894,0.0009376824,0.000043320917,0.00085805374,0.44357982,0.00059049367,0.010721893,0.49004942,0.004398412,0.03780349],"study_design_scores_gemma":[0.0004425454,0.0027315768,0.05133874,0.0015564604,0.00010910604,0.002383751,0.47394937,0.0024257072,0.011412814,0.14139359,0.31208542,0.00017095401],"about_ca_topic_score_codex":0.0010422718,"about_ca_topic_score_gemma":0.0014522459,"teacher_disagreement_score":0.011294946,"about_ca_system_score_codex":0.0013869784,"about_ca_system_score_gemma":0.0006013448,"threshold_uncertainty_score":0.03778529},"labels":[],"label_agreement":null},{"id":"W4406984650","doi":"10.7202/1115026ar","title":"Intercorporeal Togetherness: Live Arts and Embodied Poiesis","year":2024,"lang":"en","type":"article","venue":"Intermédialités Histoire et théorie des arts des lettres et des techniques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Embodied cognition; The arts; Aesthetics; Art; Visual arts; Philosophy; Epistemology","score_opus":0.04284386630060638,"score_gpt":0.27852690543357284,"score_spread":0.23568303913296645,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4406984650","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35169777,0.004233976,0.12235726,0.005931348,0.00039881462,0.00008108579,0.0000813971,0.00017705826,0.5150413],"genre_scores_gemma":[0.989298,0.0003550574,0.0037530963,0.000094874995,0.000056436045,0.000026002543,0.00001306793,0.000022216625,0.0063811583],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99880886,0.0006248457,0.000029393104,0.0001959448,0.00021211249,0.00012885692],"domain_scores_gemma":[0.9987814,0.0006264209,0.0001517155,0.0002590093,0.00006206366,0.00011943476],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001404542,0.00030428966,0.00027173694,0.0008602324,0.0020187064,0.004456902,0.00066926784,0.0008089966,0.0048845154],"category_scores_gemma":[0.003010352,0.00014642402,0.00028108433,0.0005931731,0.019929381,0.004365865,0.005418675,0.0012885501,0.00030277186],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004261494,0.000021395672,0.0009208806,0.00010252318,0.000017428232,0.00037754388,0.02593057,0.001051626,0.0017268108,0.9456849,0.00049084367,0.02363289],"study_design_scores_gemma":[0.00002523854,0.00012787043,0.0039036963,0.00018496168,0.000021445321,0.0005922353,0.022056706,0.0026945525,0.0023256256,0.8836674,0.08436875,0.000031471965],"about_ca_topic_score_codex":0.0006019541,"about_ca_topic_score_gemma":0.0006890463,"teacher_disagreement_score":0.0048845154,"about_ca_system_score_codex":0.0010595355,"about_ca_system_score_gemma":0.0005952269,"threshold_uncertainty_score":0.016340315},"labels":[],"label_agreement":null},{"id":"W4407070003","doi":"10.5206/tba.v6i1.18686","title":"Light Body","year":2025,"lang":"en","type":"article","venue":"tba Journal of Art Media and Visual Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Wife; Realm; Embodied cognition; Computer science; Art; Computer graphics (images); Visual arts; Aesthetics; Artificial intelligence; Philosophy; Law; Theology; Political science","score_opus":0.01569999801087539,"score_gpt":0.2640860925107691,"score_spread":0.24838609449989368,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407070003","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0057915733,0.001201102,0.018044658,0.007257581,0.0020610224,0.00011386385,0.0011309014,0.0016770735,0.96272224],"genre_scores_gemma":[0.08759821,0.0019528242,0.016825229,0.0047094966,0.00095835835,0.00023744257,0.0012047511,0.0023190759,0.8841945],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999451,0.00011452621,0.000013795295,0.00011244792,0.00022458774,0.00008360461],"domain_scores_gemma":[0.9991346,0.00026626463,0.000036265294,0.00016356364,0.00018478771,0.00021466108],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005982281,0.00044691568,0.00028633655,0.0013104411,0.0022636103,0.0056315414,0.00072885014,0.0019143915,0.22721305],"category_scores_gemma":[0.0030140565,0.000307886,0.0004986511,0.0007705285,0.0022336545,0.0041688546,0.0037252496,0.0016248935,0.050589077],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000218875,0.0000746106,0.0009237925,0.00034882373,0.000013159762,0.00048656427,0.0057707196,0.00033744244,0.005089521,0.26159468,0.57822233,0.14691947],"study_design_scores_gemma":[0.000007760454,0.00001686969,0.0003409099,0.000084285166,0.0000025035151,0.00020024458,0.0006658975,0.00016967524,0.00044965872,0.010945638,0.9871055,0.000010986082],"about_ca_topic_score_codex":0.0016111995,"about_ca_topic_score_gemma":0.0037898007,"teacher_disagreement_score":0.22721305,"about_ca_system_score_codex":0.0009450773,"about_ca_system_score_gemma":0.0010519746,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4407167379","doi":"10.5117/9789463725576_ch11","title":"Steps to a Greener Film Festival Studies: A Multidisciplinary Subfield and the Environmentalist Turn","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Multidisciplinary approach; Turn (biochemistry); Aesthetics; Sociology; Art; Chemistry; Social science","score_opus":0.03888010879507327,"score_gpt":0.24254845182170473,"score_spread":0.20366834302663145,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407167379","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024578284,0.16075489,0.019596806,0.43934983,0.006018569,0.00010873793,0.00021868804,0.00012455966,0.34924966],"genre_scores_gemma":[0.4254157,0.20736594,0.026719883,0.033237066,0.012412552,0.0003055621,0.00029683788,0.00044521756,0.29380122],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99801624,0.0013103338,0.000041154737,0.0001462849,0.00031821168,0.00016775118],"domain_scores_gemma":[0.99351656,0.0052878903,0.00015567354,0.00018555824,0.00036452687,0.0004898376],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004584802,0.0006455056,0.00067678903,0.0020768673,0.0030786493,0.011633915,0.0012306548,0.0024749907,0.012923173],"category_scores_gemma":[0.0043616616,0.00028538622,0.00037433123,0.0019844812,0.008950758,0.011923883,0.0029290149,0.004531967,0.001066917],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008576898,0.00006818645,0.00029523918,0.00016842977,0.000005496936,0.00006196385,0.0052899504,0.00017787676,0.00009495948,0.92653227,0.03880716,0.028489966],"study_design_scores_gemma":[0.00000693595,0.000027354208,0.001182739,0.0006761253,0.0000048795987,0.00007775608,0.020256639,0.0004827301,0.0001524552,0.2727038,0.7044126,0.000016058855],"about_ca_topic_score_codex":0.004509754,"about_ca_topic_score_gemma":0.008906092,"teacher_disagreement_score":0.012923173,"about_ca_system_score_codex":0.005321011,"about_ca_system_score_gemma":0.00393011,"threshold_uncertainty_score":0.04323232},"labels":[],"label_agreement":null},{"id":"W4407167555","doi":"10.5117/9789048558742_ch09","title":"Spaces of Night-Time Encounter : Nocturnal Politics in Global Cinema, 2018–2022","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Nocturnal; Movie theater; Politics; Art; Media studies; History; Art history; Political science; Sociology; Astronomy; Physics; Law","score_opus":0.015172591974186607,"score_gpt":0.21581159411472653,"score_spread":0.20063900214053992,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407167555","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17019908,0.04280255,0.0022002098,0.015935589,0.0022387318,0.000046942507,0.00039770023,0.000059836308,0.7661193],"genre_scores_gemma":[0.8774049,0.016687216,0.00063650886,0.0012148593,0.0013022157,0.0000356876,0.00024307522,0.00008642105,0.10238912],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99984264,0.00006410718,0.0000037789764,0.000028845758,0.000028285996,0.000032285607],"domain_scores_gemma":[0.99975497,0.000120003075,0.000028257984,0.000018127586,0.000021040585,0.00005757832],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00046089446,0.00024146544,0.000113437556,0.00047305707,0.0018336332,0.004175854,0.0002734762,0.0005414738,0.004668053],"category_scores_gemma":[0.0007112215,0.0001175522,0.00013822442,0.0009355267,0.0031571095,0.0024417217,0.0012231761,0.0011641347,0.00038516425],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013188248,0.00004106333,0.0067564277,0.0005024613,0.000013922494,0.0006682099,0.19617574,0.00023261743,0.00083904713,0.5807694,0.097932175,0.11593701],"study_design_scores_gemma":[0.0000043701884,0.000021526932,0.018742291,0.00039612726,0.000006085063,0.0004574532,0.044887807,0.00012733157,0.00018434055,0.0099726,0.92519164,0.000008457462],"about_ca_topic_score_codex":0.004855537,"about_ca_topic_score_gemma":0.01927903,"teacher_disagreement_score":0.004855537,"about_ca_system_score_codex":0.0021708978,"about_ca_system_score_gemma":0.00085983286,"threshold_uncertainty_score":0.015751004},"labels":[],"label_agreement":null},{"id":"W4407167600","doi":"10.5117/9789463725576_intro","title":"Introduction","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.02261823968158725,"score_gpt":0.19640471699439496,"score_spread":0.17378647731280772,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407167600","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014152376,0.008940748,0.00568273,0.020653715,0.038833838,0.00025806128,0.0044196662,0.0017992369,0.9179968],"genre_scores_gemma":[0.009793389,0.0055533326,0.002886347,0.008733265,0.00809598,0.00020044037,0.0047068424,0.001092779,0.95893764],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976866,0.0003076557,0.00013004283,0.0005700596,0.0010697466,0.00023595933],"domain_scores_gemma":[0.99690574,0.00050853845,0.00014705402,0.00044462536,0.0013954772,0.00059868494],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0013212413,0.0009815701,0.0007436033,0.0016996801,0.00232782,0.009012866,0.0022645441,0.0031785152,0.5364529],"category_scores_gemma":[0.0075152353,0.00037480742,0.0007579896,0.001591363,0.0012474105,0.005488481,0.004411772,0.0028523377,0.34596875],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042810956,0.00002968903,0.00024809083,0.00029272164,0.000005383785,0.00012836656,0.00047145013,0.000079864396,0.00035337114,0.022025006,0.8742186,0.10210461],"study_design_scores_gemma":[0.0000021022836,0.00000777104,0.00012019637,0.00009658491,0.0000012038782,0.00007382956,0.00010919826,0.000016738497,0.000050602892,0.0016552459,0.9978629,0.0000037360926],"about_ca_topic_score_codex":0.0022072091,"about_ca_topic_score_gemma":0.0027992427,"teacher_disagreement_score":0.4635471,"about_ca_system_score_codex":0.0023473506,"about_ca_system_score_gemma":0.003065092,"threshold_uncertainty_score":0.66119367},"labels":[],"label_agreement":null},{"id":"W4407220312","doi":"10.59962/9780774871488-008","title":"5 Television and Early Postwar Canadian Broadcasting Policy","year":2025,"lang":"en","type":"book-chapter","venue":"University of British Columbia Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Broadcasting (networking); Political science; Computer science; Computer security","score_opus":0.01710118760017959,"score_gpt":0.16925253920916764,"score_spread":0.15215135160898804,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407220312","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.058268618,0.015200793,0.00041815816,0.03908035,0.0005256506,0.000035365792,0.0018500289,0.00009009466,0.8845309],"genre_scores_gemma":[0.475042,0.01089363,0.0005663937,0.0029680703,0.0002181437,0.000020300822,0.00046047376,0.00007532118,0.5097557],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99862874,0.000106378095,0.000018822944,0.00008342549,0.0004202443,0.0007423935],"domain_scores_gemma":[0.9978942,0.00041347634,0.000059646216,0.00005425181,0.0012221249,0.00035624963],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000845334,0.0004834194,0.00023780912,0.0032820767,0.013906988,0.011277303,0.0009938035,0.0020363776,0.045711633],"category_scores_gemma":[0.0038529306,0.00030164357,0.00030152884,0.0062810946,0.00307171,0.0018600302,0.0009778566,0.002391037,0.0016581173],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011383358,0.00004959636,0.0053292243,0.0001439771,0.000013855845,0.00031933823,0.009046062,0.00080779975,0.00043134537,0.6935665,0.22882804,0.061350346],"study_design_scores_gemma":[0.000015998336,0.000015098172,0.027668335,0.000254557,0.000025422985,0.00006664854,0.012691628,0.0005211006,0.0004963077,0.013673855,0.94451565,0.000055398308],"about_ca_topic_score_codex":0.99654156,"about_ca_topic_score_gemma":0.99787736,"teacher_disagreement_score":0.14804529,"about_ca_system_score_codex":0.14804529,"about_ca_system_score_gemma":0.12071208,"threshold_uncertainty_score":0.9881467},"labels":[],"label_agreement":null},{"id":"W4407300718","doi":"10.5406/23300841.70.1.17","title":"Contributors","year":2025,"lang":"en","type":"article","venue":"The Polish Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Psychology","score_opus":0.02986791423063651,"score_gpt":0.26570486604550614,"score_spread":0.23583695181486963,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407300718","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008420979,0.0075409724,0.0020471548,0.028685039,0.104595765,0.00047316132,0.0037230086,0.0013046536,0.8507882],"genre_scores_gemma":[0.002387452,0.0033528528,0.0008637053,0.0043108608,0.008833927,0.00015967475,0.0023999105,0.00040091266,0.9772907],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99755436,0.00026831208,0.0001252984,0.00042799182,0.0013228552,0.00030122235],"domain_scores_gemma":[0.9918652,0.000644397,0.00019342809,0.0007427008,0.00460048,0.0019538098],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.001743743,0.00084578077,0.0007242164,0.0029315671,0.0025568327,0.0073025846,0.0020680095,0.0023269786,0.52677727],"category_scores_gemma":[0.010308889,0.00036716944,0.0005611585,0.0028450626,0.00068471604,0.004358033,0.003677106,0.0023864713,0.3967771],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010372957,0.000009003609,0.00004894717,0.0000560937,0.0000010355764,0.000026366015,0.000059961094,0.00001446746,0.00005866042,0.0025211363,0.964912,0.03228193],"study_design_scores_gemma":[0.000001649271,0.00000261417,0.00008194524,0.000040468774,5.5925886e-7,0.000023437995,0.00006707409,0.0000075361404,0.00002004825,0.00042929745,0.99932396,0.0000014464298],"about_ca_topic_score_codex":0.00195545,"about_ca_topic_score_gemma":0.0028351007,"teacher_disagreement_score":0.47322273,"about_ca_system_score_codex":0.002441694,"about_ca_system_score_gemma":0.00370967,"threshold_uncertainty_score":0.6749948},"labels":[],"label_agreement":null},{"id":"W4407311560","doi":"","title":"Éducation cinématographique : trajectoires France-Québec","year":2024,"lang":"fr","type":"other","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Economic geography; Geography","score_opus":0.014459604439478302,"score_gpt":0.21003983601609055,"score_spread":0.19558023157661225,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407311560","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15789463,0.022214504,0.0032122552,0.047365464,0.0019062618,0.00012171475,0.0031254222,0.00038950908,0.7637701],"genre_scores_gemma":[0.514059,0.0068503222,0.0013523494,0.0016354318,0.00019480583,0.000060778904,0.000577684,0.00014562883,0.47512394],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99950194,0.00014875527,0.000011092608,0.000074562246,0.00010739637,0.00015631982],"domain_scores_gemma":[0.99893135,0.00024000346,0.00006215941,0.000044148,0.00035914071,0.00036319226],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006980657,0.00042737307,0.0002014735,0.0015956972,0.00833092,0.005329927,0.00065891753,0.0013306722,0.07214006],"category_scores_gemma":[0.0016194993,0.0002156305,0.00020582933,0.0021731528,0.0027718856,0.0014682177,0.001465461,0.0016789602,0.0026840193],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016714536,0.00014877725,0.013349478,0.0007228558,0.000030542687,0.0014877015,0.17719305,0.00087955303,0.0030790842,0.23161094,0.36647668,0.20485422],"study_design_scores_gemma":[0.000004126294,0.000010413308,0.01697695,0.00019083147,0.000004744722,0.00013266766,0.019980628,0.00018795658,0.00017346279,0.0004642725,0.96185714,0.000016915206],"about_ca_topic_score_codex":0.9527834,"about_ca_topic_score_gemma":0.9772415,"teacher_disagreement_score":0.07214006,"about_ca_system_score_codex":0.037400134,"about_ca_system_score_gemma":0.024470137,"threshold_uncertainty_score":0.27135825},"labels":[],"label_agreement":null},{"id":"W4407511214","doi":"10.26034/cm.jostrans.2025.6940","title":"Rewriting the intersex body: On the opera adaptation of Herculine Barbin’s Memoirs","year":2025,"lang":"en","type":"article","venue":"The Journal of Specialised Translation","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Ottawa","keywords":"Memoir; Rewriting; Opera; Adaptation (eye); Art; Literature; Computer science; Programming language; Biology; Neuroscience","score_opus":0.058755312973828716,"score_gpt":0.25085453462320295,"score_spread":0.19209922164937424,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407511214","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17173116,0.012182452,0.021328216,0.02186767,0.0030237138,0.0001647822,0.00010661849,0.0003683955,0.7692271],"genre_scores_gemma":[0.9118783,0.0020032697,0.004349935,0.0016777758,0.0004574888,0.00007773122,0.00006068674,0.00048993505,0.07900496],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9932093,0.0053195115,0.000080062884,0.00042276792,0.0005770003,0.00039147362],"domain_scores_gemma":[0.99766386,0.0013276124,0.00018315575,0.00032705924,0.00034693765,0.00015144028],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0040671253,0.00067541504,0.00030024943,0.0010119254,0.010220008,0.0072792196,0.0010358671,0.0019587704,0.005770174],"category_scores_gemma":[0.006130676,0.00027557113,0.00032813568,0.0007107462,0.020597594,0.003506035,0.0056774886,0.0029009806,0.0010503988],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008038469,0.000030700714,0.00041293283,0.00011036895,0.00000780731,0.0015605012,0.6286512,0.00014679857,0.0012793088,0.33156288,0.012687266,0.023469815],"study_design_scores_gemma":[0.00001196442,0.000057875888,0.0011092471,0.00040335258,0.000012804272,0.0009914947,0.1509891,0.00026259723,0.0014797171,0.016469423,0.8281837,0.000028725222],"about_ca_topic_score_codex":0.015705176,"about_ca_topic_score_gemma":0.018533189,"teacher_disagreement_score":0.015705176,"about_ca_system_score_codex":0.0058124075,"about_ca_system_score_gemma":0.0019019754,"threshold_uncertainty_score":0.042172134},"labels":[],"label_agreement":null},{"id":"W4407549482","doi":"10.2174/092986653201250206011525","title":"Preface","year":2025,"lang":"en","type":"article","venue":"Protein and Peptide Letters","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Biology","score_opus":0.01531577321050817,"score_gpt":0.20667252269743225,"score_spread":0.19135674948692408,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407549482","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013409512,0.010504143,0.0054184212,0.043635495,0.1709378,0.0003948021,0.009474903,0.0018756212,0.7564178],"genre_scores_gemma":[0.007255292,0.006203372,0.0026290438,0.01191282,0.023833554,0.00028513256,0.0098262215,0.0012382393,0.9368163],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981517,0.00024556456,0.00014059154,0.00034507518,0.00092685706,0.00019020603],"domain_scores_gemma":[0.9944565,0.00076942024,0.00021516196,0.00057127984,0.0029205875,0.0010669932],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0017950191,0.0009380745,0.00077915884,0.0021431525,0.00317842,0.0059010605,0.0018086159,0.0022372527,0.49519926],"category_scores_gemma":[0.011911441,0.00036072225,0.0006739782,0.0019437937,0.000968338,0.00424791,0.003002394,0.0038645528,0.3727554],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002162687,0.000014253582,0.000115662144,0.000100643614,0.000002584817,0.00006270033,0.000105582694,0.000039169907,0.00010366157,0.006350665,0.9579289,0.03515444],"study_design_scores_gemma":[0.0000023946584,0.000007488351,0.00014010517,0.00007499139,0.0000010277505,0.00006320698,0.000064483196,0.000015778132,0.00004206395,0.0013019972,0.99828327,0.000003312886],"about_ca_topic_score_codex":0.0033166031,"about_ca_topic_score_gemma":0.003468079,"teacher_disagreement_score":0.50480074,"about_ca_system_score_codex":0.0023950362,"about_ca_system_score_gemma":0.0035334611,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4407611753","doi":"10.21608/ijmsat.2025.349922.1031","title":"Technological Innovation and Creative Vision of Cinematic Scenery in the Works of Director “James Cameron”","year":2024,"lang":"en","type":"article","venue":"International Journal of Multidisciplinary Studies in Art and Technology","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Art","score_opus":0.0410351631685118,"score_gpt":0.3346927551701318,"score_spread":0.29365759200162,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407611753","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3377579,0.01880831,0.0130144395,0.049548585,0.0015009391,0.0001364837,0.00008448634,0.00017408219,0.5789748],"genre_scores_gemma":[0.9409253,0.0043342826,0.004485051,0.0014163194,0.00020413552,0.000040922216,0.000021613989,0.00005381669,0.048518497],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.998553,0.00083529775,0.000023509492,0.00014306992,0.00026147556,0.00018372819],"domain_scores_gemma":[0.99881613,0.0005997544,0.00012211192,0.00008704403,0.00014057179,0.00023432556],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00210891,0.00037164064,0.00013369202,0.0009840924,0.0069285394,0.007989627,0.0005736691,0.0013283539,0.0030067964],"category_scores_gemma":[0.002769697,0.00027256177,0.00018178692,0.00059192866,0.012068728,0.0037977847,0.0024485572,0.0022416688,0.00021730084],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012806323,0.000051323703,0.0018150702,0.00027204744,0.00000948868,0.001680913,0.37700012,0.00048999814,0.0071813916,0.5248163,0.03821189,0.048343375],"study_design_scores_gemma":[0.000012092868,0.000054915497,0.0039182766,0.00034841214,0.000013544145,0.0012807684,0.08164771,0.00053400116,0.0028573717,0.009522644,0.89974856,0.00006171279],"about_ca_topic_score_codex":0.026657926,"about_ca_topic_score_gemma":0.04868463,"teacher_disagreement_score":0.026657926,"about_ca_system_score_codex":0.00755977,"about_ca_system_score_gemma":0.0031030641,"threshold_uncertainty_score":0.05485028},"labels":[],"label_agreement":null},{"id":"W4407741579","doi":"10.5406/19407610.18.1.01","title":"Formal Integration and Star-Song Attractions in the Cavalcade Musical: A Historical and Digital Analysis of MGM's <i>An American in Paris</i> (1951)","year":2025,"lang":"en","type":"article","venue":"Music and the Moving Image","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; University of Oxford","keywords":"Musical; Star (game theory); Art; Visual arts; Physics; Astrophysics","score_opus":0.01819963739670306,"score_gpt":0.22890218240527754,"score_spread":0.2107025450085745,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407741579","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.84879595,0.0020868022,0.0012883055,0.0016721712,0.00005619686,0.000030046009,0.00056647265,0.00005923945,0.14544487],"genre_scores_gemma":[0.99132466,0.00042886953,0.0002702353,0.000029575602,0.00003015237,0.0000072680523,0.000075425334,0.0000129562595,0.007820781],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99971634,0.0001087827,0.000006862085,0.000054419597,0.000052798376,0.000060691153],"domain_scores_gemma":[0.999091,0.00041904818,0.00019106764,0.000048465812,0.00011960733,0.00013083534],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00065133994,0.00019934976,0.00011899021,0.003985443,0.0030521804,0.0038785785,0.00035842435,0.00034410149,0.0072284956],"category_scores_gemma":[0.0016165399,0.00012761125,0.00007781595,0.0038010401,0.0047569354,0.0013525718,0.0012189593,0.00061734096,0.00024287759],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002442542,0.000039712326,0.033993937,0.00027010083,0.000028517179,0.0030653246,0.70367527,0.0005824538,0.001638857,0.16369975,0.015336153,0.07742563],"study_design_scores_gemma":[0.000009651289,0.000049185175,0.26067096,0.00027448442,0.000031599335,0.0007868248,0.33909446,0.0005381186,0.0008994593,0.003947022,0.3936598,0.00003840942],"about_ca_topic_score_codex":0.06507381,"about_ca_topic_score_gemma":0.11586233,"teacher_disagreement_score":0.06507381,"about_ca_system_score_codex":0.0066859503,"about_ca_system_score_gemma":0.00081148464,"threshold_uncertainty_score":0.12939012},"labels":[],"label_agreement":null},{"id":"W4407751789","doi":"10.33178/alpha.28.01","title":"Decolonising through co-curation? Women creators of the future, Festival Films Femmes Afrique and Leeds International Film Festival","year":2025,"lang":"en","type":"article","venue":"Alphaville Journal of Film and Screen Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Government of Canada; University of Regina","keywords":"Film festival; Documentary film; Media studies; Art; Visual arts; Sociology","score_opus":0.020118164604136277,"score_gpt":0.2631395339247272,"score_spread":0.24302136932059093,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407751789","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83050954,0.0051968335,0.0016421857,0.06903019,0.00062171975,0.00011763507,0.00013704516,0.00003938452,0.09270549],"genre_scores_gemma":[0.97960955,0.0015346482,0.0004360133,0.0015007567,0.00010357527,0.00007079499,0.000025093272,0.00003403003,0.01668558],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9947135,0.003658093,0.00007329801,0.0003149832,0.00030324445,0.000936951],"domain_scores_gemma":[0.9936087,0.003549618,0.00073269027,0.00041452108,0.00055520335,0.0011392517],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008239015,0.00039034797,0.00032845963,0.0010365379,0.013622559,0.009664998,0.0010248305,0.002134965,0.00563109],"category_scores_gemma":[0.0135144405,0.00037274466,0.00020775905,0.0010996447,0.013261621,0.008361822,0.00606774,0.002940979,0.0004894487],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000361718,0.00003317751,0.0026991086,0.000067676825,0.0000049168248,0.00033001596,0.9543354,0.000015101834,0.0002398407,0.025783114,0.0066615236,0.009794042],"study_design_scores_gemma":[0.0000055108044,0.00003181169,0.002660353,0.00014980412,0.0000039744423,0.00016330583,0.8739216,0.000025285137,0.00017361414,0.0015770105,0.12127478,0.000012969183],"about_ca_topic_score_codex":0.020809459,"about_ca_topic_score_gemma":0.0347663,"teacher_disagreement_score":0.020809459,"about_ca_system_score_codex":0.0052903197,"about_ca_system_score_gemma":0.0052468865,"threshold_uncertainty_score":0.043572605},"labels":[],"label_agreement":null},{"id":"W4407853323","doi":"10.1007/s11013-025-09900-z","title":"The Movie Monday Archives: Chronicling Twenty-Six Years of Showing Films in a Psychiatric Hospital Theatre","year":2025,"lang":"en","type":"article","venue":"Culture Medicine and Psychiatry","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Victoria","funders":"Canada Council for the Arts","keywords":"Psychology; Film festival; Psychiatry; Psychiatric hospital; Public health; History; Media studies; Medicine; Sociology; Nursing","score_opus":0.011517506265171552,"score_gpt":0.23913324952791012,"score_spread":0.22761574326273856,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4407853323","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.62449425,0.020161591,0.0015598707,0.08565017,0.0066375956,0.00036276606,0.004464278,0.00024128836,0.25642815],"genre_scores_gemma":[0.9070587,0.010012504,0.0011077669,0.004810679,0.0032163954,0.0001830431,0.0011054567,0.00027865847,0.07222676],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9983113,0.00084478955,0.00005980058,0.00012115457,0.00032602792,0.00033695233],"domain_scores_gemma":[0.9924259,0.0019080795,0.0010812646,0.00032151345,0.000996147,0.0032670863],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029793722,0.0006001104,0.0004246016,0.0024207975,0.010694,0.009989986,0.0011320593,0.0019451253,0.016647257],"category_scores_gemma":[0.011453125,0.0005355485,0.000341519,0.0028127893,0.004649274,0.0033286486,0.003917342,0.0040596863,0.0016176938],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005606662,0.0002872466,0.016669117,0.0008317476,0.00012342467,0.006335162,0.37216797,0.00041005597,0.001107915,0.031031141,0.51425713,0.056218453],"study_design_scores_gemma":[0.000019299672,0.00013725128,0.03896123,0.000640855,0.00002765964,0.0012143375,0.25269246,0.00017368696,0.00022239254,0.00085016777,0.7049921,0.000068556335],"about_ca_topic_score_codex":0.034472913,"about_ca_topic_score_gemma":0.14534703,"teacher_disagreement_score":0.034472913,"about_ca_system_score_codex":0.005668255,"about_ca_system_score_gemma":0.001967898,"threshold_uncertainty_score":0.06854451},"labels":[],"label_agreement":null},{"id":"W4408043907","doi":"10.1163/26659891-bja10050","title":"Routed Through Vancouver: The Global/Local Art of Queer Film Festival Programming","year":2025,"lang":"en","type":"article","venue":"Studies in World Cinema","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Simon Fraser University","funders":"","keywords":"Queer; Film festival; Visual arts; Media studies; Art; Sociology; Gender studies","score_opus":0.039301074120067114,"score_gpt":0.3013852583908541,"score_spread":0.262084184270787,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408043907","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.51568556,0.0027766507,0.0026190553,0.01616872,0.00023510175,0.00008358371,0.00032852442,0.000090327645,0.46201247],"genre_scores_gemma":[0.96600294,0.0010701475,0.00038821137,0.00017635194,0.000040064355,0.000017109993,0.000053952088,0.000042345135,0.032208797],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99878424,0.0006950949,0.000010554177,0.00008138686,0.00015555139,0.00027317466],"domain_scores_gemma":[0.9980241,0.00076091505,0.00012263244,0.00012560547,0.0003469683,0.0006198169],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011933185,0.00035261907,0.00017856374,0.0012747506,0.010323085,0.008731441,0.00077625376,0.0006979686,0.020196456],"category_scores_gemma":[0.0033808707,0.00016021107,0.000109687186,0.002138829,0.0062290593,0.0018000655,0.0024655259,0.0015282764,0.00059766567],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029778446,0.00011042293,0.018301792,0.00036676525,0.00004822135,0.0029215903,0.56658643,0.0016999795,0.0014114982,0.21083671,0.062042743,0.13537602],"study_design_scores_gemma":[0.000012433254,0.000049667462,0.014979044,0.00035714376,0.000019233363,0.00026162597,0.5518364,0.0006338172,0.00041675114,0.0057516918,0.42565122,0.000031026317],"about_ca_topic_score_codex":0.4693791,"about_ca_topic_score_gemma":0.7320771,"teacher_disagreement_score":0.53062093,"about_ca_system_score_codex":0.012865503,"about_ca_system_score_gemma":0.0054180687,"threshold_uncertainty_score":0.933294},"labels":[],"label_agreement":null},{"id":"W4408235574","doi":"10.1080/1755182x.2025.2471475","title":"‘A fine tourist lure’: Canadian nontheatrical cinema and tourism promotion at the New York World’s Fair, 1939–1940","year":2025,"lang":"en","type":"article","venue":"Journal of Tourism History","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Memorial University of Newfoundland","funders":"","keywords":"Tourism; Movie theater; Promotion (chess); Advertising; Media studies; History; Political science; Sociology; Economic history; Business; Art history; Law; Politics","score_opus":0.02194318881519427,"score_gpt":0.20419572868118457,"score_spread":0.1822525398659903,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408235574","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7621569,0.014441624,0.00056406914,0.018545805,0.0005256226,0.00007778192,0.001186715,0.000030490295,0.20247099],"genre_scores_gemma":[0.96730095,0.0044404673,0.00023266871,0.0005231174,0.00005917797,0.0000126133755,0.00026875155,0.00001694614,0.027145458],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993462,0.00008171069,0.000007641537,0.00007181516,0.0002450483,0.00024764854],"domain_scores_gemma":[0.9985643,0.0002777074,0.00014499428,0.000046362627,0.0005210814,0.00044561827],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008424954,0.0003594982,0.00018272134,0.002840468,0.010807652,0.005726007,0.0008171772,0.00077142625,0.0064831874],"category_scores_gemma":[0.0031404241,0.00020992533,0.00017721223,0.0039183674,0.005942892,0.0016521629,0.0016680864,0.001537139,0.0002108925],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002618933,0.0001812033,0.09256833,0.00045218127,0.000069013746,0.0015115672,0.5321123,0.0005150996,0.0011866558,0.09994096,0.12444071,0.14676005],"study_design_scores_gemma":[0.000008006931,0.000034144778,0.30621704,0.000357353,0.000046489225,0.0002787734,0.24439313,0.0003548906,0.00042733332,0.0013164564,0.4464861,0.000080492886],"about_ca_topic_score_codex":0.99255204,"about_ca_topic_score_gemma":0.997159,"teacher_disagreement_score":0.074817374,"about_ca_system_score_codex":0.074817374,"about_ca_system_score_gemma":0.041039076,"threshold_uncertainty_score":0.5428406},"labels":[],"label_agreement":null},{"id":"W4408271980","doi":"10.29173/pathfinder117","title":"Bye Bye Birdie","year":2025,"lang":"en","type":"article","venue":"Pathfinder A Canadian Journal for Information Science Students and Early Career Professionals","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Philosophy","score_opus":0.04357604926562629,"score_gpt":0.31143373314265005,"score_spread":0.26785768387702374,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408271980","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.038622774,0.007546522,0.006565962,0.07144379,0.005913174,0.0002835561,0.0006629685,0.00040565198,0.8685556],"genre_scores_gemma":[0.113522515,0.0027879314,0.0036484757,0.010494331,0.00031387463,0.0001494647,0.00017195426,0.00026411403,0.86864734],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99866307,0.00035822732,0.000036738576,0.00028212255,0.0004001339,0.0002596874],"domain_scores_gemma":[0.9980165,0.0005283953,0.00010155723,0.00012696929,0.0005779758,0.0006485468],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001276781,0.00036744098,0.00030813823,0.0012650947,0.0076660775,0.004699902,0.00068478094,0.0017579525,0.091159165],"category_scores_gemma":[0.005053423,0.00024586925,0.00025600937,0.0010080597,0.0024800908,0.0028035985,0.0031000476,0.0022091644,0.018585771],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008124478,0.00009279719,0.004696391,0.00032152058,0.000011882798,0.0050724945,0.022709593,0.00021183996,0.0013200295,0.098780096,0.7769841,0.089718014],"study_design_scores_gemma":[0.0000014776448,0.000009517441,0.00065564783,0.00006897082,0.0000013401617,0.0007904493,0.0042021866,0.000049551338,0.00012438698,0.0008130896,0.9932747,0.000008757022],"about_ca_topic_score_codex":0.04387127,"about_ca_topic_score_gemma":0.09624827,"teacher_disagreement_score":0.091159165,"about_ca_system_score_codex":0.0036177866,"about_ca_system_score_gemma":0.004885373,"threshold_uncertainty_score":0.3049578},"labels":[],"label_agreement":null},{"id":"W4408439602","doi":"10.1386/9781835950579_7","title":"Cine Worlding Poly MUSICamory: Cinematic Research-Creation's Speculative Worldings","year":2025,"lang":"en","type":"book-chapter","venue":"BCMCR new directions in media and cultural research.","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"MacEwan University","funders":"","keywords":"Sociology","score_opus":0.14328763857349633,"score_gpt":0.3598109048228323,"score_spread":0.21652326624933596,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408439602","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014240235,0.03807114,0.012936042,0.02301242,0.0012694047,0.000056523724,0.00007903309,0.000113529146,0.91022164],"genre_scores_gemma":[0.4722916,0.050548658,0.011055555,0.0036407372,0.002264615,0.00020104008,0.00014587474,0.00018704965,0.45966485],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991548,0.0005634961,0.000014722444,0.0000712518,0.00015212639,0.000043558597],"domain_scores_gemma":[0.9973546,0.0020857991,0.000094400246,0.00017050758,0.00015993649,0.00013481689],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016715531,0.00034707919,0.00020043002,0.0014053294,0.0021046004,0.008220288,0.0005108582,0.0009042899,0.009152374],"category_scores_gemma":[0.0025378657,0.00017530826,0.00017054578,0.0018788825,0.008203558,0.0061352914,0.0016641668,0.0017429016,0.0009611081],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007905105,0.00001826965,0.00023261525,0.00009714951,0.0000020070593,0.000054119977,0.007904001,0.00006470288,0.00016036427,0.93096304,0.026495593,0.034000207],"study_design_scores_gemma":[0.000005657033,0.00002133847,0.0012836771,0.00039129745,0.0000044985213,0.00020867087,0.009115113,0.0005599323,0.0003929541,0.15685667,0.83115244,0.000007803549],"about_ca_topic_score_codex":0.0024278655,"about_ca_topic_score_gemma":0.005297493,"teacher_disagreement_score":0.009152374,"about_ca_system_score_codex":0.0026501226,"about_ca_system_score_gemma":0.00156349,"threshold_uncertainty_score":0.030617774},"labels":[],"label_agreement":null},{"id":"W4408662171","doi":"10.1080/0950236x.2024.2380597","title":"Media and environment in elemental melodrama: afterword","year":2025,"lang":"en","type":"article","venue":"Textual Practice","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Literature; History; Aesthetics; Art; Astrobiology; Physics","score_opus":0.02122762355380683,"score_gpt":0.24586294088067234,"score_spread":0.2246353173268655,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408662171","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008814012,0.14259034,0.0043849517,0.4055923,0.118193686,0.00009586365,0.0003088655,0.00009965705,0.31992033],"genre_scores_gemma":[0.27536508,0.11401859,0.00417698,0.10894447,0.15424763,0.00025997986,0.00029282286,0.0005015072,0.3421929],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997607,0.00008931855,0.000013253714,0.00004406296,0.00005978024,0.00003289652],"domain_scores_gemma":[0.99904114,0.0006241375,0.000052302214,0.000038405833,0.00016861623,0.0000753565],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00059332064,0.00047177504,0.00034845358,0.0006729362,0.0021925368,0.004265955,0.00066723564,0.0024113744,0.011887332],"category_scores_gemma":[0.0022874332,0.00015328152,0.0002191606,0.0007407015,0.002485182,0.004683694,0.0017851705,0.0036252837,0.0026488022],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005365766,0.00003664275,0.0005303569,0.0004780296,0.000010953903,0.0002960328,0.0052927965,0.00011684187,0.00042940068,0.33479592,0.613502,0.044457298],"study_design_scores_gemma":[0.0000036426507,0.000016335258,0.0009474069,0.0004839248,0.0000038808003,0.000103800296,0.0027661594,0.000063223946,0.00014622771,0.017868077,0.97758776,0.000009663545],"about_ca_topic_score_codex":0.0025062938,"about_ca_topic_score_gemma":0.0032438242,"teacher_disagreement_score":0.011887332,"about_ca_system_score_codex":0.0010203419,"about_ca_system_score_gemma":0.0005677885,"threshold_uncertainty_score":0.039767146},"labels":[],"label_agreement":null},{"id":"W4408693594","doi":"10.1525/fq.2025.78.3.5","title":"Editor’s Notebook","year":2025,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer graphics (images); Computer science; Art","score_opus":0.011120634706769526,"score_gpt":0.21481931441701263,"score_spread":0.2036986797102431,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4408693594","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00025648007,0.008200911,0.001169544,0.038234923,0.54619175,0.00046793782,0.003509527,0.0020398814,0.39992905],"genre_scores_gemma":[0.0012624367,0.0048673525,0.0008153668,0.01621778,0.07381542,0.0001601371,0.0013419321,0.0006167494,0.9009028],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99859256,0.00013697674,0.00014069884,0.00023371699,0.0007724638,0.00012351661],"domain_scores_gemma":[0.9936698,0.00096434203,0.00032271285,0.0005667445,0.0034770288,0.0009994779],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0012770692,0.0012445363,0.0010397503,0.0021333902,0.001551254,0.005226952,0.002955169,0.0035458093,0.64484936],"category_scores_gemma":[0.0109379105,0.00064397126,0.000929683,0.0013683237,0.00068742386,0.0028036975,0.0016967771,0.003503014,0.5364109],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006730092,0.0000081477165,0.00001435894,0.000074167365,8.3358793e-7,0.000025447885,0.0000051130505,0.000012688227,0.000042004915,0.0002034772,0.9825873,0.01701966],"study_design_scores_gemma":[0.0000036467595,0.0000041475596,0.00005356743,0.000066861605,7.711959e-7,0.000030218676,0.000010866105,0.000011079976,0.000028095808,0.00012770663,0.9996604,0.0000026054238],"about_ca_topic_score_codex":0.0023914238,"about_ca_topic_score_gemma":0.004931897,"teacher_disagreement_score":0.64484936,"about_ca_system_score_codex":0.0011416967,"about_ca_system_score_gemma":0.0027623693,"threshold_uncertainty_score":0.5065793},"labels":[],"label_agreement":null},{"id":"W4409087375","doi":"10.18192/rceh.v46i3.7079","title":"Goya on Sexual Violence: Testimony and Critique","year":2025,"lang":"en","type":"article","venue":"Revista Canadiense de Estudios Hispánicos","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Sexual violence; Criminology; Psychoanalysis; Psychology","score_opus":0.0165440132702741,"score_gpt":0.2410389403123706,"score_spread":0.2244949270420965,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409087375","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28903967,0.035311494,0.0037118844,0.19101901,0.004036097,0.000050548246,0.00012992497,0.000055093282,0.47664636],"genre_scores_gemma":[0.96786547,0.006504336,0.00046775644,0.005721537,0.0009038138,0.000019497149,0.000017842072,0.000039124916,0.018460654],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9960039,0.0027249309,0.000061287734,0.0001988057,0.0007018453,0.00030928897],"domain_scores_gemma":[0.9878511,0.010296691,0.000508414,0.00037334292,0.0006672558,0.00030325196],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004556185,0.0004516928,0.00038130843,0.0025429719,0.008873619,0.006979582,0.00096781267,0.0036482897,0.0037861194],"category_scores_gemma":[0.020677429,0.0001634136,0.00020824297,0.001789303,0.021645773,0.0035300562,0.004790327,0.0048855725,0.0003436949],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006931657,0.00004135573,0.0014931225,0.00036015618,0.000022202137,0.0017505144,0.3742724,0.00029215356,0.0005617296,0.5525335,0.035906207,0.032697316],"study_design_scores_gemma":[0.000017666376,0.000037149108,0.0032334211,0.0016937488,0.000022155094,0.00087119895,0.3298909,0.00042453804,0.0009599631,0.07210013,0.5907158,0.0000332581],"about_ca_topic_score_codex":0.0073029166,"about_ca_topic_score_gemma":0.010205379,"teacher_disagreement_score":0.008873619,"about_ca_system_score_codex":0.0051037977,"about_ca_system_score_gemma":0.0018501714,"threshold_uncertainty_score":0.037030816},"labels":[],"label_agreement":null},{"id":"W4409446673","doi":"10.2979/4776.0","title":"Of This Place and Elsewhere","year":2007,"lang":"en","type":"book","venue":"Indiana University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Geography","score_opus":0.028292780807353552,"score_gpt":0.18639524863753107,"score_spread":0.1581024678301775,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409446673","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006065723,0.0022641872,0.0003283993,0.011043715,0.0014176748,0.000019102248,0.00014333533,0.00005801099,0.9786599],"genre_scores_gemma":[0.04984473,0.0010614991,0.00020950254,0.0024226252,0.00028580488,0.000010236375,0.00006319672,0.0000687611,0.94603366],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925524,0.00006923486,0.000007692637,0.00009989311,0.00020951607,0.00035836064],"domain_scores_gemma":[0.99941134,0.000053166677,0.000023190016,0.000057929916,0.00022140323,0.00023299358],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00036773432,0.0004112594,0.00028890654,0.0016926941,0.015390331,0.0090230545,0.00096630905,0.0021416987,0.10658401],"category_scores_gemma":[0.0012560831,0.00016613507,0.00023772818,0.0026349614,0.0053387447,0.002814621,0.0030197117,0.0019753482,0.015216499],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003113,0.000034496337,0.0014408734,0.00008963008,0.0000051552825,0.00066349667,0.040305104,0.000038775026,0.0008404888,0.42269957,0.4482832,0.085568],"study_design_scores_gemma":[7.2390543e-7,0.0000030698204,0.0008758793,0.000050856182,0.0000014145226,0.000090310845,0.007990091,0.00000895821,0.000052856245,0.0011750336,0.9897467,0.0000040260197],"about_ca_topic_score_codex":0.5827785,"about_ca_topic_score_gemma":0.82197547,"teacher_disagreement_score":0.5827785,"about_ca_system_score_codex":0.008928165,"about_ca_system_score_gemma":0.008583858,"threshold_uncertainty_score":0.83935714},"labels":[],"label_agreement":null},{"id":"W4409478089","doi":"10.2979/4496.0","title":"The Film Work of Norman McLaren","year":2017,"lang":"en","type":"book","venue":"John Libbey Publishing eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Work (physics); Art history; Art; Materials science; Visual arts; Engineering; Mechanical engineering","score_opus":0.04069018688409434,"score_gpt":0.21662322964677141,"score_spread":0.17593304276267707,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409478089","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0032071911,0.07817057,0.0015810318,0.06972005,0.0069296174,0.00003422681,0.00023362915,0.000099887126,0.8400238],"genre_scores_gemma":[0.039559167,0.029269775,0.0013616564,0.011166573,0.0016151591,0.00005557521,0.00011817042,0.000211615,0.9166423],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99919385,0.00028089757,0.000014076591,0.00012697345,0.00033758875,0.000046611065],"domain_scores_gemma":[0.9992865,0.00031266094,0.0000363095,0.000040354185,0.00019726182,0.00012691501],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00075753976,0.00044808234,0.0002894502,0.00083939114,0.004751293,0.005510732,0.0006525562,0.0011217037,0.02221887],"category_scores_gemma":[0.0028347312,0.00026281577,0.00015616376,0.0011458036,0.0031452659,0.005288669,0.0018009688,0.0027919144,0.0047546406],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013269813,0.000016070999,0.00009144364,0.000077627345,0.0000019399258,0.00008306076,0.004631653,0.000053943004,0.00012845051,0.10619202,0.85894686,0.0297637],"study_design_scores_gemma":[0.0000011993528,0.0000025683344,0.00014439307,0.00013659355,8.7115086e-7,0.00005931483,0.0011445663,0.000030360818,0.000048952217,0.004217376,0.9942105,0.0000033526767],"about_ca_topic_score_codex":0.046400744,"about_ca_topic_score_gemma":0.08700229,"teacher_disagreement_score":0.046400744,"about_ca_system_score_codex":0.0065402,"about_ca_system_score_gemma":0.0031817092,"threshold_uncertainty_score":0.092261374},"labels":[],"label_agreement":null},{"id":"W4409560567","doi":"10.5117/9789048558766_ch10","title":"From Participation to Immersion: Promotional Tactics around Tricked and Dynamic Seats in the Film Theatre","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec en Abitibi-Témiscamingue","funders":"","keywords":"Immersion (mathematics); Business; Advertising; Mathematics","score_opus":0.03442321902460203,"score_gpt":0.2532525465570983,"score_spread":0.21882932753249626,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409560567","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16035804,0.002164424,0.009510931,0.010591385,0.00083500537,0.000096966294,0.00009266435,0.00020543237,0.8161451],"genre_scores_gemma":[0.9056895,0.00086501834,0.0022070077,0.00096327724,0.00038847944,0.000068694986,0.000069774054,0.00023063405,0.08951766],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.99821645,0.0009953849,0.000025069714,0.00013817658,0.00022921924,0.00039569553],"domain_scores_gemma":[0.9974547,0.0012164447,0.0001780398,0.00016076597,0.00020215151,0.0007879052],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016746569,0.00055491744,0.0002183251,0.0007580558,0.004645875,0.0092508,0.0011513974,0.0018010279,0.01737332],"category_scores_gemma":[0.005294421,0.00031621856,0.0002711404,0.0006400851,0.0045336536,0.0067638895,0.0067158253,0.0039881943,0.0023574838],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000594526,0.0004531894,0.0051087574,0.00057143223,0.000041121017,0.0008569952,0.35715902,0.00033778595,0.0064241854,0.30074075,0.090200484,0.23751174],"study_design_scores_gemma":[0.000069211506,0.00040756294,0.009519056,0.00091260317,0.000054550357,0.0010029529,0.29011965,0.0010864926,0.0037315595,0.051570144,0.64145,0.0000762727],"about_ca_topic_score_codex":0.0015575278,"about_ca_topic_score_gemma":0.0040185885,"teacher_disagreement_score":0.01737332,"about_ca_system_score_codex":0.0011991577,"about_ca_system_score_gemma":0.0010274114,"threshold_uncertainty_score":0.058119535},"labels":[],"label_agreement":null},{"id":"W4409675977","doi":"10.7202/1116816ar","title":"Le réalisme cinématique, de l’immobile au mouvement : l’expérience québécoise","year":2013,"lang":"fr","type":"article","venue":"Nouvelles vues Revue sur les pratiques les théories et l histoire du cinéma au Québec","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Philosophy","score_opus":0.011085896056578726,"score_gpt":0.20267306454538708,"score_spread":0.19158716848880836,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409675977","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3284018,0.030113192,0.005997178,0.15821959,0.0017477201,0.000055299406,0.00052888255,0.00009266836,0.47484365],"genre_scores_gemma":[0.9104266,0.0048268903,0.00055464177,0.0031605053,0.00017953271,0.000023549208,0.00006297445,0.000053887867,0.08071142],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99852043,0.00070385274,0.0000192671,0.00015306943,0.00023752506,0.0003659101],"domain_scores_gemma":[0.9978739,0.0009038483,0.000119246615,0.00009752117,0.00049790234,0.000507601],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017020945,0.00062699924,0.000427257,0.0011929753,0.018078556,0.010177634,0.0011605119,0.003164783,0.016749265],"category_scores_gemma":[0.004137979,0.0003614677,0.00030556734,0.0018717296,0.019466856,0.00475911,0.0022990457,0.0063010403,0.0005491043],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006484605,0.000042757496,0.003760728,0.00018788707,0.00002244172,0.000691459,0.46293783,0.00033491667,0.0009180284,0.46579736,0.044573132,0.020668557],"study_design_scores_gemma":[0.000016207126,0.00002355037,0.007818696,0.00035631732,0.000018027049,0.00033603603,0.2161249,0.00042892076,0.00026782992,0.012305105,0.7622445,0.00005981276],"about_ca_topic_score_codex":0.9636594,"about_ca_topic_score_gemma":0.96808976,"teacher_disagreement_score":0.050391067,"about_ca_system_score_codex":0.050391067,"about_ca_system_score_gemma":0.027209068,"threshold_uncertainty_score":0.36561447},"labels":[],"label_agreement":null},{"id":"W4409740519","doi":"10.1525/fmh.2025.11.2.42","title":"Nontheatrical Films for Women","year":2025,"lang":"en","type":"article","venue":"Feminist Media Histories","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Materials science; Computer science","score_opus":0.021696263082548455,"score_gpt":0.22876200723770246,"score_spread":0.207065744155154,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409740519","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033201266,0.017590784,0.001157144,0.035781577,0.0042511094,0.000103089085,0.0011293947,0.00011003412,0.9066756],"genre_scores_gemma":[0.319337,0.021085376,0.0013979424,0.0051437505,0.0046879584,0.00015920501,0.00078106683,0.00030773907,0.64710003],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989911,0.00052015646,0.000027797143,0.0000800652,0.00020780864,0.00017314927],"domain_scores_gemma":[0.9982047,0.0009372641,0.00014355377,0.00015993441,0.00025227,0.00030228376],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015363999,0.0004779495,0.00020572457,0.001381272,0.0047600633,0.004737439,0.0004872562,0.0007004547,0.043019366],"category_scores_gemma":[0.0051037245,0.00018951601,0.00022772151,0.0016859351,0.0017801583,0.0030782805,0.0026285683,0.0016321004,0.0037449421],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016075281,0.000092106005,0.0013968523,0.00040813192,0.000018063334,0.0004945673,0.04802104,0.00005322716,0.0011673515,0.19174357,0.65447193,0.10197248],"study_design_scores_gemma":[0.0000047430094,0.000013398861,0.0019813399,0.000121136094,0.000002192964,0.00011056328,0.0071917293,0.000016594595,0.00020057191,0.0022640638,0.9880895,0.0000041100716],"about_ca_topic_score_codex":0.007443048,"about_ca_topic_score_gemma":0.017741317,"teacher_disagreement_score":0.043019366,"about_ca_system_score_codex":0.0022246416,"about_ca_system_score_gemma":0.000803123,"threshold_uncertainty_score":0.1439141},"labels":[],"label_agreement":null},{"id":"W4409740786","doi":"10.1525/fmh.2025.11.2.1","title":"Editors’ Introduction","year":2025,"lang":"en","type":"article","venue":"Feminist Media Histories","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Computer science","score_opus":0.015085102871496798,"score_gpt":0.21298051685808508,"score_spread":0.19789541398658828,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409740786","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00017576624,0.014249943,0.0008868374,0.043156654,0.83728534,0.00017206867,0.001134712,0.0006268546,0.102311805],"genre_scores_gemma":[0.0027091256,0.017919455,0.0014231544,0.04845788,0.43852422,0.00031955616,0.0017590512,0.00080330885,0.48808423],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9946503,0.00057788595,0.0005356312,0.0011248017,0.002580026,0.0005314875],"domain_scores_gemma":[0.98206365,0.0030301337,0.0010994861,0.0013316158,0.009848848,0.0026262028],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0048644454,0.0021618127,0.0017729172,0.0043489803,0.0026223264,0.009952526,0.0035639766,0.0054498357,0.32278395],"category_scores_gemma":[0.026694389,0.00074410444,0.0015348647,0.0025552984,0.0014088027,0.005980577,0.0034653016,0.0055602114,0.25122017],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011736209,0.000009113786,0.00003331549,0.00014773899,0.0000020369903,0.000025156463,0.000024325878,0.000017166394,0.00006136662,0.0010349547,0.9779128,0.020720161],"study_design_scores_gemma":[0.0000034100588,0.0000074180766,0.000060349354,0.0001066823,0.0000015503039,0.000029796849,0.000020351705,0.000011237456,0.000029569086,0.00039288637,0.9993331,0.0000035712646],"about_ca_topic_score_codex":0.0010531151,"about_ca_topic_score_gemma":0.0018153025,"teacher_disagreement_score":0.32278395,"about_ca_system_score_codex":0.0023991377,"about_ca_system_score_gemma":0.0043175183,"threshold_uncertainty_score":0.9659665},"labels":[],"label_agreement":null},{"id":"W4409807118","doi":"10.21983/p3.0166.1.00","title":"Kill Boxes","year":2017,"lang":"en","type":"book","venue":"Punctum Books","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of California, Santa Barbara; Universidade de Macau; University of Manitoba; Universität Erfurt; Johns Hopkins University; Yale University","keywords":"Computer science","score_opus":0.04320250018812736,"score_gpt":0.21855697400800297,"score_spread":0.17535447381987562,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4409807118","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017899707,0.00132631,0.0031911775,0.004544365,0.0043209107,0.00011693627,0.0012743472,0.0018455306,0.98159045],"genre_scores_gemma":[0.009088265,0.0008302645,0.0013932786,0.0019327531,0.00044708114,0.00004533741,0.00068499503,0.0006918429,0.9848862],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9993082,0.00011505453,0.000028507939,0.0001241353,0.00026622126,0.00015786225],"domain_scores_gemma":[0.999127,0.00015438693,0.000057948844,0.00013821994,0.00030383214,0.00021861533],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006663342,0.0011721568,0.00042910723,0.0012253427,0.0040164115,0.0046776715,0.0012799095,0.0026221068,0.5509221],"category_scores_gemma":[0.0023327689,0.00045074697,0.0004905234,0.0006856687,0.0015411298,0.005665619,0.0047840294,0.0028000933,0.2976495],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054984346,0.00003756217,0.00030778206,0.00011622947,0.0000034878904,0.00019611958,0.0013818108,0.00009737786,0.0004722528,0.050586723,0.88531506,0.06143062],"study_design_scores_gemma":[0.0000015182042,0.000006434151,0.00008657878,0.000027773738,5.578549e-7,0.000054574357,0.000253004,0.000017583257,0.00005600533,0.0008109063,0.9986822,0.0000028846302],"about_ca_topic_score_codex":0.0034365116,"about_ca_topic_score_gemma":0.010310859,"teacher_disagreement_score":0.5509221,"about_ca_system_score_codex":0.0013950898,"about_ca_system_score_gemma":0.0012776302,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4410103120","doi":"10.5771/9781493062362","title":"Moving Pictures","year":2023,"lang":"en","type":"book","venue":"Rowman & Littlefield Publishers eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.033801481275105495,"score_gpt":0.2132071643654305,"score_spread":0.179405683090325,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410103120","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006081452,0.0017075384,0.0044020214,0.0019496283,0.0032949531,0.00008576037,0.0010091267,0.0019626208,0.9849803],"genre_scores_gemma":[0.005617075,0.0015437126,0.0032136843,0.0011921448,0.00066017447,0.00006246755,0.0013304646,0.0010936357,0.9852866],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992704,0.00011668822,0.000029013827,0.0001256197,0.0003583794,0.00009988014],"domain_scores_gemma":[0.9993216,0.00012889024,0.000025995272,0.00014218183,0.00023619007,0.00014521],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005082137,0.0009520602,0.00043241834,0.0016423216,0.0027386763,0.006250058,0.0015444711,0.0016314138,0.4897392],"category_scores_gemma":[0.0020757664,0.0004173719,0.0006699415,0.002006651,0.0011067352,0.0062653315,0.0033795969,0.0024115292,0.26873538],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028266566,0.000021169792,0.00009738355,0.00014044002,0.0000024043864,0.00016246566,0.0010655596,0.00006324154,0.00058818306,0.040506434,0.84284,0.11448452],"study_design_scores_gemma":[0.0000016879031,0.0000045849115,0.00008907902,0.000027497614,7.6646256e-7,0.00008301272,0.000277787,0.0000210729,0.000060412563,0.00090569735,0.99852496,0.000003487644],"about_ca_topic_score_codex":0.005753516,"about_ca_topic_score_gemma":0.014669877,"teacher_disagreement_score":0.4897392,"about_ca_system_score_codex":0.001481604,"about_ca_system_score_gemma":0.0012268546,"threshold_uncertainty_score":0.72782505},"labels":[],"label_agreement":null},{"id":"W4410313777","doi":"10.32920/ifmj.v4i1-2.1967","title":"Committed Documentary Practices in Digital Media Cultures","year":2024,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Digital media; Media studies; Sociology; Computer science; World Wide Web","score_opus":0.028459129829682177,"score_gpt":0.2877557590349394,"score_spread":0.2592966292052572,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410313777","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.57064015,0.004764499,0.011940832,0.0073240264,0.00039598107,0.00017091201,0.00007992087,0.00008252982,0.40460113],"genre_scores_gemma":[0.9890188,0.00084511185,0.0014070609,0.00040963918,0.000056756548,0.00010115498,0.00002560068,0.00004159342,0.0080944365],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9846949,0.010404283,0.00073316525,0.0012704837,0.0018495868,0.001047486],"domain_scores_gemma":[0.98373866,0.008658616,0.0019871409,0.0026784646,0.001030634,0.001906584],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008977793,0.0004922281,0.00034490446,0.002299059,0.014225268,0.026515186,0.0016821609,0.002140515,0.0057812356],"category_scores_gemma":[0.01964737,0.00048806015,0.0003123623,0.0020294916,0.041849263,0.010555647,0.019107776,0.0037483238,0.0007896846],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042875163,0.00006556701,0.0029982743,0.00016659709,0.000012688023,0.0006637334,0.73591983,0.00009854946,0.00063749216,0.23789413,0.0013277839,0.020172486],"study_design_scores_gemma":[0.000030094609,0.000080178004,0.0033081255,0.0009975403,0.000022923128,0.0017634613,0.6783323,0.00031577295,0.0014968435,0.06386432,0.24973013,0.000058354446],"about_ca_topic_score_codex":0.0027975012,"about_ca_topic_score_gemma":0.0024784305,"teacher_disagreement_score":0.026515186,"about_ca_system_score_codex":0.0052869185,"about_ca_system_score_gemma":0.0036209386,"threshold_uncertainty_score":0.04747963},"labels":[],"label_agreement":null},{"id":"W4410314014","doi":"10.32920/ifmj.v5i1-2.2594","title":"Resonances","year":2025,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Physics","score_opus":0.01981074967095408,"score_gpt":0.2509240200245116,"score_spread":0.2311132703535575,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410314014","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0044206437,0.025755713,0.018374164,0.07785861,0.10246492,0.0001081738,0.00043945847,0.0009962602,0.76958203],"genre_scores_gemma":[0.15013301,0.03026944,0.011618617,0.03399127,0.05267073,0.00026017753,0.0009112875,0.0028670586,0.7172783],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99589634,0.001305639,0.00020429512,0.0007683845,0.0014082497,0.0004171382],"domain_scores_gemma":[0.9951466,0.0020515972,0.00029594998,0.0005427142,0.001297347,0.00066580303],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024918967,0.0008584772,0.0005520107,0.0016571885,0.004684614,0.010010843,0.0017289295,0.0031166524,0.06681007],"category_scores_gemma":[0.01463016,0.00041224385,0.0007510784,0.0007826612,0.0040645264,0.008144206,0.005520773,0.004106888,0.020501975],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010382726,0.000027850014,0.00025589633,0.00039488747,0.000013544101,0.0002958651,0.0062519936,0.00016997046,0.0008229584,0.38487458,0.54411024,0.0626784],"study_design_scores_gemma":[0.0000028248626,0.000007363499,0.000062795414,0.00012721597,0.0000023354544,0.00012145124,0.00074120256,0.00005371791,0.00013929885,0.01193596,0.98679966,0.000006118135],"about_ca_topic_score_codex":0.0011943505,"about_ca_topic_score_gemma":0.0020370337,"teacher_disagreement_score":0.06681007,"about_ca_system_score_codex":0.0027484074,"about_ca_system_score_gemma":0.0021428505,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4410314017","doi":"10.32920/ifmj.v4i1-2.2060","title":"A Kin-Aesthetic Cinematics","year":2024,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Next of kin; Aesthetics; Art; History; Archaeology","score_opus":0.024781300559079934,"score_gpt":0.24783098778735252,"score_spread":0.2230496872282726,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410314017","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15201415,0.0038070334,0.047803275,0.010760872,0.002584574,0.00018758872,0.0007744448,0.0009671544,0.78110087],"genre_scores_gemma":[0.80619234,0.0013736325,0.016348926,0.0013240958,0.0006498104,0.00007867818,0.00035083274,0.0004156251,0.17326601],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996221,0.00015391334,0.000011054738,0.00008349127,0.0000854409,0.000043942884],"domain_scores_gemma":[0.99956673,0.00013894968,0.000034758832,0.0000749465,0.00009359535,0.00009097547],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007224263,0.00041810898,0.00014379498,0.00053147215,0.0014045306,0.0038862424,0.00039022014,0.00067925063,0.025192719],"category_scores_gemma":[0.0018643041,0.00014439198,0.00021666095,0.00023713011,0.0022257247,0.002288782,0.0021829854,0.001353604,0.002302268],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023578224,0.00012884855,0.005469031,0.00072749186,0.00004415492,0.0016935201,0.15508817,0.0009483628,0.04636276,0.47936305,0.13762346,0.17231537],"study_design_scores_gemma":[0.000016060712,0.00012345106,0.0073261154,0.00027242256,0.000023886749,0.0016069277,0.03650573,0.0017850938,0.005051338,0.024608448,0.9226381,0.000042496322],"about_ca_topic_score_codex":0.00088326004,"about_ca_topic_score_gemma":0.0016062564,"teacher_disagreement_score":0.025192719,"about_ca_system_score_codex":0.00092258444,"about_ca_system_score_gemma":0.0003601956,"threshold_uncertainty_score":0.08427799},"labels":[],"label_agreement":null},{"id":"W4410399574","doi":"10.1007/978-981-96-0045-8_147","title":"James, Tania (1980–)","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Windsor","funders":"","keywords":"Computer science","score_opus":0.02797284168333355,"score_gpt":0.20546216414565333,"score_spread":0.17748932246231977,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410399574","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016133583,0.12212638,0.0021271068,0.015793173,0.008519848,0.000033416633,0.00039397556,0.000116847936,0.8492758],"genre_scores_gemma":[0.010733963,0.023190556,0.0006337388,0.0018274048,0.0010385597,0.000018588582,0.000101227524,0.000094288494,0.96236163],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99979264,0.000043276876,0.000011312198,0.00005100877,0.000079112426,0.000022681312],"domain_scores_gemma":[0.9997391,0.00009226396,0.000018685785,0.00001983456,0.00009712394,0.000032891232],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00042361068,0.0006156338,0.00030423395,0.0017732016,0.0019212882,0.003324426,0.00049874716,0.0012237111,0.056123108],"category_scores_gemma":[0.0010332095,0.00032785267,0.00013969041,0.00195775,0.0012108485,0.0033028538,0.0009326915,0.0015525343,0.023264868],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024611418,0.00002786473,0.00024312314,0.00014299249,0.0000040017617,0.000092570626,0.0017472226,0.00007138631,0.00020978683,0.18004307,0.71218777,0.10520557],"study_design_scores_gemma":[0.0000010021707,0.000001975501,0.00022175472,0.000073396775,0.0000015602138,0.000040547813,0.00017486936,0.000013885548,0.000054721622,0.0060164235,0.9933976,0.000002145198],"about_ca_topic_score_codex":0.014235447,"about_ca_topic_score_gemma":0.046165213,"teacher_disagreement_score":0.056123108,"about_ca_system_score_codex":0.002375112,"about_ca_system_score_gemma":0.0014467929,"threshold_uncertainty_score":0.18775052},"labels":[],"label_agreement":null},{"id":"W4410550079","doi":"10.1386/sfs_00136_1","title":"From form to abstraction: Teaching the short experimental film with Me Broni Ba (2009)","year":2025,"lang":"en","type":"article","venue":"Short Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Emily Carr University of Art and Design","funders":"","keywords":"Abstraction; Computer science; Programming language; Epistemology; Philosophy","score_opus":0.03579186760035708,"score_gpt":0.28919591225523983,"score_spread":0.25340404465488275,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410550079","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6499566,0.0038770798,0.034931798,0.053957194,0.00366853,0.0010152408,0.00034981346,0.00041158427,0.2518322],"genre_scores_gemma":[0.8649334,0.004534561,0.027073285,0.005450975,0.0005938443,0.00063502067,0.00025881725,0.00027397648,0.09624626],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99905354,0.00057064544,0.000024687679,0.00012906191,0.000113429654,0.00010868289],"domain_scores_gemma":[0.9976472,0.0010133673,0.00012253411,0.00014587842,0.00028134199,0.0007896039],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002161794,0.0006434767,0.00028575186,0.00038810942,0.003449212,0.0037211906,0.0009721271,0.0011494998,0.020645225],"category_scores_gemma":[0.0068323943,0.00031413144,0.0003077604,0.00031609528,0.0029372412,0.0031851213,0.0030308045,0.004027066,0.002712349],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00049511937,0.0037505827,0.0076050884,0.0009849123,0.000043206684,0.0019315314,0.4537027,0.0008360501,0.026961498,0.07298394,0.16521554,0.26548988],"study_design_scores_gemma":[0.00015249357,0.001031912,0.009931855,0.0008731646,0.00003521774,0.00086462183,0.20956159,0.0014710597,0.009837404,0.030105356,0.7360681,0.00006724954],"about_ca_topic_score_codex":0.0019757694,"about_ca_topic_score_gemma":0.0069389306,"teacher_disagreement_score":0.020645225,"about_ca_system_score_codex":0.0020386707,"about_ca_system_score_gemma":0.0012717316,"threshold_uncertainty_score":0.06906515},"labels":[],"label_agreement":null},{"id":"W4410739399","doi":"10.1386/jafp_00130_5","title":"The Count of Monte Cristo, Alexandre de la Patellière and Matthieu Delaporte (dirs) (2024), France and Belgium: Chapter 2, Pathé, M6 Films, and others1","year":2025,"lang":"en","type":"article","venue":"Journal of Adaptation in Film & Performance","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cape Breton University","funders":"","keywords":"Path (computing); Humanities; Art; Sociology; Computer science","score_opus":0.010104769182774408,"score_gpt":0.21201403616021902,"score_spread":0.2019092669774446,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410739399","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00041412108,0.7803125,0.00024093418,0.16646579,0.024255626,0.000010776245,0.00022079151,0.000040202754,0.028039206],"genre_scores_gemma":[0.020542005,0.702551,0.001035105,0.06636381,0.056571845,0.00007068358,0.000531219,0.00034247612,0.15199187],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966959,0.0010041221,0.00014218036,0.0006331445,0.0013076446,0.00021701121],"domain_scores_gemma":[0.9933882,0.0028215786,0.00042976797,0.00019860968,0.0025291287,0.0006327412],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028687746,0.000981515,0.0010471027,0.0028869829,0.0019770777,0.0064788917,0.0011697264,0.004326337,0.027785845],"category_scores_gemma":[0.016365362,0.00049662945,0.000299427,0.0035642039,0.003024933,0.0061495057,0.0019663572,0.0061861146,0.0068627577],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020725098,0.0000074376903,0.0001379033,0.00041410467,0.0000044953786,0.000024430663,0.00017005757,0.00003136911,0.000049002927,0.012407015,0.92871416,0.05801927],"study_design_scores_gemma":[0.0000019180593,0.0000039556808,0.0003261587,0.00043483643,0.0000023683424,0.00006789526,0.000085934604,0.00000916592,0.000029310253,0.0006442515,0.998389,0.0000053244016],"about_ca_topic_score_codex":0.03515484,"about_ca_topic_score_gemma":0.039904885,"teacher_disagreement_score":0.03515484,"about_ca_system_score_codex":0.006382219,"about_ca_system_score_gemma":0.00585549,"threshold_uncertainty_score":0.09295291},"labels":[],"label_agreement":null},{"id":"W4410775263","doi":"10.3366/film.2025.0313","title":"Cinephilistinism and the Second Coming","year":2025,"lang":"en","type":"article","venue":"Film-Philosophy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"History","score_opus":0.02587695546736862,"score_gpt":0.22045161228990684,"score_spread":0.19457465682253822,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410775263","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14106807,0.018530954,0.0065829973,0.038687404,0.0029356119,0.00005801557,0.000097003925,0.000112973066,0.791927],"genre_scores_gemma":[0.9470354,0.0036173763,0.0009293749,0.0027468668,0.00089049037,0.000034799228,0.000036885765,0.00005059725,0.044658307],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992544,0.00036255035,0.000017244161,0.00011302988,0.00010719369,0.0001455177],"domain_scores_gemma":[0.9992304,0.00033382754,0.000111599074,0.00006552936,0.000077919416,0.00018072441],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001455654,0.00053818926,0.00018723583,0.0013737933,0.005274825,0.008345042,0.0006088605,0.0016600174,0.013452459],"category_scores_gemma":[0.002269717,0.00017565796,0.00020577772,0.0005669351,0.0139708035,0.0060930206,0.005229635,0.004041172,0.00080573227],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000081503335,0.000054852717,0.0013014554,0.00025089667,0.000008852745,0.0007513829,0.16160586,0.0000964511,0.0018047264,0.7911865,0.012548155,0.030309252],"study_design_scores_gemma":[0.000035852132,0.00007999719,0.0038803737,0.0010520604,0.000021052978,0.0016605983,0.11531758,0.00026269347,0.0019499644,0.07182493,0.8038877,0.000027125112],"about_ca_topic_score_codex":0.0023600087,"about_ca_topic_score_gemma":0.003031643,"teacher_disagreement_score":0.013452459,"about_ca_system_score_codex":0.00232145,"about_ca_system_score_gemma":0.000969382,"threshold_uncertainty_score":0.045002997},"labels":[],"label_agreement":null},{"id":"W4410775304","doi":"10.3366/film.2025.0306","title":"Introduction: Critical Race Theory and Film-Philosophy","year":2025,"lang":"en","type":"article","venue":"Film-Philosophy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Race (biology); Critical race theory; Critical theory; Sociology; Philosophy; Epistemology; Gender studies","score_opus":0.02040631275194997,"score_gpt":0.24267374789943807,"score_spread":0.2222674351474881,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4410775304","genre_codex":"commentary","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0038108,0.14338529,0.026446063,0.4208572,0.11719407,0.00012259075,0.0037202546,0.00037412162,0.28408965],"genre_scores_gemma":[0.08717582,0.07045796,0.01189091,0.1349876,0.30395433,0.00048119575,0.0025998082,0.00077310705,0.38767928],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993832,0.00023867372,0.000032832053,0.00015649231,0.00014502616,0.000043735152],"domain_scores_gemma":[0.99501354,0.0036916789,0.0001704175,0.00018864324,0.00073358906,0.00020204966],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001297374,0.00095745496,0.00081544055,0.0022466122,0.0021047657,0.004644378,0.0013264822,0.0042306976,0.05786766],"category_scores_gemma":[0.0061284387,0.00036784547,0.00069894706,0.0035402842,0.002750574,0.0058041885,0.0014573317,0.005843968,0.010233093],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012821101,0.000025717007,0.00012691076,0.00025696622,0.0000062860827,0.000039668805,0.00031326996,0.00012657123,0.00008429854,0.3407873,0.6425597,0.015660433],"study_design_scores_gemma":[0.00001660767,0.000011732635,0.00067094626,0.00050891173,0.000010481462,0.000089113826,0.00028590765,0.00031431642,0.00008968668,0.22439748,0.773588,0.000016838296],"about_ca_topic_score_codex":0.0039018441,"about_ca_topic_score_gemma":0.0037786558,"teacher_disagreement_score":0.05786766,"about_ca_system_score_codex":0.0019582459,"about_ca_system_score_gemma":0.0013942543,"threshold_uncertainty_score":0.19358659},"labels":[],"label_agreement":null},{"id":"W4411029853","doi":"10.1386/jsca_00128_2","title":"Editorial","year":2025,"lang":"en","type":"editorial","venue":"Journal of Scandinavian Cinema","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Carleton University","funders":"","keywords":"Sociology","score_opus":0.012209895063766976,"score_gpt":0.24305442581024025,"score_spread":0.23084453074647326,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411029853","genre_codex":"editorial","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":"editorial","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000034129276,0.002214498,0.000046664318,0.013183124,0.97885084,0.000016716385,0.00006534239,0.000043279477,0.0055453577],"genre_scores_gemma":[0.0006735328,0.0029886852,0.00008348651,0.010993039,0.94871145,0.000022443062,0.00008236802,0.000056337005,0.03638869],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9964682,0.00043907526,0.00039155124,0.0006060928,0.0018294576,0.00026562065],"domain_scores_gemma":[0.98124564,0.0038210414,0.00085078395,0.00070103485,0.01044926,0.0029322961],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0033165324,0.0025742291,0.0017700014,0.0029293087,0.0027380667,0.0063817953,0.001954168,0.0069637164,0.0582587],"category_scores_gemma":[0.020457994,0.00056170224,0.001408525,0.0011594754,0.001225697,0.0031241607,0.0012403901,0.0071477448,0.043093003],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013921061,0.0000070623696,0.00001829088,0.00008541757,0.0000029687544,0.00005252852,0.000008208946,0.000009711972,0.00003455941,0.00019981996,0.994859,0.004708617],"study_design_scores_gemma":[0.000016559901,0.000012533109,0.00012782222,0.00026815475,0.0000084982175,0.00011547125,0.000032325857,0.00004604985,0.00006700763,0.0004531942,0.9988462,0.0000063092834],"about_ca_topic_score_codex":0.0010119717,"about_ca_topic_score_gemma":0.0025663404,"teacher_disagreement_score":0.9417413,"about_ca_system_score_codex":0.0019262001,"about_ca_system_score_gemma":0.002829271,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4411344925","doi":"10.1080/03612759.2025.2515651","title":"Circus World: Roustabouts, Animals, and the Work of Putting on the Big Show","year":2025,"lang":"en","type":"article","venue":"History Reviews of New Books","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Work (physics); Sociology; Art; Engineering; Mechanical engineering","score_opus":0.10332606397649793,"score_gpt":0.2376048280606105,"score_spread":0.13427876408411257,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411344925","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008311193,0.11593521,0.0010763727,0.3942712,0.013181808,0.0000128199335,0.0001711259,0.0001078112,0.46693236],"genre_scores_gemma":[0.28681594,0.08610573,0.0011207161,0.051248528,0.013890042,0.00004828667,0.00019760488,0.000387628,0.56018555],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990044,0.00051035214,0.000015922706,0.00009321801,0.000221561,0.00015453031],"domain_scores_gemma":[0.9981066,0.0007641057,0.00018219344,0.0001115445,0.00034070565,0.0004948787],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012028441,0.00040717758,0.00022326135,0.0010098164,0.0053828033,0.007851464,0.0005751098,0.002116534,0.01992724],"category_scores_gemma":[0.0038881793,0.00027988444,0.00016115517,0.0012462854,0.0055086757,0.007977493,0.001488685,0.0036264688,0.0046458906],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024034682,0.000016533815,0.00035931132,0.00006706395,0.000004013642,0.000056698595,0.0072965613,0.000039473394,0.00007009666,0.21555538,0.7523676,0.024143195],"study_design_scores_gemma":[0.0000021603314,0.0000057020166,0.00074776536,0.00020856444,0.0000017243059,0.000041426778,0.003906284,0.00002561657,0.00004929564,0.009259945,0.98574334,0.000008167621],"about_ca_topic_score_codex":0.024532398,"about_ca_topic_score_gemma":0.056796208,"teacher_disagreement_score":0.024532398,"about_ca_system_score_codex":0.0031695734,"about_ca_system_score_gemma":0.0030689498,"threshold_uncertainty_score":0.066663265},"labels":[],"label_agreement":null},{"id":"W4411556061","doi":"10.7202/1118314ar","title":"Les <i>Corridors </i>de Bruce Nauman : entre encastrement et immersion","year":2024,"lang":"fr","type":"article","venue":"Percées Explorations en arts vivants","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Art; Immersion (mathematics); Humanities","score_opus":0.06573373447145572,"score_gpt":0.2930604031962149,"score_spread":0.22732666872475918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411556061","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2394146,0.004163931,0.014448428,0.012349986,0.00046029233,0.00004930585,0.00016061301,0.00011270197,0.7288401],"genre_scores_gemma":[0.8654043,0.001773877,0.0030074802,0.0004384087,0.00007761058,0.00004456631,0.000054332322,0.00009397331,0.12910546],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99917775,0.000439527,0.000014158896,0.000115778355,0.00014225642,0.000110482695],"domain_scores_gemma":[0.9991346,0.00030240123,0.00011811997,0.000084621664,0.00012397178,0.00023623441],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007898694,0.00031912388,0.00014327612,0.0005340801,0.004572271,0.0044949753,0.0005684396,0.0007612239,0.016636886],"category_scores_gemma":[0.0020950164,0.00023501231,0.00017347233,0.0007847919,0.008661353,0.003034094,0.0034796246,0.0018029921,0.0014266954],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002659961,0.000041858635,0.006460211,0.0001993474,0.000012085894,0.0006434227,0.25632775,0.00091608457,0.0035193388,0.6301051,0.020859018,0.08064982],"study_design_scores_gemma":[0.000011768194,0.000111136265,0.012078163,0.00052569224,0.0000108865925,0.0006150943,0.101381354,0.0006344306,0.0012230382,0.0330701,0.8502655,0.00007280172],"about_ca_topic_score_codex":0.05904564,"about_ca_topic_score_gemma":0.11935438,"teacher_disagreement_score":0.05904564,"about_ca_system_score_codex":0.0038582175,"about_ca_system_score_gemma":0.0027117133,"threshold_uncertainty_score":0.117403924},"labels":[],"label_agreement":null},{"id":"W4411654426","doi":"10.28914/atlantis-2025-47.1.3","title":"Women as Black Angels in Cornell Woolrich’s Noir Fiction","year":2025,"lang":"en","type":"article","venue":"Atlantis Journal of the Spanish Association for Anglo-American Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Art history; Literature","score_opus":0.02487968134100599,"score_gpt":0.2609773992982769,"score_spread":0.23609771795727091,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411654426","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3665415,0.003922965,0.0016296912,0.039963078,0.0014874197,0.000041335265,0.00009547993,0.000115348856,0.5862032],"genre_scores_gemma":[0.8730323,0.0010500717,0.0003594464,0.0032057539,0.0002553641,0.00002347118,0.000024789373,0.00010345803,0.121945396],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99909115,0.00043975643,0.000009092563,0.000070697664,0.00017755045,0.00021174712],"domain_scores_gemma":[0.99946326,0.00026148287,0.00006765685,0.000026197822,0.000055632212,0.00012571967],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071585947,0.00050220505,0.00022899064,0.0005476638,0.01055501,0.0037322345,0.00047063635,0.0012263632,0.005463406],"category_scores_gemma":[0.0021887044,0.00016503838,0.000098957775,0.00029216395,0.009785432,0.0018897023,0.0021917422,0.0022878589,0.0005061373],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013006461,0.00005441169,0.0011920839,0.00008190261,0.000008075753,0.0019638431,0.6182906,0.00016293264,0.0019458212,0.26622218,0.09155833,0.018389687],"study_design_scores_gemma":[0.000006171283,0.000044391523,0.0017422974,0.00012869624,0.000006309208,0.0006388643,0.1992515,0.0001649397,0.00095336145,0.005418978,0.79161674,0.000027723187],"about_ca_topic_score_codex":0.039097015,"about_ca_topic_score_gemma":0.09127832,"teacher_disagreement_score":0.039097015,"about_ca_system_score_codex":0.004960275,"about_ca_system_score_gemma":0.0013002985,"threshold_uncertainty_score":0.07773888},"labels":[],"label_agreement":null},{"id":"W4411707638","doi":"10.1177/15274764251348596","title":"Deinfluencing TikTok During the Cost-of-Living Crisis: Neoliberal Logics of (Over)Consumption Across Popular Media","year":2025,"lang":"en","type":"article","venue":"Television & New Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":5,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Windsor","funders":"","keywords":"Consumption (sociology); Reality tv; Media consumption; Advertising; Neoliberalism (international relations); Business; Economics; Media studies; Political economy; Sociology; Social science","score_opus":0.042131147605666754,"score_gpt":0.28117688070137076,"score_spread":0.239045733095704,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411707638","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7719133,0.0020868576,0.003248481,0.015405705,0.00015358882,0.00003169436,0.00009502846,0.000040856423,0.2070245],"genre_scores_gemma":[0.99503005,0.00046092807,0.00031046045,0.00048148146,0.000053704614,0.000010911555,0.000017525323,0.000030116278,0.0036047252],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9982077,0.0011120797,0.000060529277,0.0001771664,0.00020634696,0.00023620101],"domain_scores_gemma":[0.995477,0.002800612,0.0007996353,0.0004114786,0.00029982204,0.00021140833],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026530758,0.00032647094,0.000220468,0.001666438,0.0056102066,0.009947706,0.00063099235,0.0016401339,0.0034150584],"category_scores_gemma":[0.0070148674,0.00025797397,0.00015272463,0.001550999,0.016427098,0.010333789,0.00454892,0.0027772023,0.00030650626],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002045584,0.000059779526,0.006154854,0.00018341462,0.000013324299,0.0013520563,0.5114951,0.00020127535,0.0018495246,0.44586766,0.004603712,0.028014705],"study_design_scores_gemma":[0.00003071021,0.00010206186,0.022492452,0.00067049987,0.000037019672,0.0014351247,0.60059255,0.0011472547,0.0028245056,0.10069983,0.26986167,0.00010641163],"about_ca_topic_score_codex":0.004598746,"about_ca_topic_score_gemma":0.0067676995,"teacher_disagreement_score":0.009947706,"about_ca_system_score_codex":0.0047105984,"about_ca_system_score_gemma":0.0011920274,"threshold_uncertainty_score":0.03417796},"labels":[],"label_agreement":null},{"id":"W4411713460","doi":"10.5539/jpl.v18n3p32","title":"Kalief Browder and the Criminalization of Poverty: Using Documentary Film as a Pedagogical Tool to Explore the Consequences of Cash Bail and Pretrial Detention","year":2025,"lang":"en","type":"article","venue":"Journal of Politics and Law","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Criminalization; Poverty; Cash; Criminology; Sociology; Political science; Law; Economics; Finance","score_opus":0.09868752780430623,"score_gpt":0.32199449144027237,"score_spread":0.22330696363596614,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411713460","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.83953416,0.005223039,0.00654345,0.043532755,0.00092409976,0.0001823523,0.00005929441,0.0000965732,0.10390424],"genre_scores_gemma":[0.9721663,0.004175779,0.0037577858,0.0029204395,0.00011177927,0.00011041096,0.000025709916,0.000041821317,0.016689973],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9981299,0.0013902797,0.000040891653,0.000088235465,0.00016582393,0.00018476903],"domain_scores_gemma":[0.99736625,0.0018359114,0.00026995066,0.00010301472,0.00012931516,0.00029565158],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018343184,0.00038291578,0.0001933783,0.00048449423,0.004697358,0.0035010257,0.00081156736,0.0020299011,0.0035429732],"category_scores_gemma":[0.0069487127,0.0002392478,0.0002241606,0.00020506437,0.007300981,0.0043148417,0.0038710875,0.0034165352,0.000434766],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008425117,0.0005467849,0.008945218,0.00045430014,0.000016855924,0.0031198293,0.8261973,0.00036671074,0.00429488,0.04346189,0.029674202,0.082837656],"study_design_scores_gemma":[0.000029504297,0.0004322113,0.0067809983,0.0009154221,0.0000243654,0.0037213634,0.63542926,0.00066531176,0.0036178571,0.0083459215,0.33998242,0.000055374614],"about_ca_topic_score_codex":0.0030643519,"about_ca_topic_score_gemma":0.008271969,"teacher_disagreement_score":0.004697358,"about_ca_system_score_codex":0.0018177304,"about_ca_system_score_gemma":0.001798375,"threshold_uncertainty_score":0.01318866},"labels":[],"label_agreement":null},{"id":"W4411958510","doi":"10.59236/td2011vol5iss11313","title":"Teaching HBO’s The Wire","year":2011,"lang":"en","type":"article","venue":"Transformative Dialogues Teaching and Learning Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"St. Thomas University","funders":"","keywords":"Psychology","score_opus":0.05266665818949969,"score_gpt":0.23350212675996834,"score_spread":0.18083546857046864,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4411958510","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25740364,0.00080168043,0.0138153145,0.041943446,0.003620625,0.00015393524,0.00018468071,0.0004713834,0.6816052],"genre_scores_gemma":[0.66991824,0.001578612,0.007076805,0.0047484767,0.00085661974,0.00010957425,0.00014127548,0.00031967534,0.31525072],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959713,0.00012101619,0.0000066276593,0.000058781658,0.00008051958,0.00013581544],"domain_scores_gemma":[0.9990232,0.00025607276,0.00006993893,0.000056812194,0.000079018144,0.0005149835],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006617309,0.00029982405,0.00017606208,0.000353731,0.0029753482,0.0029262085,0.0006700595,0.0007875511,0.03215146],"category_scores_gemma":[0.0017787573,0.00013971012,0.00016272011,0.0002519447,0.0019886673,0.002273372,0.0026891402,0.0018536558,0.0033770958],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001633656,0.000833242,0.007720058,0.00033456346,0.000010237875,0.0011928495,0.09278063,0.0006140883,0.0082172025,0.21061462,0.4349283,0.24259095],"study_design_scores_gemma":[0.000017330609,0.00018443666,0.0047299997,0.0002695552,0.0000058200385,0.0003467838,0.057021838,0.00067654427,0.0024626246,0.014249336,0.92001957,0.000016144924],"about_ca_topic_score_codex":0.0028426666,"about_ca_topic_score_gemma":0.0085890135,"teacher_disagreement_score":0.03215146,"about_ca_system_score_codex":0.0015508934,"about_ca_system_score_gemma":0.0011978779,"threshold_uncertainty_score":0.10755736},"labels":[],"label_agreement":null},{"id":"W4412154942","doi":"10.1007/s10919-025-00487-y","title":"Perceptions of Creepiness and the “Kubrick Stare”","year":2025,"lang":"en","type":"article","venue":"Journal of Nonverbal Behavior","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of New Brunswick; Dalhousie University; St. Francis Xavier University","funders":"","keywords":"Psychology; Perception; Social psychology; Communication; Developmental psychology; Psychoanalysis; Neuroscience","score_opus":0.017303737664782787,"score_gpt":0.24887963675305108,"score_spread":0.23157589908826828,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412154942","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97603625,0.00022384297,0.00031109605,0.0017985003,0.00007165855,0.000013985945,0.000017431455,0.000007171348,0.021519968],"genre_scores_gemma":[0.99838865,0.000110661385,0.00008450762,0.00027558295,0.00002218035,0.0000031643895,0.000010437771,0.000005309938,0.001099607],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9989447,0.00049132225,0.000076366065,0.000087825414,0.0002540835,0.00014572071],"domain_scores_gemma":[0.9857566,0.0043819207,0.0052942326,0.0005694322,0.0014378463,0.0025599601],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002138199,0.00017661374,0.00016701788,0.0011266673,0.0019691244,0.0038973854,0.00027963505,0.0010329221,0.005399812],"category_scores_gemma":[0.017706692,0.00022804525,0.00021817756,0.00040221427,0.0029068608,0.002196053,0.0017624417,0.002492373,0.00033013165],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0006592966,0.00036881026,0.49243322,0.00015932755,0.00015220173,0.0015760062,0.44563016,0.00013587195,0.00544197,0.016544184,0.0055326424,0.03136627],"study_design_scores_gemma":[0.000042980897,0.00031344433,0.42143762,0.00014272078,0.00007704011,0.0017297202,0.54222184,0.00066473405,0.0006794174,0.003719811,0.028863532,0.000107145825],"about_ca_topic_score_codex":0.005847482,"about_ca_topic_score_gemma":0.008311725,"teacher_disagreement_score":0.005847482,"about_ca_system_score_codex":0.0008600262,"about_ca_system_score_gemma":0.0006117457,"threshold_uncertainty_score":0.0180642},"labels":[],"label_agreement":null},{"id":"W4412191876","doi":"10.1353/wic.2023.a965100","title":"The Future Is Noir: Alienation, Resentment, and Cyclicality in Indigenous Futurism on Film","year":2023,"lang":"en","type":"article","venue":"Wicazo Sa Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Resentment; Alienation; Indigenous; Sociology; Art; Political science; Law; Biology","score_opus":0.02968254866331758,"score_gpt":0.2749101899085723,"score_spread":0.24522764124525473,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412191876","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.70694476,0.0029407458,0.0017015097,0.012823303,0.0005897411,0.000042481508,0.00012155514,0.0000621542,0.27477375],"genre_scores_gemma":[0.98862326,0.0008268298,0.00031582458,0.00039563669,0.00010052475,0.000016555901,0.00002662701,0.000038279428,0.009656369],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998901,0.0006307061,0.000020229247,0.00009533687,0.00016412207,0.00018856153],"domain_scores_gemma":[0.9984848,0.0009868599,0.00014706713,0.000108541906,0.00012226247,0.0001504946],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014758321,0.00038154516,0.00024642824,0.0008497378,0.009417392,0.0058495146,0.00077333295,0.0013066803,0.0048196022],"category_scores_gemma":[0.0035855048,0.00024782313,0.00021663678,0.0009308711,0.0149151385,0.00529111,0.004048558,0.0034590124,0.00023731083],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003961162,0.000019521869,0.0012430507,0.000087410706,0.000006859234,0.00085021293,0.94930065,0.000038002032,0.0009502697,0.03826522,0.0037800034,0.0054191174],"study_design_scores_gemma":[0.000006467846,0.00003399623,0.0066872183,0.00030352344,0.000015149912,0.0006605271,0.83514905,0.00013626496,0.0007010447,0.0062803347,0.1499974,0.000028958384],"about_ca_topic_score_codex":0.0128235435,"about_ca_topic_score_gemma":0.033739302,"teacher_disagreement_score":0.0128235435,"about_ca_system_score_codex":0.003723311,"about_ca_system_score_gemma":0.0009682494,"threshold_uncertainty_score":0.027014613},"labels":[],"label_agreement":null},{"id":"W4412383909","doi":"10.1007/978-3-031-95574-7_6","title":"Dropping-Out, Scaling-Up","year":2025,"lang":"en","type":"book-chapter","venue":"Creative working lives","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Scaling; Computer science; Mathematics; Geometry","score_opus":0.05986469767876325,"score_gpt":0.24375329894022207,"score_spread":0.18388860126145884,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412383909","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14250353,0.0056921504,0.040327415,0.063290924,0.0033252435,0.00060601,0.00048648854,0.0011998365,0.74256855],"genre_scores_gemma":[0.78440124,0.0033601539,0.018324066,0.010909681,0.0012812484,0.0006796954,0.0003719376,0.00095733465,0.17971464],"study_design_codex":"design_other","study_design_gemma":"qualitative","domain_scores_codex":[0.9918793,0.0031925177,0.00033358578,0.0010965627,0.0018776177,0.0016204217],"domain_scores_gemma":[0.9712162,0.008961703,0.0019858687,0.0065122084,0.003964935,0.007359178],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.012566292,0.00096372503,0.00072962674,0.002339094,0.007553276,0.0164511,0.0032918921,0.003449425,0.03889715],"category_scores_gemma":[0.048826918,0.0005039856,0.0007326803,0.002774362,0.009432382,0.017235441,0.009576005,0.006142722,0.010593489],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017746058,0.0012070381,0.010080247,0.00029026737,0.000028200606,0.000612585,0.046218324,0.0005677566,0.0012512648,0.3977991,0.10228192,0.4394859],"study_design_scores_gemma":[0.00006662643,0.00021366589,0.0131206885,0.00082251785,0.00003013833,0.00046364203,0.0682997,0.0017604581,0.0010732905,0.37916973,0.53491294,0.00006664193],"about_ca_topic_score_codex":0.004236209,"about_ca_topic_score_gemma":0.0048748115,"teacher_disagreement_score":0.03889715,"about_ca_system_score_codex":0.0035548478,"about_ca_system_score_gemma":0.0069199386,"threshold_uncertainty_score":0.13012397},"labels":[],"label_agreement":null},{"id":"W4412413276","doi":"10.5117/9789048565955_ch11","title":"Notes on William K. Everson","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"History","score_opus":0.0388046315598149,"score_gpt":0.2179853245711698,"score_spread":0.1791806930113549,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412413276","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00078255177,0.12941661,0.00087439944,0.41859573,0.039654054,0.00003055061,0.0004213466,0.00016043831,0.41006425],"genre_scores_gemma":[0.0077665607,0.041019604,0.00085902103,0.08885816,0.0097880205,0.00005150497,0.00016275847,0.00025316456,0.8512412],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99868184,0.0002922922,0.00008208243,0.0002677565,0.0005384938,0.00013757749],"domain_scores_gemma":[0.9977329,0.0007772036,0.000091769514,0.00015475781,0.00090645585,0.00033692783],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017146416,0.0007843691,0.0005788082,0.0018449894,0.0039790976,0.004881756,0.0012416915,0.0034715203,0.037741564],"category_scores_gemma":[0.0050429706,0.00048023358,0.00041763595,0.0015593242,0.0024761022,0.005757058,0.0025926225,0.0070181396,0.028256211],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000035031296,0.000007379566,0.000029696006,0.000021427573,9.89242e-7,0.00004210639,0.00016774413,0.000014002326,0.0000220549,0.017637521,0.9747335,0.0073200124],"study_design_scores_gemma":[4.9233216e-7,9.830369e-7,0.000034901524,0.000046335354,3.6513813e-7,0.00003589716,0.0000666766,0.0000048389397,0.000013957794,0.0013343018,0.9984596,0.0000018436001],"about_ca_topic_score_codex":0.023838984,"about_ca_topic_score_gemma":0.045629717,"teacher_disagreement_score":0.037741564,"about_ca_system_score_codex":0.0037486157,"about_ca_system_score_gemma":0.0033001176,"threshold_uncertainty_score":0.12625813},"labels":[],"label_agreement":null},{"id":"W4412508958","doi":"10.1007/978-3-319-99378-2_301-1","title":"Taymor, Julie (Director, USA)","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Burman University","funders":"","keywords":"Management; Economics","score_opus":0.04279206677874788,"score_gpt":0.21972891351284116,"score_spread":0.17693684673409327,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412508958","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014820667,0.04973586,0.0020226543,0.063091055,0.032934956,0.00011327753,0.00077631744,0.00071135024,0.8491325],"genre_scores_gemma":[0.00087017345,0.005258624,0.00036457565,0.0013089962,0.00082255964,0.000010438512,0.00007305344,0.000055029363,0.99123657],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997105,0.000031831303,0.0000083643035,0.00005430802,0.00014750996,0.000047417972],"domain_scores_gemma":[0.99923,0.000091652335,0.000031390027,0.000023433333,0.0003350509,0.0002883071],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0007489816,0.00046199322,0.00031726973,0.0012517882,0.0014540642,0.0040479177,0.00044643323,0.0013390802,0.14702429],"category_scores_gemma":[0.0015506113,0.00030916077,0.0001975017,0.0008249615,0.0003171805,0.002297704,0.0010778178,0.0022220872,0.073250435],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003931024,0.000008407717,0.000053933694,0.00002728211,5.2478526e-7,0.000018133343,0.000049720937,0.000018411383,0.00010760894,0.004504748,0.9508247,0.04438255],"study_design_scores_gemma":[6.9093807e-7,0.000002592527,0.00010726983,0.00002993045,6.2455945e-7,0.000026486605,0.00005594011,0.000022035196,0.000048553567,0.0003172982,0.9993874,0.0000011030403],"about_ca_topic_score_codex":0.006918441,"about_ca_topic_score_gemma":0.030755686,"teacher_disagreement_score":0.8529757,"about_ca_system_score_codex":0.0013130278,"about_ca_system_score_gemma":0.002289722,"threshold_uncertainty_score":0.49184525},"labels":[],"label_agreement":null},{"id":"W4412558551","doi":"10.7202/1118514ar","title":"Any Other Way: The Jackie Shane Story. Documentary film, directed by Michael Mabbott and Lucah Rosenberg-Lee. Banger Films and the National Film Board of Canada, 2024. 99 minutes. South by Southwest Film &amp; TV Festival, Austin, Texas, March 8–16, 2024; Hot Docs Canadian International Documentary Festival, Toronto, Ontario, April 25 – May 4, 2024","year":2025,"lang":"en","type":"article","venue":"Archivaria","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Library and Archives Canada","funders":"","keywords":"Documentary film; Art; Art history","score_opus":0.010665924619654325,"score_gpt":0.21278747944352705,"score_spread":0.20212155482387273,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412558551","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005726521,0.0049358564,0.00022007241,0.014528535,0.0055644326,0.00009215055,0.0030930913,0.00022552152,0.97076774],"genre_scores_gemma":[0.0016721789,0.0013892482,0.00008226514,0.00081344426,0.00034357887,0.000028004471,0.00044880694,0.000121516474,0.99510103],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961025,0.000049201146,0.00000865222,0.00005181588,0.00017962977,0.000100546706],"domain_scores_gemma":[0.99940777,0.00009112527,0.000034073604,0.000027912572,0.00026064028,0.00017850705],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00044937947,0.00082586956,0.0004247214,0.0007175728,0.003256273,0.0047859144,0.00084523216,0.0016573478,0.61136895],"category_scores_gemma":[0.002050521,0.0004688355,0.0003720662,0.0011958446,0.0007173127,0.0027560885,0.0019595285,0.0026078287,0.40332058],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010485757,0.000002721237,0.000019366675,0.000019239527,4.5399088e-7,0.000011356302,0.00007565415,0.000003291341,0.00003606266,0.00044200572,0.9957392,0.0036401767],"study_design_scores_gemma":[0.000002367689,0.0000029709004,0.00027489496,0.00003634104,6.410596e-7,0.000011551599,0.00030392339,0.000004492917,0.000029961282,0.000059089016,0.9992717,0.0000020942382],"about_ca_topic_score_codex":0.06716345,"about_ca_topic_score_gemma":0.21877955,"teacher_disagreement_score":0.93283653,"about_ca_system_score_codex":0.0026645483,"about_ca_system_score_gemma":0.0018520288,"threshold_uncertainty_score":0.554335},"labels":[],"label_agreement":null},{"id":"W4412629199","doi":"10.1093/oxfordhb/9780197763711.013.0037","title":"“Off the Derech” Films as Cultural Translations","year":2025,"lang":"en","type":"book-chapter","venue":"Oxford University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Art","score_opus":0.03990360158940043,"score_gpt":0.2068688449283088,"score_spread":0.16696524333890836,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4412629199","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08566692,0.0082876915,0.002408835,0.0092746075,0.0018939242,0.00006766823,0.00023543421,0.00006266691,0.89210224],"genre_scores_gemma":[0.84035254,0.013803516,0.0017792388,0.0023057407,0.0016083468,0.000097862896,0.0002709554,0.0002328942,0.1395489],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991246,0.0005409724,0.000025258689,0.00005941538,0.00017279826,0.00007696228],"domain_scores_gemma":[0.9983169,0.0012472884,0.00009015686,0.00010597756,0.00013834583,0.00010132414],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010323338,0.00040123425,0.00016520149,0.001436066,0.0021930314,0.007105368,0.00040146784,0.00066884735,0.010059869],"category_scores_gemma":[0.0029816139,0.0001605668,0.00012582968,0.0016216463,0.0043902686,0.0030557055,0.0026046578,0.0019539087,0.00092988845],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000097714976,0.000092154434,0.0009978892,0.00057538605,0.000009831625,0.000920658,0.19547796,0.00025915372,0.003041877,0.62402296,0.074873656,0.09963089],"study_design_scores_gemma":[0.00001104895,0.000030949213,0.0025304544,0.0008865911,0.0000065818867,0.00044529288,0.06057742,0.0002471887,0.0011527779,0.014519391,0.9195812,0.000011070319],"about_ca_topic_score_codex":0.0016183023,"about_ca_topic_score_gemma":0.0026336785,"teacher_disagreement_score":0.010059869,"about_ca_system_score_codex":0.0020570152,"about_ca_system_score_gemma":0.0007148955,"threshold_uncertainty_score":0.033653617},"labels":[],"label_agreement":null},{"id":"W4413137344","doi":"10.1002/9781394398683.ch2","title":"THE WEDDING FILM","year":2014,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Computer graphics (images); Computer science","score_opus":0.020581322602662544,"score_gpt":0.2077544488886789,"score_spread":0.18717312628601634,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413137344","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024966603,0.005435052,0.00046445627,0.0062020007,0.002705659,0.000059713024,0.0017936799,0.00011581348,0.958257],"genre_scores_gemma":[0.19900666,0.008568327,0.0008894126,0.0019043348,0.0008255569,0.000056533452,0.0015405612,0.00019873129,0.7870099],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99975795,0.000061514744,0.000007881355,0.000044937595,0.00006798316,0.000059840764],"domain_scores_gemma":[0.9995616,0.00008123586,0.000022522103,0.00004576081,0.00011066605,0.00017821064],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00041820205,0.0002707715,0.00013611146,0.0007610136,0.0035385217,0.0034446958,0.00040333308,0.00051878166,0.044025935],"category_scores_gemma":[0.0015383315,0.00012874941,0.00016688318,0.0009475008,0.0009577615,0.0011768871,0.0011960895,0.001189911,0.0041258824],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015502516,0.00007147971,0.0047102054,0.00032698238,0.000014230054,0.0006847125,0.019643707,0.00008338881,0.00089756557,0.122165546,0.72964376,0.12160339],"study_design_scores_gemma":[0.0000033037677,0.000010401842,0.0038849777,0.00015521381,0.0000023310288,0.00014576137,0.005276273,0.000019441704,0.00023552941,0.00066339475,0.9895996,0.0000038222433],"about_ca_topic_score_codex":0.0465284,"about_ca_topic_score_gemma":0.11421457,"teacher_disagreement_score":0.95597404,"about_ca_system_score_codex":0.002013538,"about_ca_system_score_gemma":0.0015049236,"threshold_uncertainty_score":0.14728141},"labels":[],"label_agreement":null},{"id":"W4413195746","doi":"10.1007/978-3-030-01537-4_436-2","title":"Trans Studies","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Guelph","funders":"","keywords":"Computer science","score_opus":0.07073111719410324,"score_gpt":0.24697398978354715,"score_spread":0.1762428725894439,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413195746","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012328197,0.003287618,0.001089504,0.0031993124,0.0009100942,0.000025215479,0.0006147942,0.00013829037,0.98950243],"genre_scores_gemma":[0.008885289,0.0017839577,0.00051872747,0.0006998024,0.00022511283,0.000038352726,0.00038968783,0.00018144996,0.98727757],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987633,0.00037966244,0.000048292743,0.0002500226,0.0004221293,0.00013661111],"domain_scores_gemma":[0.99789006,0.00045884267,0.00009133647,0.0005466747,0.00069809356,0.00031497938],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014855801,0.0006630297,0.00059149746,0.0023706858,0.0028911985,0.0067117806,0.0008726498,0.0015677297,0.29323357],"category_scores_gemma":[0.003860645,0.00032514153,0.00033979965,0.003251836,0.0016934338,0.0042063664,0.0024024895,0.002900633,0.116457954],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051402003,0.00005560501,0.0006528367,0.00015310866,0.000007328345,0.00006790942,0.0017864506,0.00007409658,0.0003172573,0.31263658,0.51669973,0.16749765],"study_design_scores_gemma":[0.0000021439728,0.000007632291,0.00046604063,0.000111000336,0.0000022672784,0.00005056262,0.00071916525,0.00003398702,0.00010077389,0.010549628,0.9879546,0.0000022504153],"about_ca_topic_score_codex":0.0075307786,"about_ca_topic_score_gemma":0.018642386,"teacher_disagreement_score":0.29323357,"about_ca_system_score_codex":0.00263323,"about_ca_system_score_gemma":0.002509615,"threshold_uncertainty_score":0.980964},"labels":[],"label_agreement":null},{"id":"W4413221310","doi":"10.5117/9789048565955_ch13","title":"Ernie Gehr's The Collector (2003) and Ernie Gehr the Collector","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Art; Art history; Visual arts; Performance art; Superstar; History; Computer graphics (images); Movie theater; Computer science","score_opus":0.025118380398424886,"score_gpt":0.19483900220207306,"score_spread":0.16972062180364816,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413221310","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011541656,0.1541606,0.0039587063,0.09759872,0.005206858,0.000057523404,0.00030308936,0.000098820485,0.727074],"genre_scores_gemma":[0.14732443,0.08143685,0.0028633822,0.009947758,0.002370782,0.000088361456,0.00015695242,0.0002637024,0.7555478],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993254,0.0001956539,0.000017055903,0.00012858122,0.0002662195,0.00006713491],"domain_scores_gemma":[0.9990702,0.0005384611,0.000068227986,0.000056487253,0.00018156604,0.00008492917],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012790973,0.0004196301,0.0002815129,0.0011221664,0.002992833,0.005536215,0.0003897688,0.0014579472,0.0096424455],"category_scores_gemma":[0.0046751522,0.00027422057,0.00013860666,0.0016279831,0.004184928,0.004629004,0.0013740957,0.0024077708,0.0021651366],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002363749,0.000016843036,0.0004985287,0.000084128085,0.0000039593897,0.000118104195,0.007489904,0.00010907145,0.00019442455,0.5844988,0.35073337,0.056229245],"study_design_scores_gemma":[0.0000023323557,0.000005214152,0.0008632948,0.0001713789,0.0000021699473,0.00010996307,0.0013685452,0.000053975175,0.00013488963,0.02815093,0.96912795,0.000009263029],"about_ca_topic_score_codex":0.027234865,"about_ca_topic_score_gemma":0.049269244,"teacher_disagreement_score":0.027234865,"about_ca_system_score_codex":0.0047338316,"about_ca_system_score_gemma":0.0033550812,"threshold_uncertainty_score":0.054152668},"labels":[],"label_agreement":null},{"id":"W4413244134","doi":"10.3138/ctr.203.008","title":"Trust in Performance: Vulnerability as Key Requirement in Acting and Live Journalism","year":2025,"lang":"en","type":"article","venue":"Canadian Theatre Review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Memoir; Journalism; Vulnerability (computing); Perspective (graphical); Key (lock); Sociology; Media studies; Aesthetics; Public relations; Political science; Art; Visual arts; Law; Computer security; Computer science","score_opus":0.03462364180277963,"score_gpt":0.2664051427051885,"score_spread":0.23178150090240887,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413244134","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26511246,0.004411866,0.07622164,0.22390094,0.001427082,0.00015101391,0.00019866825,0.00024472552,0.42833152],"genre_scores_gemma":[0.9942479,0.00028639674,0.0011716442,0.0013045312,0.00016272781,0.000026064747,0.000013580549,0.00003587199,0.0027513418],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9732616,0.013615999,0.0016624155,0.0026801229,0.0062272577,0.002552626],"domain_scores_gemma":[0.90380126,0.047028173,0.015504114,0.016008697,0.009227096,0.008430674],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.017995013,0.0002996309,0.0006289755,0.0009702926,0.004383552,0.011314773,0.0012547832,0.0035967745,0.00459958],"category_scores_gemma":[0.0747804,0.00037549337,0.00043791306,0.0008408581,0.035247635,0.014425809,0.006547712,0.0052599288,0.00082318287],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010445427,0.000044632867,0.007949464,0.00020313881,0.000036459634,0.0005903195,0.04223864,0.0003931832,0.0011712234,0.9146062,0.007399071,0.025263287],"study_design_scores_gemma":[0.00002911544,0.00012759388,0.012561604,0.00042270625,0.000035761106,0.0011958656,0.026899517,0.0016320901,0.0016687803,0.88047993,0.07483388,0.00011322934],"about_ca_topic_score_codex":0.0033238635,"about_ca_topic_score_gemma":0.0019499859,"teacher_disagreement_score":0.017995013,"about_ca_system_score_codex":0.0044179233,"about_ca_system_score_gemma":0.00433768,"threshold_uncertainty_score":0.095167875},"labels":[],"label_agreement":null},{"id":"W4413267152","doi":"10.32920/29659307.v1","title":"Canadian Experimental Cinema since the 1990s: Retro-Vision and Trans-Vision","year":2025,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Window (computing); Globalization; Art; Space (punctuation); Aesthetics; Art history; Political science; Philosophy; Computer science; Law","score_opus":0.021439751748524378,"score_gpt":0.2512285353135885,"score_spread":0.22978878356506413,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413267152","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12845434,0.038783316,0.0036060754,0.051093582,0.0016374992,0.00011123235,0.0019228383,0.00019403984,0.7741971],"genre_scores_gemma":[0.9175832,0.01082731,0.0017625744,0.0019271501,0.00030004038,0.00003606201,0.00037551075,0.00008656587,0.0671016],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.997459,0.0005558081,0.00005123169,0.0003307882,0.001094177,0.00050898275],"domain_scores_gemma":[0.993881,0.0013862435,0.00044883564,0.00067264156,0.00260094,0.0010103523],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003300469,0.0005656877,0.00031435612,0.0025462916,0.010690041,0.009481296,0.0013413407,0.001546781,0.023976691],"category_scores_gemma":[0.0100776255,0.00035293793,0.00028068636,0.0039274003,0.011548985,0.0035146584,0.002252144,0.0029357346,0.0007420736],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016610284,0.00006820482,0.003916188,0.0003772126,0.000024636838,0.00022868543,0.02896383,0.00039183954,0.0006577077,0.8022388,0.074447595,0.08851921],"study_design_scores_gemma":[0.000022446422,0.000041832383,0.032173958,0.00038071373,0.00002477017,0.00021779994,0.014054051,0.00050307775,0.0008579279,0.015930224,0.9357229,0.00007043973],"about_ca_topic_score_codex":0.95593274,"about_ca_topic_score_gemma":0.97645694,"teacher_disagreement_score":0.08368934,"about_ca_system_score_codex":0.08368934,"about_ca_system_score_gemma":0.056963615,"threshold_uncertainty_score":0.6072115},"labels":[],"label_agreement":null},{"id":"W4413267177","doi":"10.32920/29660603.v1","title":"Stardust","year":2025,"lang":"","type":"preprint","venue":"Figshare","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Film festival; Art history; Humanities; Visual arts; Media studies; Sociology","score_opus":0.09252849968878694,"score_gpt":0.25814129465640173,"score_spread":0.16561279496761477,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413267177","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010702964,0.001114805,0.00057477097,0.001799186,0.0022375693,0.000043058393,0.0018769273,0.00104838,0.9902351],"genre_scores_gemma":[0.0036090738,0.00033758857,0.00026715442,0.00039030873,0.00015819998,0.000015034295,0.00085554813,0.00043847007,0.9939287],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99946064,0.000056267978,0.000015544274,0.00014799507,0.00023927726,0.000080362224],"domain_scores_gemma":[0.9990044,0.000081112805,0.000033918815,0.00012917192,0.00032962693,0.00042168814],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005012548,0.0006926536,0.00033934595,0.0009748028,0.002412943,0.004380687,0.0006759021,0.0010756478,0.64979136],"category_scores_gemma":[0.0014861121,0.00028250288,0.00027014723,0.0009948167,0.00052796863,0.0022477864,0.00287345,0.0014063322,0.33291793],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004621116,0.000013434615,0.00012475919,0.00007293077,0.000001191401,0.0000725619,0.00018295809,0.00002204997,0.00033477842,0.006300312,0.94501764,0.04781126],"study_design_scores_gemma":[0.0000021122903,0.0000055654946,0.00015088535,0.000014996228,3.180644e-7,0.000038100487,0.00006384136,0.0000144296,0.00007590494,0.00019867183,0.9994337,0.0000014904741],"about_ca_topic_score_codex":0.0060815965,"about_ca_topic_score_gemma":0.022036353,"teacher_disagreement_score":0.35020864,"about_ca_system_score_codex":0.0013092166,"about_ca_system_score_gemma":0.0010143298,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4413267230","doi":"10.32920/29660609.v1","title":"Struggling in Paradise","year":2025,"lang":"","type":"preprint","venue":"Figshare","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pleasure; Nothing; Happiness; Art; Paradise; Shadow (psychology); Aesthetics; Art history; Psychology; Visual arts; Psychoanalysis; Philosophy; Social psychology; Epistemology","score_opus":0.08154294668384385,"score_gpt":0.2654004069865708,"score_spread":0.18385746030272695,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413267230","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.037534192,0.004944325,0.003960142,0.093282,0.022235034,0.00019480151,0.0005328257,0.001561141,0.8357554],"genre_scores_gemma":[0.120374285,0.0031457485,0.002128451,0.019394614,0.001998429,0.00009745818,0.00048821885,0.0009091498,0.85146374],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986259,0.00040755214,0.000032366566,0.00021579182,0.00031131093,0.00040710694],"domain_scores_gemma":[0.9981694,0.00013848642,0.00010949798,0.00009666416,0.00026035684,0.0012256212],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010401317,0.0012294393,0.00060096267,0.00070319,0.013579479,0.010084435,0.0013582316,0.0030661398,0.12390554],"category_scores_gemma":[0.0044107623,0.00042494375,0.0008858712,0.0004678756,0.0043386687,0.010768617,0.009818594,0.007902733,0.03776138],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034307566,0.000060052123,0.0005045032,0.000099084595,0.000010265793,0.00076509226,0.027844949,0.000032139385,0.0004746513,0.01330497,0.93397576,0.022894263],"study_design_scores_gemma":[0.000003613533,0.00002999339,0.0005485302,0.0000831889,0.000003170951,0.0004930356,0.04656834,0.000037622864,0.00011911624,0.0013666424,0.9507288,0.000017908043],"about_ca_topic_score_codex":0.0062774024,"about_ca_topic_score_gemma":0.020567533,"teacher_disagreement_score":0.87609446,"about_ca_system_score_codex":0.0023526272,"about_ca_system_score_gemma":0.0015398111,"threshold_uncertainty_score":0.4145053},"labels":[],"label_agreement":null},{"id":"W4413267238","doi":"10.32920/29657222","title":"Teaching Documentary Film as Research-Creation: Challenges and Possibilities","year":2025,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Documentary film; Premise; Documentary evidence; Sociology; Metropolitan area; Media studies; Visual arts; Art; Political science; History; Epistemology; Law; Philosophy; Archaeology","score_opus":0.1066515536707379,"score_gpt":0.344815241311503,"score_spread":0.23816368764076506,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413267238","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025343565,0.053838953,0.029379943,0.7256693,0.0057336767,0.00017439786,0.000107890366,0.0002046564,0.15954757],"genre_scores_gemma":[0.7933187,0.06152745,0.034156792,0.039993316,0.007441093,0.00068606186,0.00014411715,0.00061302,0.062119458],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9576533,0.034886252,0.000726482,0.00214481,0.0027931677,0.0017959498],"domain_scores_gemma":[0.8334598,0.13210012,0.003934256,0.0071258587,0.005110209,0.01826975],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.050834857,0.0007127998,0.0011997564,0.0020545158,0.01596393,0.056146003,0.0037083025,0.008770076,0.011288622],"category_scores_gemma":[0.053498868,0.00066295924,0.00049493666,0.0031525495,0.058050845,0.034698717,0.014742445,0.012545823,0.0026849858],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036000405,0.0002006651,0.0012972152,0.00065928337,0.000013545107,0.00030353002,0.12782499,0.00028348286,0.0003025604,0.74941766,0.046086363,0.07357463],"study_design_scores_gemma":[0.000038706516,0.000068791705,0.0010439913,0.0012540057,0.000010947629,0.00035876507,0.17273557,0.00094440597,0.0005594577,0.31066948,0.512263,0.00005284427],"about_ca_topic_score_codex":0.007736684,"about_ca_topic_score_gemma":0.013449706,"teacher_disagreement_score":0.056146003,"about_ca_system_score_codex":0.017533148,"about_ca_system_score_gemma":0.018518047,"threshold_uncertainty_score":0.2688436},"labels":[],"label_agreement":null},{"id":"W4413267262","doi":"10.32920/29660849.v1","title":"Travelling Shots","year":2025,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Depiction; Art; Media studies; Visual arts; Sociology; Movie theater","score_opus":0.06193532698676087,"score_gpt":0.24917472522561063,"score_spread":0.18723939823884975,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413267262","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029568037,0.0023867807,0.012005911,0.00319548,0.0071512484,0.00065106363,0.025543064,0.0030236284,0.9164749],"genre_scores_gemma":[0.115751155,0.0023739368,0.013133086,0.0010220901,0.0016014143,0.00029091391,0.021666963,0.0020706367,0.8420898],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996617,0.00005372421,0.000013354457,0.000058336434,0.00015413109,0.00005885501],"domain_scores_gemma":[0.9993148,0.00012722179,0.000030749878,0.00011039589,0.00021648132,0.00020040908],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003756822,0.00060136,0.00029406534,0.00179579,0.0016916526,0.002524968,0.00060768134,0.0010152623,0.27965656],"category_scores_gemma":[0.0024752684,0.00021950294,0.00049841544,0.0014266343,0.0003748167,0.001551799,0.0017999542,0.0010904066,0.051849615],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003830802,0.000060799895,0.00069896283,0.00040103143,0.000021632339,0.00088722166,0.0039470545,0.00033720463,0.0051346244,0.021614991,0.81444275,0.15207066],"study_design_scores_gemma":[0.000014871204,0.00005132085,0.002901793,0.00014382708,0.000008005125,0.0004595024,0.0019845678,0.0002758757,0.0008882937,0.0019348367,0.9913169,0.00002021371],"about_ca_topic_score_codex":0.0065448154,"about_ca_topic_score_gemma":0.012229869,"teacher_disagreement_score":0.7203435,"about_ca_system_score_codex":0.0006600117,"about_ca_system_score_gemma":0.000513731,"threshold_uncertainty_score":0.9355444},"labels":[],"label_agreement":null},{"id":"W4413267286","doi":"10.32920/29657222.v1","title":"Teaching Documentary Film as Research-Creation: Challenges and Possibilities","year":2025,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Documentary film; Premise; Documentary evidence; Sociology; Metropolitan area; Film studies; Visual arts; Media studies; Art; History; Epistemology; Movie theater; Archaeology; Philosophy","score_opus":0.1066515536707379,"score_gpt":0.344815241311503,"score_spread":0.23816368764076506,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413267286","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025343565,0.053838953,0.029379943,0.7256693,0.0057336767,0.00017439786,0.000107890366,0.0002046564,0.15954757],"genre_scores_gemma":[0.7933187,0.06152745,0.034156792,0.039993316,0.007441093,0.00068606186,0.00014411715,0.00061302,0.062119458],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9576533,0.034886252,0.000726482,0.00214481,0.0027931677,0.0017959498],"domain_scores_gemma":[0.8334598,0.13210012,0.003934256,0.0071258587,0.005110209,0.01826975],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.050834857,0.0007127998,0.0011997564,0.0020545158,0.01596393,0.056146003,0.0037083025,0.008770076,0.011288622],"category_scores_gemma":[0.053498868,0.00066295924,0.00049493666,0.0031525495,0.058050845,0.034698717,0.014742445,0.012545823,0.0026849858],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036000405,0.0002006651,0.0012972152,0.00065928337,0.000013545107,0.00030353002,0.12782499,0.00028348286,0.0003025604,0.74941766,0.046086363,0.07357463],"study_design_scores_gemma":[0.000038706516,0.000068791705,0.0010439913,0.0012540057,0.000010947629,0.00035876507,0.17273557,0.00094440597,0.0005594577,0.31066948,0.512263,0.00005284427],"about_ca_topic_score_codex":0.007736684,"about_ca_topic_score_gemma":0.013449706,"teacher_disagreement_score":0.056146003,"about_ca_system_score_codex":0.017533148,"about_ca_system_score_gemma":0.018518047,"threshold_uncertainty_score":0.2688436},"labels":[],"label_agreement":null},{"id":"W4413267298","doi":"10.32920/29660849","title":"Travelling Shots","year":2025,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Depiction; Filmmaking; Art; Media studies; Visual arts; Sociology; Movie theater","score_opus":0.06193532698676087,"score_gpt":0.24917472522561063,"score_spread":0.18723939823884975,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413267298","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029568037,0.0023867807,0.012005911,0.00319548,0.0071512484,0.00065106363,0.025543064,0.0030236284,0.9164749],"genre_scores_gemma":[0.115751155,0.0023739368,0.013133086,0.0010220901,0.0016014143,0.00029091391,0.021666963,0.0020706367,0.8420898],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996617,0.00005372421,0.000013354457,0.000058336434,0.00015413109,0.00005885501],"domain_scores_gemma":[0.9993148,0.00012722179,0.000030749878,0.00011039589,0.00021648132,0.00020040908],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003756822,0.00060136,0.00029406534,0.00179579,0.0016916526,0.002524968,0.00060768134,0.0010152623,0.27965656],"category_scores_gemma":[0.0024752684,0.00021950294,0.00049841544,0.0014266343,0.0003748167,0.001551799,0.0017999542,0.0010904066,0.051849615],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003830802,0.000060799895,0.00069896283,0.00040103143,0.000021632339,0.00088722166,0.0039470545,0.00033720463,0.0051346244,0.021614991,0.81444275,0.15207066],"study_design_scores_gemma":[0.000014871204,0.00005132085,0.002901793,0.00014382708,0.000008005125,0.0004595024,0.0019845678,0.0002758757,0.0008882937,0.0019348367,0.9913169,0.00002021371],"about_ca_topic_score_codex":0.0065448154,"about_ca_topic_score_gemma":0.012229869,"teacher_disagreement_score":0.7203435,"about_ca_system_score_codex":0.0006600117,"about_ca_system_score_gemma":0.000513731,"threshold_uncertainty_score":0.9355444},"labels":[],"label_agreement":null},{"id":"W4413267304","doi":"10.32920/29659307","title":"Canadian Experimental Cinema since the 1990s: Retro-Vision and Trans-Vision","year":2025,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Window (computing); Globalization; Art; Space (punctuation); Aesthetics; Art history; Philosophy; Political science; Computer science","score_opus":0.021439751748524378,"score_gpt":0.2512285353135885,"score_spread":0.22978878356506413,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413267304","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12845434,0.038783316,0.0036060754,0.051093582,0.0016374992,0.00011123235,0.0019228383,0.00019403984,0.7741971],"genre_scores_gemma":[0.9175832,0.01082731,0.0017625744,0.0019271501,0.00030004038,0.00003606201,0.00037551075,0.00008656587,0.0671016],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.997459,0.0005558081,0.00005123169,0.0003307882,0.001094177,0.00050898275],"domain_scores_gemma":[0.993881,0.0013862435,0.00044883564,0.00067264156,0.00260094,0.0010103523],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003300469,0.0005656877,0.00031435612,0.0025462916,0.010690041,0.009481296,0.0013413407,0.001546781,0.023976691],"category_scores_gemma":[0.0100776255,0.00035293793,0.00028068636,0.0039274003,0.011548985,0.0035146584,0.002252144,0.0029357346,0.0007420736],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016610284,0.00006820482,0.003916188,0.0003772126,0.000024636838,0.00022868543,0.02896383,0.00039183954,0.0006577077,0.8022388,0.074447595,0.08851921],"study_design_scores_gemma":[0.000022446422,0.000041832383,0.032173958,0.00038071373,0.00002477017,0.00021779994,0.014054051,0.00050307775,0.0008579279,0.015930224,0.9357229,0.00007043973],"about_ca_topic_score_codex":0.95593274,"about_ca_topic_score_gemma":0.97645694,"teacher_disagreement_score":0.08368934,"about_ca_system_score_codex":0.08368934,"about_ca_system_score_gemma":0.056963615,"threshold_uncertainty_score":0.6072115},"labels":[],"label_agreement":null},{"id":"W4413267341","doi":"10.32920/29660609","title":"Struggling in Paradise","year":2025,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Pleasure; Nothing; Happiness; Art; Paradise; Shadow (psychology); Aesthetics; Psychology; Art history; Visual arts; Psychoanalysis; Philosophy; Social psychology; Epistemology","score_opus":0.04894518551547374,"score_gpt":0.25447787321492166,"score_spread":0.2055326876994479,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413267341","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03345956,0.0029367956,0.003610512,0.0699078,0.0159092,0.00017936637,0.0006396399,0.0017040609,0.871653],"genre_scores_gemma":[0.088581786,0.0019237649,0.0018169357,0.012992233,0.0012035571,0.00008132107,0.0004697913,0.0008469786,0.8920836],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989827,0.00025860485,0.00002636836,0.00016289654,0.00025390595,0.00031557604],"domain_scores_gemma":[0.9985935,0.00010887565,0.000081562524,0.000083896135,0.00021274351,0.0009194145],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008825819,0.0010447557,0.00052029203,0.00067013525,0.010670059,0.007660867,0.0012652256,0.0028358218,0.19136928],"category_scores_gemma":[0.0036785544,0.00038028474,0.00080398703,0.00043304305,0.0031819541,0.0080618085,0.007657261,0.006171363,0.06071367],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032078413,0.000065985856,0.0005135219,0.00008182155,0.000007719727,0.000800049,0.018392863,0.000031350108,0.0005104575,0.009818291,0.94163835,0.028107526],"study_design_scores_gemma":[0.000003937319,0.000031627154,0.00068257604,0.00007552344,0.0000029062023,0.0005355008,0.036819812,0.000045854886,0.00015731779,0.0012647152,0.96036315,0.000017051825],"about_ca_topic_score_codex":0.0066083646,"about_ca_topic_score_gemma":0.020724978,"teacher_disagreement_score":0.19136928,"about_ca_system_score_codex":0.0019988404,"about_ca_system_score_gemma":0.0013649995,"threshold_uncertainty_score":0.64019406},"labels":[],"label_agreement":null},{"id":"W4413267344","doi":"10.32920/29660603","title":"Stardust","year":2025,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art; Film festival; Art history; Humanities; Visual arts; Media studies; Sociology","score_opus":0.05421081646260032,"score_gpt":0.24567385503376168,"score_spread":0.19146303857116137,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413267344","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005999764,0.00081860373,0.0005187388,0.0011882709,0.0016476731,0.000043507505,0.0023313093,0.0012688411,0.99158305],"genre_scores_gemma":[0.0019333063,0.00026638972,0.00019050493,0.00029195868,0.000076798926,0.000011267033,0.0009808613,0.0003966781,0.99585223],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928075,0.00005038801,0.000026863434,0.00021361209,0.00032935638,0.000098961376],"domain_scores_gemma":[0.99909806,0.000068125024,0.000034857723,0.000121723795,0.0003402991,0.000336957],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00044014637,0.0009963043,0.0005581761,0.001182219,0.002208599,0.0048427638,0.000987741,0.0014986356,0.804131],"category_scores_gemma":[0.0015246323,0.0003791051,0.000382054,0.0012148311,0.00052630296,0.002422265,0.0026680354,0.0017314134,0.64346886],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007146462,0.000024403753,0.00016728803,0.0000861161,0.000002265119,0.00010896961,0.000086682085,0.00006529549,0.00037619314,0.008200159,0.9209618,0.0698493],"study_design_scores_gemma":[0.0000036998777,0.00000795667,0.00016085943,0.00001734982,4.809789e-7,0.00004091521,0.00004124201,0.0000326941,0.0000862673,0.00033552246,0.99927074,0.000002383066],"about_ca_topic_score_codex":0.008235389,"about_ca_topic_score_gemma":0.020133289,"teacher_disagreement_score":0.804131,"about_ca_system_score_codex":0.0013755929,"about_ca_system_score_gemma":0.001216815,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4413483379","doi":"10.64628/aam.5hevwdufq","title":"Tax Canadian movies? Why culture has always been at the centre of trade wars","year":2025,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Western University","funders":"","keywords":"Business; International trade; Political science; Economics","score_opus":0.02357308793557012,"score_gpt":0.19705195014960836,"score_spread":0.17347886221403824,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413483379","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2780912,0.008607646,0.0009627258,0.20598121,0.0019281253,0.00003677963,0.0011445842,0.00007262539,0.5031752],"genre_scores_gemma":[0.9667196,0.0025391416,0.000152232,0.009324691,0.00033889813,0.000008712282,0.00016921725,0.000077338365,0.020670103],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976712,0.00037371137,0.00004188589,0.00021165053,0.00073216675,0.0009694505],"domain_scores_gemma":[0.9893366,0.001850239,0.00093925797,0.00045648502,0.0049912455,0.002426157],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022527152,0.00026037727,0.00030464988,0.0018738376,0.012184223,0.01581883,0.00078466744,0.002144846,0.02541024],"category_scores_gemma":[0.015016025,0.0002335568,0.00020296662,0.0042560115,0.007200728,0.005290505,0.001350704,0.003939645,0.0014569729],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00028819146,0.00016571206,0.109016046,0.00027046062,0.00016350912,0.0005310225,0.0497067,0.0005838925,0.0008904745,0.39861044,0.29937857,0.14039496],"study_design_scores_gemma":[0.000037453894,0.000032638003,0.17765614,0.0007047661,0.000111108406,0.00026060635,0.17796044,0.0006269551,0.0008576336,0.032851536,0.6087456,0.0001551157],"about_ca_topic_score_codex":0.88615227,"about_ca_topic_score_gemma":0.9178876,"teacher_disagreement_score":0.11384773,"about_ca_system_score_codex":0.035223424,"about_ca_system_score_gemma":0.023863835,"threshold_uncertainty_score":0.25556505},"labels":[],"label_agreement":null},{"id":"W4413561388","doi":"10.64628/aam.6dfmy6unm","title":"How Hollywood’s ‘Alien’ and ‘Predator’ movies reinforce anti-Black racism","year":2020,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Hollywood; Alien; Predator; Racism; Art; Sociology; Art history; Gender studies; Ecology; Predation; Demography","score_opus":0.05195179914273611,"score_gpt":0.22809403159761787,"score_spread":0.17614223245488175,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413561388","genre_codex":"empirical","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8689661,0.00016575263,0.0003080274,0.0042170994,0.00013080315,0.00001036363,0.000037176324,0.000011977277,0.12615265],"genre_scores_gemma":[0.99212825,0.00007080047,0.00009859274,0.00056641863,0.000017981185,0.000004119474,0.000008320536,0.000011236725,0.007094302],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99945945,0.00027886895,0.0000052798528,0.000050332037,0.00010965152,0.000096545984],"domain_scores_gemma":[0.9981396,0.00081870577,0.00029142562,0.0001358967,0.00019372554,0.0004206815],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007368339,0.00017204335,0.00009088374,0.0003548155,0.0018231301,0.0021196522,0.00021521539,0.0008936921,0.020057963],"category_scores_gemma":[0.0030881092,0.00012984026,0.00007745149,0.00025636697,0.001395206,0.0009710305,0.00081157155,0.0010155999,0.00076774403],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0029053292,0.003378136,0.108584836,0.00069804146,0.0002711423,0.00092784397,0.18893562,0.0015047415,0.055963114,0.3383474,0.08452118,0.21396264],"study_design_scores_gemma":[0.0003462503,0.0009752333,0.47065154,0.00051966956,0.00030708392,0.00059190876,0.17944011,0.002747064,0.01316444,0.054639928,0.27650717,0.00010958931],"about_ca_topic_score_codex":0.008100873,"about_ca_topic_score_gemma":0.020810664,"teacher_disagreement_score":0.020057963,"about_ca_system_score_codex":0.00073439506,"about_ca_system_score_gemma":0.00041220826,"threshold_uncertainty_score":0.067100644},"labels":[],"label_agreement":null},{"id":"W4413573458","doi":"10.64628/aam.qptnx4tvx","title":"Fast &amp; Furious 9: The spectacular melodrama is exactly what a return to cinema needs","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Movie theater; Art; Art history","score_opus":0.0409945175840235,"score_gpt":0.24411264517976755,"score_spread":0.20311812759574405,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413573458","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019188188,0.0035708684,0.025099272,0.075200364,0.010451467,0.000054312422,0.0037573718,0.003115339,0.8595627],"genre_scores_gemma":[0.2807197,0.0020054125,0.0151917795,0.007299659,0.0052216738,0.00006449764,0.0020967904,0.003977994,0.68342257],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943763,0.00012575794,0.000012419797,0.00010356037,0.00023075235,0.00008984944],"domain_scores_gemma":[0.9987072,0.0003949778,0.0000814688,0.00025236906,0.00039430376,0.00016975621],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00092339964,0.00050888554,0.0003007491,0.0009115053,0.0016563005,0.0075700013,0.00055534916,0.00271637,0.139501],"category_scores_gemma":[0.005517889,0.00028115188,0.00026441098,0.00064051413,0.0016637612,0.008562949,0.0016438586,0.0024617678,0.025695072],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012351711,0.000019485067,0.0006710973,0.0001415029,0.000010327382,0.00016953018,0.0011738248,0.00019079394,0.0016173914,0.39932984,0.51776576,0.078786865],"study_design_scores_gemma":[0.000010490883,0.000013179036,0.0015621207,0.00008755514,0.0000068059085,0.00026106677,0.00074606953,0.0009352603,0.0015398455,0.08401119,0.9107979,0.00002853668],"about_ca_topic_score_codex":0.004022967,"about_ca_topic_score_gemma":0.005231928,"teacher_disagreement_score":0.139501,"about_ca_system_score_codex":0.0012021981,"about_ca_system_score_gemma":0.0004129199,"threshold_uncertainty_score":0.46667737},"labels":[],"label_agreement":null},{"id":"W4413579514","doi":"10.64628/aam.stt7w4hy5","title":"Hulu’s ‘The Handmaid’s Tale’ casts Canada as a racial utopia","year":2021,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Western University","funders":"","keywords":"Utopia; Sociology; Philosophy; Aesthetics; Literature; Art; Art history","score_opus":0.025612101525160025,"score_gpt":0.21741999700335934,"score_spread":0.19180789547819932,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413579514","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.052515153,0.0036336745,0.0040520546,0.105676435,0.0012737053,0.00003562521,0.0005263953,0.00009379362,0.83219326],"genre_scores_gemma":[0.79644394,0.0022138963,0.0018280058,0.009453987,0.00028928078,0.00002841563,0.0001228474,0.00014386843,0.18947573],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99904364,0.00018573161,0.000011253384,0.00011019556,0.00023568838,0.00041348804],"domain_scores_gemma":[0.9988696,0.000397777,0.00005450475,0.00007289732,0.00031402076,0.00029112384],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00071116455,0.00034568188,0.00026419855,0.0015222998,0.013499305,0.00843713,0.0007317927,0.0028325485,0.020205252],"category_scores_gemma":[0.0034423545,0.0001697764,0.00018146014,0.002196511,0.008222598,0.0031546075,0.0018371037,0.0031373848,0.0007450954],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002042007,0.00001048746,0.0011768945,0.000024390261,0.000004752263,0.00009575446,0.013152083,0.00013198837,0.00010645428,0.90753675,0.064621694,0.013118362],"study_design_scores_gemma":[0.000011883875,0.000008452426,0.0050905677,0.00020356697,0.000014936569,0.00011228236,0.02927766,0.00089062407,0.00045540067,0.09798728,0.8659019,0.000045353412],"about_ca_topic_score_codex":0.92342,"about_ca_topic_score_gemma":0.9659679,"teacher_disagreement_score":0.07657999,"about_ca_system_score_codex":0.0303039,"about_ca_system_score_gemma":0.026839506,"threshold_uncertainty_score":0.21987116},"labels":[],"label_agreement":null},{"id":"W4413613270","doi":"10.64628/aam.esfsmw4c4","title":"‘Eat the rich’ — Why horror films are taking aim at the ultra-wealthy","year":2025,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Queen's University","funders":"","keywords":"Business; Art","score_opus":0.03414170669552623,"score_gpt":0.2428625170375175,"score_spread":0.20872081034199125,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413613270","genre_codex":"other","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33816835,0.016408522,0.0016708671,0.20008793,0.003274272,0.000035764933,0.00037161232,0.00007610602,0.43990666],"genre_scores_gemma":[0.9534494,0.0037899525,0.0003519595,0.0094165895,0.001146429,0.000014524997,0.00006427925,0.00009138485,0.03167554],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99916804,0.0003913915,0.000015089522,0.00009217151,0.00013186072,0.00020140961],"domain_scores_gemma":[0.9968671,0.0014984388,0.00043270283,0.00013877278,0.00034020693,0.0007227874],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013810844,0.00021781652,0.00017300437,0.0007100865,0.0030928203,0.007247522,0.00046859423,0.0017800354,0.01506979],"category_scores_gemma":[0.0069123046,0.00018029858,0.00012845584,0.00085931894,0.0051305974,0.0054344535,0.0013756996,0.0033295043,0.001302594],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034034433,0.00015134162,0.031888667,0.00057271344,0.00008755632,0.0014455097,0.2524867,0.00012207293,0.0019390775,0.35375285,0.26518303,0.092030115],"study_design_scores_gemma":[0.00002771118,0.00006332804,0.06881358,0.0008537351,0.000046433255,0.00081529166,0.21051452,0.00018848346,0.0007283632,0.037207503,0.6806768,0.00006422607],"about_ca_topic_score_codex":0.0077519417,"about_ca_topic_score_gemma":0.016229246,"teacher_disagreement_score":0.01506979,"about_ca_system_score_codex":0.0014698264,"about_ca_system_score_gemma":0.00054822135,"threshold_uncertainty_score":0.05041343},"labels":[],"label_agreement":null},{"id":"W4413614064","doi":"10.64628/aam.xusqjruhq","title":"‘Better Than Chocolate’ highlights lost 90s decade of lesbian Canadian cinema","year":2025,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Queen's University","funders":"","keywords":"Lesbian; Movie theater; History; Media studies; Political science; Art; Gender studies; Sociology; Art history","score_opus":0.017897207965468512,"score_gpt":0.2165960145343477,"score_spread":0.1986988065688792,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413614064","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15345946,0.05462862,0.00037133705,0.40559968,0.0069739334,0.00006765685,0.0021965762,0.00009254812,0.37661016],"genre_scores_gemma":[0.7925755,0.025487354,0.00033762105,0.03490658,0.003371752,0.000027913778,0.0006498085,0.00016595791,0.14247748],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976451,0.00033118547,0.00003759753,0.00017877774,0.00093238254,0.0008749782],"domain_scores_gemma":[0.99425215,0.0009956064,0.00026332808,0.00014596978,0.0025952447,0.0017477004],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003525706,0.00043516507,0.00036075353,0.0028924209,0.012909677,0.011503024,0.0008413647,0.0026178055,0.019590927],"category_scores_gemma":[0.0069796513,0.0002734444,0.0002473713,0.002558666,0.0067638,0.0032255228,0.0026487669,0.005062469,0.0010908336],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002523625,0.000081384875,0.008694545,0.00042676512,0.000036517864,0.00074556284,0.10212945,0.00011294946,0.0012912003,0.15383478,0.63900566,0.0933889],"study_design_scores_gemma":[0.000006313953,0.000014680129,0.026609503,0.0004448335,0.00001301395,0.00012413813,0.039298393,0.00004313158,0.00027945175,0.0011314634,0.9320058,0.000029312541],"about_ca_topic_score_codex":0.9395689,"about_ca_topic_score_gemma":0.9774136,"teacher_disagreement_score":0.060431123,"about_ca_system_score_codex":0.05650175,"about_ca_system_score_gemma":0.039479572,"threshold_uncertainty_score":0.4099508},"labels":[],"label_agreement":null},{"id":"W4413672730","doi":"10.64628/aam.uecw4tfeg","title":"Believe nothing: The hoax of the Shed at Dulwich","year":2018,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Hoax; Nothing; Internet privacy; Computer science; Computer security; Philosophy; Epistemology; Medicine","score_opus":0.043383805256408337,"score_gpt":0.22483951009664505,"score_spread":0.1814557048402367,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413672730","genre_codex":"commentary","genre_gemma":"commentary","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"commentary","genre_consensus":"commentary","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10485419,0.016691787,0.0034298964,0.5359659,0.0064264275,0.000026264945,0.0009681196,0.00014028524,0.33149716],"genre_scores_gemma":[0.82678854,0.006599569,0.0008752248,0.034930103,0.004678205,0.000025259666,0.00022475359,0.0005850991,0.12529334],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99773115,0.0009914201,0.000040551382,0.00033641513,0.00040406254,0.00049644354],"domain_scores_gemma":[0.9930736,0.0035549847,0.00059741474,0.00042977693,0.00074792904,0.0015962578],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032527216,0.00037034333,0.0006226259,0.0018306072,0.008795967,0.014987656,0.0008363361,0.0050059385,0.04072284],"category_scores_gemma":[0.013718597,0.0004277768,0.00029580816,0.0016544005,0.009346808,0.011916762,0.0042442507,0.008634279,0.0032982186],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022496616,0.000047322224,0.004338009,0.00017266868,0.000028099403,0.0008894874,0.07064675,0.00016739036,0.00037006434,0.5524089,0.33079797,0.03990848],"study_design_scores_gemma":[0.000025694948,0.00003347308,0.009484496,0.0006666202,0.000033343247,0.0004485278,0.0772365,0.00047989123,0.00040157797,0.19553052,0.7155827,0.00007659821],"about_ca_topic_score_codex":0.022351101,"about_ca_topic_score_gemma":0.04503468,"teacher_disagreement_score":0.04072284,"about_ca_system_score_codex":0.005571729,"about_ca_system_score_gemma":0.0021304747,"threshold_uncertainty_score":0.13623148},"labels":[],"label_agreement":null},{"id":"W4413726074","doi":"10.64628/aam.r9xp5euwv","title":"Three trends to watch at the Oscars this weekend","year":2018,"lang":"en","type":"preprint","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Advertising; Geography; Business","score_opus":0.054731879031165914,"score_gpt":0.2510888300346658,"score_spread":0.1963569510034999,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413726074","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10917323,0.012671523,0.0074129123,0.272088,0.10936495,0.00045373596,0.009954039,0.0021445719,0.47673705],"genre_scores_gemma":[0.26780957,0.0055704173,0.0033999942,0.024209924,0.030228836,0.0003477875,0.0049683372,0.0020502643,0.66141486],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981699,0.00030519764,0.000056450233,0.00023144485,0.0006232382,0.00061374466],"domain_scores_gemma":[0.99020386,0.0005501087,0.00055196823,0.00047916765,0.0019319409,0.0062829303],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032789565,0.00077826064,0.0006328932,0.0025629837,0.005802207,0.013664873,0.0009003214,0.0034633675,0.08361376],"category_scores_gemma":[0.009264057,0.0004417167,0.00089732005,0.0023833911,0.0014001869,0.004773124,0.004572438,0.0076928367,0.02555808],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00037977498,0.00017988913,0.010114144,0.00019867261,0.00004569217,0.00027099808,0.0033611048,0.00009979992,0.0010887281,0.01197445,0.9054605,0.06682628],"study_design_scores_gemma":[0.000022510732,0.00015950653,0.049842313,0.0003119233,0.000029872313,0.00013991883,0.011695713,0.00015777742,0.000569123,0.0032167186,0.93377584,0.0000787989],"about_ca_topic_score_codex":0.007278644,"about_ca_topic_score_gemma":0.025289685,"teacher_disagreement_score":0.08361376,"about_ca_system_score_codex":0.002325133,"about_ca_system_score_gemma":0.0017799608,"threshold_uncertainty_score":0.2797159},"labels":[],"label_agreement":null},{"id":"W4413797106","doi":"10.2174/0109298673439579250825104543","title":"Preface","year":2025,"lang":"en","type":"article","venue":"Current Medicinal Chemistry","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"The King's University","funders":"","keywords":"Chemistry","score_opus":0.03073304727294562,"score_gpt":0.2683479207240686,"score_spread":0.23761487345112298,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413797106","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012154441,0.009287578,0.0050207144,0.02909547,0.21494593,0.00046469833,0.012367924,0.0012321122,0.7263701],"genre_scores_gemma":[0.004694023,0.0034664047,0.0018021852,0.005577806,0.023152817,0.00020387942,0.0060366504,0.0006225706,0.95444363],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935573,0.00010233122,0.00003865103,0.00009954651,0.00034576963,0.0000580859],"domain_scores_gemma":[0.9950884,0.0008471246,0.00016738242,0.00047267228,0.002707529,0.0007168767],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0012551652,0.00072884216,0.0005324404,0.0029001927,0.002336785,0.003015176,0.0010241962,0.00090315373,0.44772792],"category_scores_gemma":[0.01083201,0.00021822874,0.0004328239,0.0019237467,0.0005693861,0.0018565127,0.0016885856,0.0024631443,0.2820545],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001751488,0.000011676097,0.000057942798,0.000054672782,0.0000010837379,0.00002670089,0.000045537978,0.000036564525,0.0000684159,0.0044716755,0.9656642,0.029544014],"study_design_scores_gemma":[0.0000026017933,0.0000062223767,0.00017648288,0.00006822045,9.4142143e-7,0.000021360915,0.00005357897,0.000016469734,0.000051341958,0.0022112217,0.997389,0.0000025036263],"about_ca_topic_score_codex":0.0056658047,"about_ca_topic_score_gemma":0.0073086843,"teacher_disagreement_score":0.5522721,"about_ca_system_score_codex":0.0017469293,"about_ca_system_score_gemma":0.0022062012,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4413803480","doi":"10.3389/fcomm.2025.1655589","title":"Digital platforms and the shifting landscape of transnational cinema","year":2025,"lang":"en","type":"article","venue":"Frontiers in Communication","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Economic geography; Geography; Art; Visual arts","score_opus":0.012337801450614456,"score_gpt":0.20968418577441814,"score_spread":0.1973463843238037,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413803480","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.35753745,0.008018346,0.012508358,0.016571078,0.00055783783,0.000058185156,0.00010183793,0.00015207984,0.6044948],"genre_scores_gemma":[0.98828775,0.0013355415,0.0013266461,0.000266489,0.00012326433,0.00001704961,0.00002342031,0.00004519509,0.008574841],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985097,0.0007269672,0.000046815894,0.00024907725,0.0002533323,0.00021416889],"domain_scores_gemma":[0.9976548,0.0011794575,0.0002633096,0.00030579133,0.00021243551,0.00038424623],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020320755,0.0002918438,0.0001609876,0.0015972203,0.0043237023,0.015081359,0.00071941403,0.0013968161,0.009998923],"category_scores_gemma":[0.0034184386,0.00024985065,0.00019149172,0.0011617645,0.012286102,0.011119727,0.008490753,0.0019402086,0.000583648],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005226903,0.000023546761,0.0017687875,0.0001601673,0.00000810595,0.00063894276,0.10493424,0.00023811708,0.0014483545,0.8480746,0.004097607,0.03855522],"study_design_scores_gemma":[0.000023346689,0.00010580824,0.008089249,0.00086916925,0.000021379632,0.0020058886,0.14180732,0.0014454441,0.0016430874,0.20642418,0.6375146,0.000050513034],"about_ca_topic_score_codex":0.0012983178,"about_ca_topic_score_gemma":0.0019241185,"teacher_disagreement_score":0.015081359,"about_ca_system_score_codex":0.0027433424,"about_ca_system_score_gemma":0.0012255517,"threshold_uncertainty_score":0.03344971},"labels":[],"label_agreement":null},{"id":"W4413813390","doi":"10.1007/978-3-031-86809-2_4","title":"(Mis)Interpretation and (Mis)Representation of War on Stage","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Ottawa","funders":"","keywords":"Interpretation (philosophy); Representation (politics); Stage (stratigraphy); Computer science; Artificial intelligence; History; Political science; Geology; Programming language; Paleontology; Law","score_opus":0.031093294351908676,"score_gpt":0.2423090789524766,"score_spread":0.21121578460056795,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413813390","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04953713,0.007912669,0.13040012,0.049165282,0.0035608027,0.000043918873,0.0007052908,0.00013861973,0.7585362],"genre_scores_gemma":[0.9351389,0.002394317,0.011135563,0.0019162137,0.0017776906,0.000051111547,0.00019294723,0.0001641232,0.04722916],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.996099,0.002445364,0.00017480145,0.00048884965,0.0005489799,0.00024305696],"domain_scores_gemma":[0.9942312,0.003355114,0.0005505158,0.0011023858,0.00063894177,0.00012184803],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033290014,0.00040369353,0.00037235537,0.0019503819,0.0012732465,0.0073138718,0.001201001,0.002542118,0.010297307],"category_scores_gemma":[0.017824965,0.0003642998,0.0002692819,0.0023188374,0.009364839,0.010017414,0.0014207906,0.002626073,0.0009879491],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009319943,0.0000027083242,0.00016448091,0.000022587403,0.0000029533803,0.00002415591,0.0017690421,0.00017413251,0.00006337586,0.98827434,0.0026223082,0.0068705133],"study_design_scores_gemma":[0.000002509744,0.000006202471,0.00073668186,0.000074774536,0.0000073845863,0.00010315767,0.0016473877,0.0014788045,0.00031318085,0.9554494,0.04017121,0.000009313463],"about_ca_topic_score_codex":0.0021062181,"about_ca_topic_score_gemma":0.002400688,"teacher_disagreement_score":0.010297307,"about_ca_system_score_codex":0.0021138147,"about_ca_system_score_gemma":0.0009789845,"threshold_uncertainty_score":0.03444791},"labels":[],"label_agreement":null},{"id":"W4413881290","doi":"10.35492/docam/12/1/3","title":"Make It Pink: Superman, Pink Kryptonite, and Fandom","year":2025,"lang":"en","type":"article","venue":"Proceedings from the Document Academy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cape Breton University","funders":"Social Sciences and Humanities Research Council of Canada; Dalhousie University; Cape Breton University; Bowling Green State University","keywords":"Superman; Fandom; Art; Advertising; Art history; Business; Literature","score_opus":0.023518846437144234,"score_gpt":0.25193268389697077,"score_spread":0.22841383745982652,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413881290","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2611112,0.0077864164,0.008168858,0.031885177,0.0015386905,0.00004672469,0.00005993753,0.00010548458,0.6892975],"genre_scores_gemma":[0.9720639,0.00084382505,0.00047258972,0.0016999776,0.00013240153,0.000013338683,0.000013966627,0.000065833236,0.024694132],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9979982,0.0013220902,0.000020822737,0.00016153044,0.00023530166,0.00026207176],"domain_scores_gemma":[0.99857616,0.0007836635,0.00015277244,0.00009821845,0.00014895391,0.00024029527],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002476254,0.000593966,0.00021809354,0.001315471,0.012376042,0.007244425,0.0007049375,0.001605115,0.0068628187],"category_scores_gemma":[0.0035843228,0.00024264891,0.00020682535,0.0010228251,0.0226289,0.0076815686,0.0035223186,0.0033542057,0.0005168767],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003983098,0.0000206751,0.0016391975,0.00006473294,0.0000043778887,0.00040377537,0.3679484,0.00004742485,0.00024944937,0.60954285,0.010955845,0.009083351],"study_design_scores_gemma":[0.000019343883,0.0000441153,0.0027024052,0.0003125124,0.000012430932,0.0006282414,0.37403804,0.00040058006,0.0006089063,0.06920921,0.5519859,0.000038299167],"about_ca_topic_score_codex":0.013389391,"about_ca_topic_score_gemma":0.034062035,"teacher_disagreement_score":0.013389391,"about_ca_system_score_codex":0.004240053,"about_ca_system_score_gemma":0.0013215288,"threshold_uncertainty_score":0.030763865},"labels":[],"label_agreement":null},{"id":"W4413911604","doi":"10.32920/ifmj.v5i1-2.2381","title":"Echoes of the Canadian Aporia","year":2025,"lang":"en","type":"article","venue":"Interactive Film and Media Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"University College of the North","funders":"","keywords":"History","score_opus":0.015657509312254028,"score_gpt":0.22845541466725455,"score_spread":0.21279790535500054,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413911604","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.32051727,0.004495493,0.0016305215,0.051104277,0.0018154592,0.00005309267,0.0005715054,0.00016246419,0.61964995],"genre_scores_gemma":[0.94007945,0.0009652952,0.00039675258,0.0020529646,0.000107530315,0.000015285319,0.000084364976,0.000089295514,0.05620908],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981858,0.00032084424,0.000020946485,0.00023074768,0.00073552085,0.00050609664],"domain_scores_gemma":[0.9979195,0.00051172875,0.00012228244,0.00010575953,0.00079954875,0.0005411571],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00096105813,0.00047787756,0.00027954468,0.0013016992,0.02597371,0.009223325,0.0011202823,0.0021761628,0.012068575],"category_scores_gemma":[0.0047044256,0.00030555247,0.00018225083,0.001819471,0.013805689,0.0019754602,0.0043671895,0.0038082586,0.0006288628],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001247541,0.000027004882,0.0055203955,0.00019349453,0.000026078204,0.003594419,0.6700661,0.00029541532,0.0024139865,0.13237311,0.15276939,0.03259584],"study_design_scores_gemma":[0.000008212478,0.000012173133,0.004523962,0.00017455155,0.00001446576,0.0004545789,0.23206584,0.00021130712,0.00046372993,0.002118906,0.7599031,0.00004929217],"about_ca_topic_score_codex":0.9505992,"about_ca_topic_score_gemma":0.97933847,"teacher_disagreement_score":0.056246534,"about_ca_system_score_codex":0.056246534,"about_ca_system_score_gemma":0.034742236,"threshold_uncertainty_score":0.40809906},"labels":[],"label_agreement":null},{"id":"W4413975089","doi":"10.64628/aam.fmunh6hw4","title":"Fashion icon Giorgio Armani’s impact and legacy will be felt for decades to come","year":2025,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Concordia University","funders":"","keywords":"Icon; History; Aesthetics; Political science; Art; Computer science","score_opus":0.033099231660903686,"score_gpt":0.2896006775225432,"score_spread":0.25650144586163953,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4413975089","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009741576,0.024142124,0.0014153986,0.17393216,0.05567086,0.000037996153,0.00039107792,0.00034688876,0.734322],"genre_scores_gemma":[0.087960556,0.011268809,0.0010051061,0.020985523,0.033072215,0.000056280885,0.00024909494,0.00042785198,0.84497464],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992964,0.00018166329,0.000012017078,0.00015891789,0.0002119638,0.00013897863],"domain_scores_gemma":[0.99877423,0.0004377097,0.00008548623,0.00014726925,0.000253836,0.00030149895],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010949507,0.00094674545,0.00037220365,0.0015086994,0.0018997905,0.005129483,0.00047957717,0.0022100946,0.054132234],"category_scores_gemma":[0.00391585,0.00023231663,0.00027921598,0.0009741769,0.0025461607,0.0019149493,0.0017698802,0.003259232,0.018670611],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000113065405,0.000029938386,0.00055775326,0.00017834616,0.000009348477,0.00016064593,0.0012992704,0.00007084209,0.0007312381,0.07925001,0.8702558,0.047343746],"study_design_scores_gemma":[0.000004969356,0.000017502496,0.0006336941,0.00012630758,0.0000037998934,0.00011400006,0.00041441148,0.000038331546,0.000107942564,0.0024175313,0.9961146,0.0000067918827],"about_ca_topic_score_codex":0.003176709,"about_ca_topic_score_gemma":0.006327141,"teacher_disagreement_score":0.054132234,"about_ca_system_score_codex":0.0018498747,"about_ca_system_score_gemma":0.0007651315,"threshold_uncertainty_score":0.18109035},"labels":[],"label_agreement":null},{"id":"W4414145521","doi":"10.54254/2753-7048/2025.nd26579","title":"withdraw","year":2025,"lang":"en","type":"article","venue":"Lecture Notes in Education Psychology and Public Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"York University","funders":"","keywords":"Narrative; Narrative structure; Narratology; Narrative network; Adaptation (eye); Presentation (obstetrics); Key (lock); Perspective (graphical)","score_opus":0.02245003096227849,"score_gpt":0.29538253610593457,"score_spread":0.2729325051436561,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414145521","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0071285455,0.0017350265,0.0042485376,0.08157311,0.03634756,0.0030886373,0.030072091,0.005143698,0.83066285],"genre_scores_gemma":[0.017153768,0.00076146366,0.0011248037,0.05266416,0.0065879077,0.002600215,0.008898996,0.0012745678,0.9089342],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9968503,0.0006896934,0.00024417043,0.00024124383,0.0012369796,0.0007376262],"domain_scores_gemma":[0.98813474,0.0030514824,0.0003690444,0.0021884611,0.003994942,0.002261318],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0048726145,0.0010845937,0.001270438,0.0015352374,0.0023476265,0.004967515,0.0018674309,0.008243895,0.59749854],"category_scores_gemma":[0.028540455,0.00047208025,0.0015644372,0.0006754015,0.0007939825,0.0021693397,0.00437194,0.0044432934,0.44050014],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002260585,0.000044587276,0.00032722775,0.000118664226,0.00001343303,0.00013289407,0.000048882845,0.000019554825,0.0001920996,0.002593847,0.97925514,0.017027574],"study_design_scores_gemma":[0.0002356625,0.00004797491,0.0011850178,0.00018736832,0.000018531358,0.00013204008,0.00018579431,0.00009834916,0.00017503584,0.008126104,0.989581,0.00002708151],"about_ca_topic_score_codex":0.0012180912,"about_ca_topic_score_gemma":0.002067543,"teacher_disagreement_score":0.40250146,"about_ca_system_score_codex":0.0009869839,"about_ca_system_score_gemma":0.003466073,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4414219804","doi":"10.1525/fq.2025.79.1.108","title":"Review: <i>Queer for Fear: Horror Film and the Queer Spectator</i>, by Heather O. Petrocelli","year":2025,"lang":"en","type":"article","venue":"Film Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Petro-Canada","funders":"","keywords":"Queer; Queer theory; Performance art; Media arts","score_opus":0.010690970394235987,"score_gpt":0.22456738400057677,"score_spread":0.21387641360634077,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414219804","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000047049125,0.9672803,0.000023881592,0.020765461,0.010108704,0.000008153603,0.000099308025,0.000009541069,0.0016575925],"genre_scores_gemma":[0.0006653649,0.97127926,0.000029752968,0.0147049865,0.010596611,0.000014493305,0.0001187988,0.000009795231,0.0025809335],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999209,0.00018095404,0.000091437476,0.0001351883,0.00029305374,0.000090435395],"domain_scores_gemma":[0.9944654,0.0021782552,0.00060111354,0.000115592346,0.0019917625,0.0006477947],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014804031,0.001233936,0.0021744953,0.0030574023,0.0009969387,0.0045592785,0.0018133827,0.0040683905,0.012016111],"category_scores_gemma":[0.0073562227,0.0005672435,0.0007525503,0.0054378277,0.0016117723,0.003366142,0.0015314106,0.004574116,0.0062454273],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026168002,0.000005749959,0.000056542776,0.004225292,0.000038754803,0.000028184048,0.000037210928,0.0000219825,0.000041081566,0.0005938908,0.94685215,0.048073005],"study_design_scores_gemma":[0.00001570907,0.000021134168,0.00079311244,0.007032889,0.00007033753,0.00017515168,0.000113025846,0.00001929345,0.000036937927,0.00048138568,0.9912272,0.000013779468],"about_ca_topic_score_codex":0.010331593,"about_ca_topic_score_gemma":0.019958725,"teacher_disagreement_score":0.012016111,"about_ca_system_score_codex":0.0027194447,"about_ca_system_score_gemma":0.005187392,"threshold_uncertainty_score":0.04019791},"labels":[],"label_agreement":null},{"id":"W4414795042","doi":"10.1353/vcr.2024.a970814","title":"Hunt a Killer: The Ludic Legacy of Aporia-Epiphany Dialectics in Jack the Ripper Media","year":2024,"lang":"en","type":"article","venue":"Victorian review","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Trope (literature); Dialectic; Creed; Amateur; Identity (music); Video game; Blues; Punk","score_opus":0.03674241390410015,"score_gpt":0.2550775787997793,"score_spread":0.21833516489567917,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414795042","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017945092,0.78755194,0.003421969,0.077081,0.0011306485,0.0000158344,0.000044811124,0.000021431335,0.112787224],"genre_scores_gemma":[0.48344743,0.49073142,0.0008948958,0.011609653,0.0018777733,0.000038278307,0.000036689078,0.000036745107,0.011327125],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9936753,0.0046450105,0.00013726624,0.0003678206,0.0009341807,0.00024041126],"domain_scores_gemma":[0.98472863,0.0125108715,0.0009268042,0.00043412636,0.0011238882,0.00027572704],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0075006173,0.00027138507,0.00048429088,0.0030950664,0.0016933986,0.008154593,0.00088843494,0.0018153145,0.002573716],"category_scores_gemma":[0.015556012,0.00023150006,0.00021537079,0.0036522713,0.013974063,0.0059286067,0.002171088,0.0036093278,0.00044920345],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039854047,0.000031553074,0.0004647616,0.0015695911,0.00004709943,0.00017078103,0.012054724,0.00025759957,0.000087424116,0.8826052,0.021458715,0.08121269],"study_design_scores_gemma":[0.00001694172,0.00003375026,0.0032821293,0.0113623105,0.00006305716,0.00035088178,0.016225012,0.00044827515,0.00025856146,0.16050823,0.80741394,0.000036899175],"about_ca_topic_score_codex":0.017438186,"about_ca_topic_score_gemma":0.021270325,"teacher_disagreement_score":0.017438186,"about_ca_system_score_codex":0.006567447,"about_ca_system_score_gemma":0.005568024,"threshold_uncertainty_score":0.047650397},"labels":[],"label_agreement":null},{"id":"W4414856675","doi":"10.7202/1120340ar","title":"État des lieux. Recherche et enseignement du cinéma québécois aujourd’hui","year":2025,"lang":"fr","type":"article","venue":"Nouvelles vues Revue sur les pratiques les théories et l histoire du cinéma au Québec","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"Université Laval; Université de Montréal","funders":"","keywords":"Field (mathematics); Higher education; Research methodology; Perspective (graphical)","score_opus":0.040982185206205744,"score_gpt":0.2578454160849599,"score_spread":0.21686323087875417,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414856675","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.034832675,0.27096644,0.0060796556,0.14552803,0.006872092,0.00023690917,0.0068158335,0.00032158112,0.5283468],"genre_scores_gemma":[0.33321682,0.077678114,0.0054490007,0.006213958,0.0010986693,0.00022157468,0.0020985624,0.00019132782,0.573832],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99746037,0.0007548136,0.000066862725,0.00030636802,0.0010642995,0.0003472644],"domain_scores_gemma":[0.9936015,0.0013589627,0.00032022526,0.00034510443,0.0033807987,0.0009933303],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028466322,0.0006521014,0.00052507885,0.002274194,0.005162779,0.0054106424,0.0008739816,0.0018221699,0.047656458],"category_scores_gemma":[0.007891775,0.00033708214,0.00039391583,0.0032812033,0.004473945,0.0029017404,0.0013114961,0.002639769,0.0031914315],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013858247,0.00008004048,0.009147596,0.0011933591,0.00005961068,0.00041110528,0.020813858,0.0007212491,0.0017188125,0.20635821,0.48280382,0.27655387],"study_design_scores_gemma":[0.000010974244,0.000018499277,0.026296938,0.00064528163,0.000018646182,0.00013835967,0.0056288177,0.00025491428,0.00041770568,0.0043994547,0.96212786,0.000042470798],"about_ca_topic_score_codex":0.9583309,"about_ca_topic_score_gemma":0.96230125,"teacher_disagreement_score":0.047656458,"about_ca_system_score_codex":0.0409177,"about_ca_system_score_gemma":0.051434424,"threshold_uncertainty_score":0.29688007},"labels":[],"label_agreement":null},{"id":"W4414992956","doi":"10.2139/ssrn.5580232","title":"Operational Decision-making Around Movie Piracy &amp;amp; Theatrical Release A Structural Model of Movie Piracy vs. Legal (in-Theater) Consumption","year":2025,"lang":"en","type":"article","venue":"SSRN Electronic Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Quest University Canada","funders":"","keywords":"Counterfactual thinking; Ticket; Studio; Revenue; Quality (philosophy); Consumption (sociology); Function (biology); Counterfeit","score_opus":0.025668761650104777,"score_gpt":0.2835541899937495,"score_spread":0.2578854283436447,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4414992956","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.93062395,0.00029680668,0.03313336,0.004799985,0.000063280866,0.00024228814,0.0016010221,0.000086523825,0.029152868],"genre_scores_gemma":[0.9936422,0.00010298657,0.0012533924,0.000049520157,0.000022414702,0.000035868845,0.00028390792,0.000013330394,0.0045964015],"study_design_codex":"simulation_or_modeling","study_design_gemma":"simulation_or_modeling","domain_scores_codex":[0.99818736,0.00070071843,0.00007914027,0.0003849307,0.00011693507,0.00053081894],"domain_scores_gemma":[0.9859995,0.009345097,0.002197575,0.00041929094,0.00045767316,0.0015807827],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0036775216,0.0005218842,0.0013493462,0.0008866079,0.001263442,0.0058158697,0.0016944605,0.0033299886,0.027715677],"category_scores_gemma":[0.012113754,0.0012098748,0.0011603583,0.001144681,0.002965691,0.004447081,0.0023156693,0.0043473803,0.0017505942],"study_design_candidate":"simulation_or_modeling","study_design_consensus":"simulation_or_modeling","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.003571873,0.0020623638,0.10436876,0.00044086995,0.00055601017,0.0017804597,0.0030083894,0.42171368,0.004141075,0.41805106,0.008445258,0.03186017],"study_design_scores_gemma":[0.00032219235,0.00080346287,0.047903854,0.000100577054,0.00020150599,0.00019059343,0.0045291716,0.7856382,0.0010828105,0.15542106,0.003653985,0.00015259678],"about_ca_topic_score_codex":0.019146357,"about_ca_topic_score_gemma":0.016852126,"teacher_disagreement_score":0.027715677,"about_ca_system_score_codex":0.0040804297,"about_ca_system_score_gemma":0.002672767,"threshold_uncertainty_score":0.092718184},"labels":[],"label_agreement":null},{"id":"W4415195717","doi":"10.3366/film.2025.0327","title":"Desire for Life: Stanley Cavell, Martin Scorsese and the Gangster Genre","year":2025,"lang":"en","type":"article","venue":"Film-Philosophy","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Movie theater; Reading (process); Normative; Power (physics); Film theory; Auteur theory; Close reading","score_opus":0.03861017239010699,"score_gpt":0.23229601996552174,"score_spread":0.19368584757541474,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415195717","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18638621,0.048803248,0.0026082052,0.3400455,0.0012218211,0.000047509406,0.00015229333,0.00004539782,0.4206898],"genre_scores_gemma":[0.92725754,0.019953353,0.0011697214,0.01042113,0.0010160841,0.00007196497,0.00004673855,0.000052033574,0.040011454],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9987436,0.00079960946,0.000020671929,0.0001078593,0.00023193416,0.00009630871],"domain_scores_gemma":[0.99609464,0.0029153347,0.0002906386,0.00013816297,0.00021583171,0.0003453032],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022256232,0.00023927243,0.00026163572,0.0022235075,0.0044914368,0.009654771,0.00060410454,0.002071355,0.0049206847],"category_scores_gemma":[0.006263055,0.00022322175,0.00013512786,0.002196489,0.015742533,0.008411498,0.0023466928,0.0035160014,0.00023206005],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021108646,0.000037977337,0.0014725273,0.00007334538,0.000004777973,0.00017749149,0.0497217,0.00008267766,0.00013380562,0.9036223,0.031808756,0.01284344],"study_design_scores_gemma":[0.000025081707,0.00002922853,0.006285766,0.00084696995,0.000010999884,0.00040675537,0.086707264,0.0003586423,0.00027839106,0.29469612,0.6103136,0.00004127209],"about_ca_topic_score_codex":0.028234517,"about_ca_topic_score_gemma":0.04344239,"teacher_disagreement_score":0.028234517,"about_ca_system_score_codex":0.0051256474,"about_ca_system_score_gemma":0.002294771,"threshold_uncertainty_score":0.056140363},"labels":[],"label_agreement":null},{"id":"W4415478027","doi":"10.1162/leon.r.2565","title":"Interactive Cinema: The Ambiguous Ethics of Media Participation","year":2025,"lang":"en","type":"article","venue":"Leonardo","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Dalhousie University","funders":"","keywords":"Digital media; Information ethics","score_opus":0.05128624140171191,"score_gpt":0.298843418593229,"score_spread":0.2475571771915171,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415478027","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22068064,0.009393516,0.041418392,0.09400883,0.00041436395,0.0000616497,0.0001400553,0.00009494247,0.6337877],"genre_scores_gemma":[0.987313,0.00072238926,0.0015348466,0.0010014748,0.0002850736,0.00003336793,0.0000131881325,0.000038267506,0.0090583945],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9940439,0.0043450543,0.00010135596,0.00045325857,0.00063171797,0.000424733],"domain_scores_gemma":[0.96826214,0.026159186,0.001281706,0.0022093242,0.0012267657,0.0008608669],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005253092,0.00026314572,0.00037517867,0.0015050848,0.0026212751,0.007929516,0.00087310193,0.004339878,0.00796314],"category_scores_gemma":[0.031716384,0.000263945,0.00019190079,0.0011479799,0.013010457,0.0064242785,0.0031347882,0.0028395203,0.00042668596],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021107455,0.000014967712,0.00092656905,0.0000318686,0.0000052650607,0.00006282069,0.0055694655,0.00012978535,0.00012881195,0.9813452,0.0022301872,0.009534036],"study_design_scores_gemma":[0.000024000636,0.000022788297,0.004313079,0.0002509695,0.000022534303,0.00021268486,0.0064498596,0.0018500129,0.000521966,0.92487,0.061438456,0.000023564788],"about_ca_topic_score_codex":0.0041339286,"about_ca_topic_score_gemma":0.0039727073,"teacher_disagreement_score":0.00796314,"about_ca_system_score_codex":0.0017503467,"about_ca_system_score_gemma":0.0012794008,"threshold_uncertainty_score":0.027781308},"labels":[],"label_agreement":null},{"id":"W4415488666","doi":"10.1017/9781009606295.006","title":"How to Tame the ‘Digital’ Shrew","year":2025,"lang":"","type":"book-chapter","venue":"Cambridge University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Human rights; Accountability; Social rights; Duty; Liability; European union; Fundamental rights","score_opus":0.02860180097505798,"score_gpt":0.17903267631128958,"score_spread":0.1504308753362316,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4415488666","genre_codex":"methods","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015475064,0.0065991688,0.63015974,0.12236051,0.002268803,0.00013448251,0.00035544496,0.0013242982,0.22132249],"genre_scores_gemma":[0.57327884,0.010869046,0.3093555,0.016397862,0.0017768614,0.0005448602,0.00047579783,0.0014756133,0.08582569],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973557,0.0013346588,0.000102911705,0.0004555444,0.0005609886,0.00019025416],"domain_scores_gemma":[0.9880728,0.0066677765,0.0006578478,0.0033729975,0.0007686694,0.00045980464],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0055124336,0.0011004321,0.00083525537,0.0011915716,0.0017685941,0.008197523,0.0026517352,0.0042420947,0.01992207],"category_scores_gemma":[0.024156447,0.00078206294,0.0011691945,0.0008110096,0.016306218,0.03004936,0.006704924,0.007300715,0.00465992],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000056827166,0.000011205978,0.00013957421,0.000056133114,0.000009489516,0.000048314098,0.0004211572,0.0023994984,0.00011482134,0.98442507,0.003502478,0.008866557],"study_design_scores_gemma":[0.000005946123,0.000009183751,0.00004466518,0.000100588324,0.000006478433,0.000049378636,0.00022651655,0.004879652,0.00017503092,0.9510933,0.043396976,0.0000121719595],"about_ca_topic_score_codex":0.003625187,"about_ca_topic_score_gemma":0.0026909476,"teacher_disagreement_score":0.01992207,"about_ca_system_score_codex":0.0022115884,"about_ca_system_score_gemma":0.0029625455,"threshold_uncertainty_score":0.06664598},"labels":[],"label_agreement":null},{"id":"W4416134567","doi":"10.1177/02697580251370767","title":"Chainsaws and bombshells: Brutality and victim sexualization in slasher films, 1960–2019","year":2025,"lang":"en","type":"article","venue":"International Review of Victimology","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Magnus Chemicals (Canada)","funders":"","keywords":"Sexualization; Poison control; Perception; Human sexuality; Suicide prevention; Relation (database); Human factors and ergonomics; Interrogation","score_opus":0.01550217932117476,"score_gpt":0.28394119125066053,"score_spread":0.26843901192948577,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416134567","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.95285755,0.014900271,0.0002991962,0.0032254492,0.00017964933,0.00003153132,0.0003734184,0.000010463688,0.028122513],"genre_scores_gemma":[0.9836016,0.011159332,0.0001757172,0.00027971526,0.00018857601,0.000014755562,0.00020056819,0.000015804837,0.0043639266],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9992625,0.00041150564,0.000041493287,0.00007956517,0.00010801356,0.000096886375],"domain_scores_gemma":[0.9963386,0.0018403745,0.0011356259,0.00014629132,0.00033664925,0.00020259329],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015432385,0.0002730877,0.00020363928,0.003136283,0.0017687102,0.002639788,0.00027141068,0.00060532923,0.003651416],"category_scores_gemma":[0.0074493424,0.00026630543,0.00016431388,0.0024928488,0.0027044667,0.002736273,0.0018037347,0.0013542533,0.0002886406],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004327238,0.00016009912,0.1235324,0.0011405159,0.00013352298,0.0021017836,0.72717154,0.00016792635,0.0020127376,0.024746172,0.014890808,0.10350974],"study_design_scores_gemma":[0.000013290334,0.00016833298,0.48964208,0.0018470439,0.00007192639,0.0016983122,0.36996347,0.00015754999,0.0009439415,0.0021329508,0.13331245,0.000048669222],"about_ca_topic_score_codex":0.011337306,"about_ca_topic_score_gemma":0.020667834,"teacher_disagreement_score":0.011337306,"about_ca_system_score_codex":0.0014679254,"about_ca_system_score_gemma":0.00053941796,"threshold_uncertainty_score":0.022542655},"labels":[],"label_agreement":null},{"id":"W4416644334","doi":"10.1108/979-8-88730-183-920251012","title":"Abbas Kiarostami","year":2023,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Victoria","funders":"","keywords":"Film director; Islam; Focus (optics); Work (physics); Focus group","score_opus":0.06338060363349449,"score_gpt":0.2140433914820895,"score_spread":0.15066278784859502,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416644334","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013901437,0.050403193,0.0026400753,0.01957436,0.005545754,0.00005037307,0.00020623866,0.00029605898,0.9073824],"genre_scores_gemma":[0.10513408,0.025296532,0.002325752,0.0025019348,0.00090027787,0.000041564497,0.00013734984,0.00013942354,0.86352295],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99984145,0.000023410561,0.000005363923,0.000034140347,0.00007200007,0.00002356332],"domain_scores_gemma":[0.999845,0.00003383372,0.0000133144795,0.000008720232,0.0000721554,0.000026963506],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003040174,0.000570251,0.00018851306,0.0011317569,0.0023296846,0.0020660846,0.00034619056,0.00079636485,0.02398437],"category_scores_gemma":[0.0005453016,0.00018541854,0.00014217295,0.00082611316,0.0010423621,0.0023277935,0.00077541574,0.0017824594,0.012439146],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006284316,0.000084556894,0.0012666605,0.00032495678,0.00000661807,0.00043064746,0.0076284893,0.00024212062,0.0017220242,0.38248536,0.42655158,0.17919411],"study_design_scores_gemma":[0.000002772482,0.000015156734,0.000695499,0.00009327365,0.0000026621235,0.00036673175,0.0010924146,0.0000867459,0.00023841922,0.005730698,0.9916705,0.00000519229],"about_ca_topic_score_codex":0.00467917,"about_ca_topic_score_gemma":0.0124894995,"teacher_disagreement_score":0.02398437,"about_ca_system_score_codex":0.0016456618,"about_ca_system_score_gemma":0.001480599,"threshold_uncertainty_score":0.08023572},"labels":[],"label_agreement":null},{"id":"W4416862027","doi":"10.5117/9789462983168-8","title":"Contextualizing the Apparatus: Film in the Turn-of-the-Century Sears, Roebuck &amp; Co.'s Consumers Guide","year":2025,"lang":"en","type":"book-chapter","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Documentation; Order (exchange); Work (physics); Public use","score_opus":0.04471905642545054,"score_gpt":0.2580559453697861,"score_spread":0.21333688894433556,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4416862027","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0051254933,0.08537443,0.002529065,0.025486115,0.0018646618,0.00006711745,0.000696351,0.00020386586,0.8786529],"genre_scores_gemma":[0.108091325,0.13162212,0.00397293,0.004166747,0.0011488163,0.000092909366,0.0007240003,0.00035831128,0.7498229],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996878,0.00012427545,0.000014330703,0.00003289158,0.000105342035,0.000035359746],"domain_scores_gemma":[0.9996352,0.00018746697,0.00002205353,0.000021700587,0.00009026206,0.00004328529],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00057398964,0.00039522632,0.0001907617,0.0012932227,0.0017627565,0.006485015,0.0004218366,0.0010205776,0.029027415],"category_scores_gemma":[0.0015025926,0.00028573335,0.00011414175,0.001736134,0.002189891,0.0038307125,0.0009833369,0.0014570111,0.0045063347],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017125261,0.000020749292,0.00038368645,0.0002749565,0.0000038218436,0.00025222584,0.012614252,0.00017040766,0.00047919844,0.21616395,0.64316005,0.12645958],"study_design_scores_gemma":[8.7943005e-7,0.0000028654938,0.0006376625,0.00027460957,0.0000015601172,0.000041129042,0.0038804088,0.000028451568,0.00008576444,0.0029722974,0.9920712,0.000003168351],"about_ca_topic_score_codex":0.09566597,"about_ca_topic_score_gemma":0.1875508,"teacher_disagreement_score":0.09566597,"about_ca_system_score_codex":0.0044308407,"about_ca_system_score_gemma":0.002379598,"threshold_uncertainty_score":0.19021827},"labels":[],"label_agreement":null},{"id":"W4417125256","doi":"10.1515/9781474403023","title":"ReFocus","year":2016,"lang":"en","type":"book","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Studio; Battle; Hollywood; Style (visual arts); Metropolitan area","score_opus":0.032781954489048505,"score_gpt":0.18902654343017944,"score_spread":0.15624458894113094,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4417125256","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012562585,0.0046275784,0.0039929557,0.025805946,0.026191633,0.00016420434,0.0016627085,0.0009324218,0.9353665],"genre_scores_gemma":[0.010214305,0.0038637673,0.0027748905,0.0075452295,0.005343798,0.0001283543,0.0017660462,0.000799913,0.9675637],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973705,0.00054788205,0.00018949302,0.0005654808,0.0010180912,0.0003085279],"domain_scores_gemma":[0.9952561,0.00058497145,0.00023716956,0.0009963143,0.0020036362,0.0009216871],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002025104,0.0008122207,0.0005738148,0.0022458152,0.002910956,0.009005872,0.0018746993,0.002805711,0.50982386],"category_scores_gemma":[0.010832986,0.00034065061,0.00069465593,0.0018855078,0.0013733134,0.006440494,0.0060795387,0.0030466397,0.36931574],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028154574,0.000031455846,0.0003160932,0.00018161332,0.0000056759764,0.00013454641,0.00079414534,0.000041290637,0.00027310554,0.033472925,0.80776036,0.15696062],"study_design_scores_gemma":[0.0000019219456,0.000004434512,0.000113527014,0.00007326047,0.0000011431598,0.00005494239,0.00019094256,0.000011602294,0.000042784483,0.0021689462,0.997334,0.0000025169586],"about_ca_topic_score_codex":0.002687956,"about_ca_topic_score_gemma":0.0052779806,"teacher_disagreement_score":0.50982386,"about_ca_system_score_codex":0.002709612,"about_ca_system_score_gemma":0.004385336,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W4417326433","doi":"10.51644/9781771126908","title":"Secret Museums","year":2025,"lang":"","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Interpretation (philosophy); Work (physics)","score_opus":0.027345635603946792,"score_gpt":0.2162213098140844,"score_spread":0.18887567421013762,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4417326433","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015780078,0.001826027,0.00040946357,0.0053454996,0.0035109823,0.00014383436,0.0045597963,0.00086450425,0.98176193],"genre_scores_gemma":[0.0061659305,0.0010284791,0.00046051276,0.0011476227,0.0005376336,0.0000639979,0.0021382843,0.0004942265,0.9879632],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99810165,0.00018694138,0.00008990013,0.00034593893,0.0009135937,0.00036193596],"domain_scores_gemma":[0.99753153,0.00019547094,0.00014356508,0.00035141475,0.0007392715,0.0010387172],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010967948,0.0011040695,0.0005450238,0.0025445458,0.007059847,0.009111738,0.0017327443,0.0022211485,0.7291765],"category_scores_gemma":[0.003721201,0.0005429563,0.00064764265,0.0027249192,0.0011014873,0.003737602,0.005923969,0.002919734,0.38256115],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005570137,0.000031573934,0.00039419165,0.00012961387,0.000004383137,0.00032828166,0.00043305228,0.00003730573,0.00026591867,0.014817692,0.9274312,0.056071088],"study_design_scores_gemma":[0.0000025047252,0.0000027730362,0.00020227805,0.000030193989,7.8262735e-7,0.00005711165,0.00014445026,0.000007704523,0.000038002025,0.00023919728,0.9992724,0.0000024760755],"about_ca_topic_score_codex":0.026198948,"about_ca_topic_score_gemma":0.058449633,"teacher_disagreement_score":0.7291765,"about_ca_system_score_codex":0.0049396046,"about_ca_system_score_gemma":0.0070219026,"threshold_uncertainty_score":0.3862968},"labels":[],"label_agreement":null},{"id":"W4417527890","doi":"10.55383/iadc2025.40","title":"The optical theater of emile reynaud: the beginning of the history of the animated film","year":2025,"lang":"","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Romance; French New Wave; Animation; Phenomenon; Romanticism; Aside","score_opus":0.01938454937651364,"score_gpt":0.2064025102057266,"score_spread":0.18701796082921296,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W4417527890","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.033360943,0.24240702,0.004105441,0.102224976,0.008374983,0.000041425672,0.00024459348,0.00029176095,0.6089489],"genre_scores_gemma":[0.5863538,0.07578749,0.0036101816,0.0130909905,0.008007098,0.000061374776,0.00011651408,0.0005330231,0.31243947],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984213,0.00083222357,0.00002280587,0.00021876073,0.0003074415,0.00019742872],"domain_scores_gemma":[0.99914384,0.00039405053,0.000056955338,0.000053899654,0.00022951644,0.00012168364],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016546258,0.00061937625,0.00026878482,0.0012102483,0.004769506,0.00761609,0.0005433723,0.002019156,0.012274333],"category_scores_gemma":[0.0032254187,0.00024926817,0.00022803133,0.0006335087,0.0053168787,0.0040539335,0.0017573652,0.0029355616,0.0020543272],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020802704,0.00005834972,0.00062309124,0.00041525712,0.000021970367,0.0013286404,0.028414885,0.0003362624,0.0019304539,0.55996567,0.2719262,0.1347712],"study_design_scores_gemma":[0.0000035432397,0.000011742168,0.00041183562,0.0001363227,0.0000016137592,0.00025027402,0.0015771571,0.000044838638,0.00020803073,0.0026228982,0.99472153,0.000010268468],"about_ca_topic_score_codex":0.033195212,"about_ca_topic_score_gemma":0.029321913,"teacher_disagreement_score":0.033195212,"about_ca_system_score_codex":0.008048507,"about_ca_system_score_gemma":0.0015716577,"threshold_uncertainty_score":0.06600398},"labels":[],"label_agreement":null},{"id":"W45879222","doi":"10.4000/lisa.5703","title":"Psychogeography as Social Activism in Katerina Cizek’s Digital Documentaries Highrise, The 1000th Tower and Out My Window","year":2014,"lang":"en","type":"article","venue":"Revue LISA / LISA e-journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Canadian Heritage","funders":"","keywords":"Citizen journalism; Narrative; Filmmaking; Social media; Media studies; Context (archaeology); Sociology; Alternative media; Digital media; Political science; Gender studies; Visual arts; Art; History; Law; Movie theater","score_opus":0.017206598373063542,"score_gpt":0.22494997335650624,"score_spread":0.2077433749834427,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W45879222","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.37975743,0.0098306285,0.0031531781,0.06984336,0.0010091093,0.000096083255,0.00013724272,0.00006236143,0.53611064],"genre_scores_gemma":[0.9599205,0.0019411064,0.00047112332,0.0013837921,0.00025835648,0.00006764925,0.000030289984,0.000069273265,0.0358579],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9969248,0.0021278993,0.000037354985,0.00024839482,0.00027280833,0.00038870831],"domain_scores_gemma":[0.99425536,0.0040545207,0.00037721894,0.00027264308,0.00024342569,0.0007968174],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031738263,0.00042886168,0.00040215827,0.0018010614,0.016629305,0.017238762,0.0011749885,0.0030329335,0.008587816],"category_scores_gemma":[0.007114891,0.00040757115,0.00021373935,0.0017078739,0.036091074,0.008802784,0.007798661,0.0055238395,0.00072073913],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036997902,0.00006929972,0.0006673658,0.00006921195,0.000004916629,0.00051334745,0.5976866,0.0000917268,0.000229572,0.38172278,0.012341447,0.006566806],"study_design_scores_gemma":[0.000020411266,0.000027763555,0.0034109333,0.0003377376,0.0000060869615,0.00032460975,0.5113152,0.00021738344,0.00023859399,0.047147997,0.4369221,0.000031155178],"about_ca_topic_score_codex":0.014029195,"about_ca_topic_score_gemma":0.020404318,"teacher_disagreement_score":0.017238762,"about_ca_system_score_codex":0.010364274,"about_ca_system_score_gemma":0.0024230669,"threshold_uncertainty_score":0.07519847},"labels":[],"label_agreement":null},{"id":"W49042575","doi":"","title":"Rapidement et simplement. Vicky Cristina Barcelona de Woody Allen Vicky Cristina Barcelona de Woody Allen","year":2008,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.04980509574207023,"score_gpt":0.2700121419313037,"score_spread":0.22020704618923345,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W49042575","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0035816422,0.42099398,0.0012539063,0.32622448,0.041928966,0.000019068508,0.00029853522,0.00019218936,0.20550723],"genre_scores_gemma":[0.0861372,0.10446224,0.0012562446,0.022251477,0.016633827,0.00003943861,0.0001923369,0.00030265795,0.7687247],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999246,0.00027428116,0.000021327623,0.0001695206,0.00019543454,0.000093375274],"domain_scores_gemma":[0.99837273,0.00055754284,0.000116610645,0.00009515079,0.0004477981,0.0004100956],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001213648,0.000759181,0.0004689922,0.0007675484,0.00227854,0.0053059426,0.00061588816,0.0029918004,0.03522298],"category_scores_gemma":[0.0035568567,0.00069046055,0.00024756946,0.0006527907,0.0015932514,0.0029629783,0.0019236167,0.003780221,0.009087935],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004755593,0.000014385137,0.0002189846,0.00009370845,0.000004160852,0.000072704286,0.00086021563,0.00007410376,0.0001665742,0.044570994,0.91175103,0.042125646],"study_design_scores_gemma":[0.0000036642125,0.00000475698,0.00048368925,0.0001023767,0.0000015697362,0.00007779916,0.00026778618,0.00004983008,0.000052902742,0.0018558651,0.9970938,0.000005991354],"about_ca_topic_score_codex":0.02573061,"about_ca_topic_score_gemma":0.034853037,"teacher_disagreement_score":0.03522298,"about_ca_system_score_codex":0.003538162,"about_ca_system_score_gemma":0.001740383,"threshold_uncertainty_score":0.1178326},"labels":[],"label_agreement":null},{"id":"W54604530","doi":"","title":"Our Movie Screen, His Mirror: A Reflection on the Fears and Anxieties of Alfred J. Hitchcock","year":2011,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Reflection (computer programming); Art; Movie theater; Aesthetics; Art history; Psychoanalysis; Psychology; Computer science","score_opus":0.24220927651001178,"score_gpt":0.2964060896272989,"score_spread":0.054196813117287135,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W54604530","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024212755,0.010105553,0.0009909105,0.85539114,0.011656455,0.000016564492,0.00006685977,0.00009635872,0.09746344],"genre_scores_gemma":[0.42648095,0.010054631,0.0011584774,0.3771013,0.00677605,0.000035520825,0.000048030488,0.00045933027,0.17788571],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980209,0.001121456,0.000029880744,0.00013648509,0.00042297866,0.0002683989],"domain_scores_gemma":[0.99472046,0.002758115,0.00023164647,0.00026181008,0.0010680751,0.0009598321],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0038551164,0.00046853034,0.00036502915,0.00050782895,0.015649134,0.007992383,0.0009850018,0.006257893,0.00904615],"category_scores_gemma":[0.011510927,0.00044082472,0.0003139563,0.000517285,0.0072845896,0.0072735464,0.0027335875,0.014616034,0.0021548388],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047055175,0.000028979019,0.00064153207,0.000039136954,0.000008322001,0.0007226517,0.053085614,0.00005384669,0.00046562531,0.022997292,0.9113356,0.010574378],"study_design_scores_gemma":[0.000009174418,0.000028564507,0.0010940093,0.00012997595,0.000005880918,0.0006607152,0.08810461,0.000110704874,0.00034256867,0.0038970567,0.905582,0.000034730907],"about_ca_topic_score_codex":0.03168898,"about_ca_topic_score_gemma":0.059148453,"teacher_disagreement_score":0.03168898,"about_ca_system_score_codex":0.0034235567,"about_ca_system_score_gemma":0.0016092759,"threshold_uncertainty_score":0.06300908},"labels":[],"label_agreement":null},{"id":"W561272304","doi":"","title":"North of everything : English-Canadian cinema since 1980","year":2002,"lang":"en","type":"book","venue":"University of Alberta Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":88,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; State (computer science); Period (music); Media studies; Political science; Focus (optics); History; Art history; Art; Sociology; Aesthetics; Computer science","score_opus":0.024335349708315263,"score_gpt":0.15774490799142865,"score_spread":0.13340955828311338,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W561272304","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1081257,0.089577764,0.0007001527,0.034196384,0.0024580942,0.000076487806,0.003407781,0.00016777523,0.7612898],"genre_scores_gemma":[0.616707,0.04922592,0.0011193301,0.0032489821,0.0003654587,0.000027790556,0.0010400139,0.00016454003,0.32810098],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987709,0.000079519275,0.000022874423,0.00015530844,0.0005560043,0.00041539437],"domain_scores_gemma":[0.9975967,0.00022342833,0.000116916264,0.00005570111,0.0014590602,0.0005482084],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00083433825,0.00054058374,0.00030592122,0.0027201043,0.010817152,0.0063290624,0.0009195624,0.0007580554,0.022440623],"category_scores_gemma":[0.0032115697,0.0002656304,0.00016163423,0.0050760354,0.0045411233,0.0019776404,0.001360621,0.0013813522,0.0010273717],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018714643,0.000056865196,0.008456749,0.0013399245,0.000029345398,0.0009283976,0.14546761,0.00029276597,0.001980607,0.13510899,0.44438934,0.2617622],"study_design_scores_gemma":[0.000002585625,0.000004877426,0.014193213,0.0002558821,0.000011890405,0.00010391484,0.014442691,0.000041668834,0.00025190346,0.00046441698,0.97020817,0.000018847877],"about_ca_topic_score_codex":0.9907203,"about_ca_topic_score_gemma":0.997445,"teacher_disagreement_score":0.08955073,"about_ca_system_score_codex":0.08955073,"about_ca_system_score_gemma":0.06991604,"threshold_uncertainty_score":0.6497391},"labels":[],"label_agreement":null},{"id":"W566487379","doi":"","title":"World film locations, Tronto","year":2014,"lang":"en","type":"book","venue":"Intellect eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Scholarship; Movie theater; Insider; Narrative; Media studies; Film studies; Natural (archaeology); Visual arts; Geography; Sociology; History; Art; Political science; Art history; Literature; Law; Archaeology","score_opus":0.03275493303069437,"score_gpt":0.2160901014596989,"score_spread":0.18333516842900452,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W566487379","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014041815,0.011184637,0.0003124469,0.009419299,0.004015665,0.000039796847,0.002695356,0.00022938618,0.9580616],"genre_scores_gemma":[0.090027176,0.007633431,0.000442222,0.00092944433,0.0005122175,0.000028017876,0.0010856641,0.00035687938,0.8989849],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998103,0.00002741981,0.0000044096187,0.000030433044,0.00007428484,0.00005320906],"domain_scores_gemma":[0.99968684,0.00004015211,0.000022637854,0.000022990314,0.000123554,0.00010376772],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018351141,0.00049746665,0.00017352891,0.00096220704,0.005367085,0.005392291,0.00038194092,0.00063452084,0.09979861],"category_scores_gemma":[0.00080824265,0.00023994135,0.00017526279,0.001549135,0.0010338825,0.0014028236,0.0013141431,0.001048745,0.0065978616],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000608848,0.000011555529,0.0009447284,0.00020467729,0.000008146848,0.0006599985,0.011695659,0.00011810663,0.00090454385,0.032001868,0.92123336,0.032156438],"study_design_scores_gemma":[0.000001788499,0.0000032127684,0.0027736241,0.00009651929,0.000003495372,0.00007007064,0.003393022,0.000029781864,0.00012058965,0.00028897208,0.99321485,0.0000041138596],"about_ca_topic_score_codex":0.48777345,"about_ca_topic_score_gemma":0.8407586,"teacher_disagreement_score":0.48777345,"about_ca_system_score_codex":0.012199257,"about_ca_system_score_gemma":0.004316177,"threshold_uncertainty_score":0.9698686},"labels":[],"label_agreement":null},{"id":"W570666679","doi":"10.22215/etd/2009-06363","title":"Reproductive anxiety : reconfiguring the human in virtual culture","year":2009,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Canadian Heritage; Library and Archives Canada","funders":"","keywords":"Humanities; Psychology; Political science; Art","score_opus":0.022994137361044487,"score_gpt":0.2471125014565304,"score_spread":0.2241183640954859,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W570666679","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5246239,0.0025771162,0.018838601,0.026328154,0.00070825964,0.00007098267,0.00009272288,0.00023329078,0.42652702],"genre_scores_gemma":[0.9887166,0.00038401832,0.0014642002,0.0011788612,0.00008661288,0.000023869618,0.000019641953,0.000031956766,0.008094229],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9977901,0.0015234356,0.000026535294,0.00017045421,0.0002328749,0.00025655428],"domain_scores_gemma":[0.996387,0.0014020553,0.000550691,0.00042009444,0.00016727956,0.0010729365],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002085328,0.0002974626,0.00014540002,0.00079766277,0.0027759257,0.007873298,0.00079076557,0.001087934,0.010415388],"category_scores_gemma":[0.0070098964,0.00021732053,0.0003002171,0.00035907808,0.012242077,0.0038399673,0.006049626,0.001619443,0.0008119994],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034417852,0.00044872367,0.023374472,0.00026978695,0.00007898106,0.0012606961,0.32759622,0.00094755803,0.009191406,0.41170338,0.017922569,0.20686208],"study_design_scores_gemma":[0.00013973223,0.0009074112,0.04309962,0.0006265812,0.0001369862,0.0023125662,0.3139255,0.0033882898,0.0045118323,0.23496112,0.3958103,0.00018005724],"about_ca_topic_score_codex":0.001684532,"about_ca_topic_score_gemma":0.002005801,"teacher_disagreement_score":0.010415388,"about_ca_system_score_codex":0.0011836761,"about_ca_system_score_gemma":0.0015720527,"threshold_uncertainty_score":0.03484291},"labels":[],"label_agreement":null},{"id":"W577608210","doi":"","title":"Hollywood North: The Feature Film Industry in British Columbia by Mike Gasher (review)","year":2003,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Feature (linguistics); Feature film; Art history; Film industry; History; Media studies; Art; Sociology; Movie theater; Philosophy; Linguistics","score_opus":0.0084844851546204,"score_gpt":0.16773563962541826,"score_spread":0.15925115447079785,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W577608210","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00086426706,0.97980416,0.000031162446,0.012485813,0.0014553359,0.000013638985,0.00031737503,0.000011155206,0.0050171106],"genre_scores_gemma":[0.008053596,0.9693822,0.00009579659,0.004829633,0.00088449585,0.000019959622,0.00035776556,0.0000093930685,0.016367069],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99934524,0.000060951283,0.00004326638,0.00007526034,0.0003189495,0.00015641877],"domain_scores_gemma":[0.99686384,0.00042523132,0.00029825178,0.000055611537,0.0018454014,0.0005117191],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008645361,0.0008495625,0.0011772861,0.0049666357,0.0016223197,0.0038788586,0.0010872952,0.0018282572,0.010753098],"category_scores_gemma":[0.003350968,0.00052606524,0.00037425954,0.013012434,0.0010645088,0.0018931321,0.0011870023,0.0019096141,0.0020925724],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000070881266,0.000028023645,0.0019575865,0.005462791,0.00006740929,0.00013805158,0.0004133756,0.00013333478,0.00020310972,0.0009786672,0.72642916,0.2641176],"study_design_scores_gemma":[0.000023784856,0.000027926613,0.040176388,0.008881677,0.00016815632,0.00023966705,0.0016393695,0.000048503985,0.00015683477,0.0004580552,0.94814366,0.00003596846],"about_ca_topic_score_codex":0.84465367,"about_ca_topic_score_gemma":0.9525959,"teacher_disagreement_score":0.15534633,"about_ca_system_score_codex":0.01323034,"about_ca_system_score_gemma":0.031939574,"threshold_uncertainty_score":0.31252235},"labels":[],"label_agreement":null},{"id":"W578903265","doi":"","title":"Peter Pan on stage and screen, 1904-2010","year":2011,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":17,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stage (stratigraphy); Art; History; Performance art; Art history; Humanities; Biology","score_opus":0.05533663079140395,"score_gpt":0.20988024288978555,"score_spread":0.1545436120983816,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W578903265","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0027637624,0.030386632,0.0006868234,0.011737586,0.002631288,0.000024387024,0.00031466965,0.000097980235,0.9513568],"genre_scores_gemma":[0.023911783,0.014370916,0.00030530538,0.0018972976,0.00043847694,0.000025071799,0.00011942734,0.00012556693,0.9588062],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997241,0.000047325957,0.000006430393,0.000050812334,0.00012484839,0.000046444147],"domain_scores_gemma":[0.9997905,0.00007172542,0.000012478853,0.0000137108555,0.00006646264,0.000045077573],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0002576313,0.00036931562,0.00013467328,0.0009968528,0.0026413174,0.0031932993,0.00032045468,0.0008249867,0.044504452],"category_scores_gemma":[0.0012952646,0.00030344748,0.00010112936,0.001209702,0.0014903097,0.0040619005,0.0012554678,0.0017484323,0.011725992],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023619237,0.000009324122,0.00027107354,0.00007248153,0.0000012883442,0.00014886491,0.0040643085,0.000035920333,0.00020061499,0.12949802,0.8124782,0.053196386],"study_design_scores_gemma":[6.885779e-7,0.0000028947502,0.00030689608,0.000047337184,4.4379732e-7,0.000055800298,0.0003360441,0.0000056625345,0.000057096117,0.0013534642,0.9978313,0.0000023863395],"about_ca_topic_score_codex":0.02963734,"about_ca_topic_score_gemma":0.086989194,"teacher_disagreement_score":0.044504452,"about_ca_system_score_codex":0.0024338516,"about_ca_system_score_gemma":0.001726261,"threshold_uncertainty_score":0.14888227},"labels":[],"label_agreement":null},{"id":"W579762692","doi":"","title":"Projecting Canada : government policy and documentary film at the National Film Board of Canada","year":2007,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":12,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); Documentary film; Political science; Public administration; Documentary evidence; Media studies; Sociology; Law; Linguistics","score_opus":0.016204778808952058,"score_gpt":0.2083204094728447,"score_spread":0.19211563066389264,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W579762692","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03443146,0.028883658,0.0021001175,0.14216901,0.0056622988,0.00025392807,0.012636087,0.00053188007,0.77333146],"genre_scores_gemma":[0.28580105,0.020846149,0.0028887982,0.004302101,0.00070402614,0.000069806825,0.0043531493,0.00041909906,0.6806158],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99864227,0.00007414543,0.000019621884,0.000086133,0.0008306544,0.00034710477],"domain_scores_gemma":[0.99741447,0.00014089707,0.000048994567,0.000050966355,0.0018699244,0.00047467015],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011215835,0.0006288943,0.00029296198,0.0024627657,0.010122368,0.010347427,0.001230473,0.0018016058,0.039174218],"category_scores_gemma":[0.0045877034,0.00045556793,0.00027437278,0.004702325,0.0016749023,0.0021392838,0.0011759116,0.0028310646,0.0024826957],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022256092,0.000019614577,0.0013997969,0.00007010859,0.000008898181,0.0000661867,0.0015526171,0.00062164763,0.00017972632,0.032878872,0.90975153,0.05342887],"study_design_scores_gemma":[0.000008540441,0.000008059734,0.010509902,0.00022415639,0.00001699179,0.000046609108,0.006286556,0.0006211004,0.0004387342,0.0027085198,0.97908485,0.000045952627],"about_ca_topic_score_codex":0.99413514,"about_ca_topic_score_gemma":0.9974623,"teacher_disagreement_score":0.08717767,"about_ca_system_score_codex":0.08717767,"about_ca_system_score_gemma":0.14637008,"threshold_uncertainty_score":0.6325213},"labels":[],"label_agreement":null},{"id":"W58284813","doi":"","title":"Reading, regarding, and Waiting: Three New Documentaries from Nova Scotia","year":2006,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Injustice; Subject (documents); Law; Politics; Face (sociological concept); Media studies; Power (physics); Feeling; Sociology; History; Political science; Psychology; Social psychology","score_opus":0.026206771611112834,"score_gpt":0.21970105790730415,"score_spread":0.1934942862961913,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W58284813","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5917015,0.007008529,0.00028735044,0.034785867,0.005042816,0.0003590838,0.0049752276,0.00011780895,0.35572183],"genre_scores_gemma":[0.57241285,0.007097294,0.0006267693,0.007710413,0.0007706237,0.00017336645,0.0027397485,0.00042990406,0.40803912],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999411,0.00008580529,0.000023799334,0.000065985114,0.00019916205,0.00021421055],"domain_scores_gemma":[0.99844736,0.0003716746,0.00010999239,0.00006871113,0.0004372663,0.00056499866],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00051872677,0.00061143585,0.00033186472,0.0015115429,0.013808066,0.004725437,0.0007814279,0.0011877602,0.015138618],"category_scores_gemma":[0.0023645936,0.0003102879,0.00016100788,0.002146798,0.0022359393,0.001003112,0.002086265,0.0032368524,0.0018699924],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003589414,0.00011586145,0.0067748916,0.00056036154,0.000022045524,0.0073473137,0.605578,0.00012622327,0.008042997,0.003945245,0.32290724,0.04422081],"study_design_scores_gemma":[0.000012032113,0.00003954659,0.03886333,0.0003383564,0.000013517416,0.00037777194,0.249339,0.000056898396,0.00084082154,0.00011069136,0.70995814,0.000049957693],"about_ca_topic_score_codex":0.8840408,"about_ca_topic_score_gemma":0.9698046,"teacher_disagreement_score":0.11595923,"about_ca_system_score_codex":0.01965646,"about_ca_system_score_gemma":0.011353394,"threshold_uncertainty_score":0.23328424},"labels":[],"label_agreement":null},{"id":"W583518242","doi":"10.5860/choice.45-1926","title":"American cinema of the 1970s: themes and variations","year":2007,"lang":"en","type":"article","venue":"Choice Reviews Online","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":8,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Aesthetics; History; Art; Literature","score_opus":0.05342553125512301,"score_gpt":0.29573800049793797,"score_spread":0.24231246924281497,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W583518242","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09511436,0.1906704,0.0009187086,0.024769763,0.0018615848,0.00006674772,0.0002931695,0.0000722084,0.6862331],"genre_scores_gemma":[0.875457,0.067541696,0.0005561657,0.0028107224,0.0019232271,0.0001423064,0.00018262102,0.00010818927,0.051278137],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99883,0.00041194758,0.000039103063,0.0001706522,0.00031945488,0.0002288207],"domain_scores_gemma":[0.998782,0.000472164,0.00010785079,0.00006279444,0.00031464125,0.00026055612],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013785713,0.0004645129,0.00029233363,0.00505197,0.0095482,0.009691236,0.00063122687,0.0011345267,0.004052767],"category_scores_gemma":[0.0027534857,0.0002948576,0.00015395269,0.0066164304,0.009762099,0.003674174,0.002897274,0.0027610601,0.00037550105],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007991525,0.00007221903,0.0034354392,0.00040254623,0.000016564263,0.0005179568,0.3781895,0.00007017515,0.0007903345,0.42744893,0.08188966,0.107086845],"study_design_scores_gemma":[0.0000044177423,0.000012162722,0.012103375,0.0006428983,0.000007665667,0.00024233658,0.05405211,0.000035498495,0.00016073644,0.0058820387,0.92684436,0.00001248504],"about_ca_topic_score_codex":0.044505183,"about_ca_topic_score_gemma":0.07050297,"teacher_disagreement_score":0.044505183,"about_ca_system_score_codex":0.011356472,"about_ca_system_score_gemma":0.0039694468,"threshold_uncertainty_score":0.088492274},"labels":[],"label_agreement":null},{"id":"W589162259","doi":"","title":"James Cameron: Interviews","year":2011,"lang":"en","type":"book","venue":"Project Muse (Johns Hopkins University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Hollywood; Art; Art history; Performance art; Avatar; Visual arts; Movie theater; History; Media studies; Literature; Sociology","score_opus":0.04890562635538229,"score_gpt":0.21085944541173057,"score_spread":0.16195381905634829,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W589162259","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15804401,0.03218773,0.011137618,0.26211256,0.009284782,0.007953667,0.0073968954,0.0008704023,0.51101243],"genre_scores_gemma":[0.37647086,0.017164115,0.00680708,0.07624247,0.001163515,0.012059126,0.0010734721,0.00057147053,0.5084479],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99354583,0.003949778,0.00022107658,0.0006315038,0.0007025042,0.000949295],"domain_scores_gemma":[0.9872228,0.006092281,0.000778345,0.00027817345,0.0022227748,0.003405629],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0061353846,0.0009236883,0.00065154914,0.002738624,0.017044934,0.0050261077,0.0011554362,0.0030286282,0.04062986],"category_scores_gemma":[0.016789379,0.000883766,0.0001428971,0.0042769597,0.0056185257,0.004658801,0.0036820562,0.0060921665,0.010283908],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000099108634,0.00012478721,0.00090693025,0.00034075952,0.0000016401012,0.0016563031,0.5661433,0.00009079839,0.0030020662,0.017527543,0.38808775,0.02201905],"study_design_scores_gemma":[0.000005042911,0.000021832182,0.00088823447,0.00032191293,8.289031e-7,0.0001921026,0.22283125,0.000057502264,0.00022679773,0.0012615619,0.77417105,0.000021839722],"about_ca_topic_score_codex":0.04380114,"about_ca_topic_score_gemma":0.07619502,"teacher_disagreement_score":0.04380114,"about_ca_system_score_codex":0.01081146,"about_ca_system_score_gemma":0.012335345,"threshold_uncertainty_score":0.1359204},"labels":[],"label_agreement":null},{"id":"W589454604","doi":"","title":"北米最大のドキュメンタリー映画祭 Hot Docs Canadian International Film Festival 2014","year":2014,"lang":"ja","type":"article","venue":"映画テレビ技術","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Political science","score_opus":0.0190430191834611,"score_gpt":0.2113086527358101,"score_spread":0.192265633552349,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W589454604","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.14915055,0.010748033,0.0011004175,0.044779,0.006294665,0.0002166964,0.03560278,0.00045015273,0.75165766],"genre_scores_gemma":[0.5154105,0.005919783,0.00087101763,0.001647488,0.0012743057,0.00008174486,0.0077832593,0.0002219747,0.46679],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99906284,0.0000728631,0.000013265143,0.00007590927,0.00047563895,0.0002995655],"domain_scores_gemma":[0.996624,0.00023787725,0.000117517244,0.00008774012,0.0018483025,0.0010846353],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011733018,0.00065635686,0.0003366643,0.0035651203,0.008523291,0.007788551,0.0007499769,0.00089741935,0.06158856],"category_scores_gemma":[0.00420219,0.00024475777,0.00029283043,0.003465694,0.0013806636,0.000976009,0.0012704524,0.0018650264,0.0036687544],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00026023167,0.00009179311,0.010454025,0.00019028067,0.000045848366,0.00016856485,0.0041310824,0.00038226089,0.00058659614,0.02283318,0.9063455,0.054510754],"study_design_scores_gemma":[0.00001666776,0.000034025226,0.08860788,0.00022353424,0.000036644058,0.000060133258,0.013565553,0.00029639047,0.00068739336,0.0010249836,0.8953903,0.00005662373],"about_ca_topic_score_codex":0.94649506,"about_ca_topic_score_gemma":0.98214424,"teacher_disagreement_score":0.06158856,"about_ca_system_score_codex":0.031464808,"about_ca_system_score_gemma":0.023410786,"threshold_uncertainty_score":0.22829425},"labels":[],"label_agreement":null},{"id":"W594850550","doi":"10.5040/9798216971641","title":"Guide to the Cinema(s) of Canada","year":2001,"lang":"en","type":"book","venue":"Greenwood eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Art history","score_opus":0.0212571133936331,"score_gpt":0.19902300257960875,"score_spread":0.17776588918597566,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W594850550","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00067664095,0.010997898,0.0014488967,0.0030858696,0.0026587336,0.00021171635,0.011810196,0.0010119107,0.9680981],"genre_scores_gemma":[0.0047305673,0.010429406,0.002597892,0.0010813413,0.00033948693,0.00011869332,0.005923685,0.00055390125,0.9742251],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994248,0.000039789447,0.000019841415,0.0000707426,0.0003488511,0.00009596342],"domain_scores_gemma":[0.9986387,0.00008751262,0.000032579115,0.00006534389,0.00095783616,0.00021794948],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00047819948,0.001021418,0.00050311565,0.0040155686,0.0048065973,0.005557246,0.0011390743,0.001070674,0.37729365],"category_scores_gemma":[0.0021211677,0.00050841423,0.0002816474,0.0047705313,0.0007054536,0.002422576,0.001221289,0.0016869177,0.15054834],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007310855,0.0000053974504,0.00006986762,0.000077558354,5.879517e-7,0.00003538221,0.00045298602,0.000026064063,0.00015522378,0.0059439493,0.93883234,0.054393355],"study_design_scores_gemma":[3.3616593e-7,6.794042e-7,0.000110887864,0.0000352353,3.05778e-7,0.000017925106,0.00008520396,0.0000067087735,0.000015084021,0.00008669408,0.9996394,0.000001507304],"about_ca_topic_score_codex":0.57636786,"about_ca_topic_score_gemma":0.7725519,"teacher_disagreement_score":0.42363214,"about_ca_system_score_codex":0.010445165,"about_ca_system_score_gemma":0.014712721,"threshold_uncertainty_score":0.88821507},"labels":[],"label_agreement":null},{"id":"W595709318","doi":"","title":"This Will Kill That?: Media Architecture","year":2009,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"German; Movie theater; Art history; Scholarship; Modernity; Architecture; Media studies; Criticism; Weimar Republic; Art; Sociology; History; Library science; Political science; Visual arts; Law; Literature","score_opus":0.025803720593532593,"score_gpt":0.20629870997556185,"score_spread":0.18049498938202926,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W595709318","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.020072222,0.049497228,0.0047272663,0.25541183,0.0045359298,0.000042946755,0.00019482082,0.0003802029,0.6651375],"genre_scores_gemma":[0.67858577,0.04919911,0.003195931,0.01611689,0.005242186,0.00012064538,0.00028926754,0.00037246724,0.24687774],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985208,0.0007262262,0.000034133904,0.00013703668,0.00033720132,0.00024452223],"domain_scores_gemma":[0.99814475,0.00078424014,0.00016795128,0.00016836872,0.00038257462,0.00035218522],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018190823,0.00051542924,0.00022414776,0.0020178393,0.006420919,0.018760653,0.0008191203,0.002274432,0.01605772],"category_scores_gemma":[0.00646545,0.00032476295,0.00024931904,0.0027363747,0.005874195,0.014855902,0.0039057247,0.0027474156,0.002828375],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006470105,0.000029800529,0.0013242974,0.00016941567,0.000015051875,0.00024432316,0.011015539,0.0003734118,0.00019582237,0.6748744,0.21705842,0.09463488],"study_design_scores_gemma":[0.000010176807,0.000018952062,0.0016631444,0.00043104903,0.0000138045625,0.0001888418,0.012292438,0.00046720973,0.00019420907,0.09056803,0.8941303,0.000021887457],"about_ca_topic_score_codex":0.00850837,"about_ca_topic_score_gemma":0.012859969,"teacher_disagreement_score":0.018760653,"about_ca_system_score_codex":0.004810376,"about_ca_system_score_gemma":0.0027300098,"threshold_uncertainty_score":0.053718448},"labels":[],"label_agreement":null},{"id":"W600794287","doi":"","title":"Cinéma divinité : religion, theology and the Bible in film","year":2005,"lang":"fr","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":11,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Postmodernism; Art; Film studies; Eclecticism; Nothing; Theology; Literature; Realism; TUTOR; Art history; Philosophy; Sociology; Epistemology; Pedagogy","score_opus":0.017083790367694685,"score_gpt":0.205293736450836,"score_spread":0.18820994608314132,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W600794287","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023596978,0.2545777,0.0014289625,0.065574035,0.013657682,0.00008402339,0.0002096977,0.00015443069,0.64071655],"genre_scores_gemma":[0.39017013,0.17580782,0.003075673,0.013775453,0.015147015,0.00017857019,0.00043622984,0.00026546128,0.40114364],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993574,0.00038788439,0.000026387206,0.00004388648,0.00012669773,0.000057801633],"domain_scores_gemma":[0.99898916,0.00057502516,0.000074278774,0.000049249746,0.00010300576,0.00020917942],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009860703,0.00032393672,0.0002548798,0.001041455,0.0027670036,0.0072068735,0.00047879425,0.0011374544,0.017893221],"category_scores_gemma":[0.002246933,0.00022451588,0.0001566988,0.0011324988,0.0027222885,0.0038762528,0.0018985502,0.001921525,0.0016863863],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008371057,0.00008391151,0.001739852,0.0013158837,0.000017283994,0.00064213976,0.09859069,0.00006640922,0.0021765134,0.15965845,0.5689402,0.16668488],"study_design_scores_gemma":[0.0000064919295,0.000030818406,0.002479319,0.0007479644,0.000005716435,0.00031347686,0.018487325,0.000048864382,0.00014548571,0.0032516893,0.9744767,0.000006225795],"about_ca_topic_score_codex":0.0035066898,"about_ca_topic_score_gemma":0.009985677,"teacher_disagreement_score":0.017893221,"about_ca_system_score_codex":0.0016810986,"about_ca_system_score_gemma":0.0008646642,"threshold_uncertainty_score":0.0598588},"labels":[],"label_agreement":null},{"id":"W601609993","doi":"","title":"World film locations, Vancouver","year":2013,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Movie theater; Appeal; Film director; Art; Media studies; Visual arts; Indigenous; Performance art; Cartography; Art history; History; Sociology; Geography; Law; Political science","score_opus":0.025454435133716532,"score_gpt":0.19929264778843483,"score_spread":0.1738382126547183,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W601609993","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005489449,0.011033652,0.00017823414,0.0020453844,0.000721869,0.000025368287,0.0025248718,0.00010077013,0.9778805],"genre_scores_gemma":[0.014517727,0.005628452,0.00023567067,0.00021497346,0.000027016233,0.00000916139,0.00055913016,0.00006871069,0.97873914],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997801,0.0000123156415,0.000004280461,0.000040302064,0.00012326715,0.000039807124],"domain_scores_gemma":[0.9996784,0.00001907959,0.0000069416633,0.000012378783,0.00022221298,0.000060971255],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00013664529,0.00055389013,0.00022296353,0.0016179727,0.008015656,0.005889008,0.00066431495,0.00065401156,0.114007175],"category_scores_gemma":[0.0005322562,0.00034234583,0.00012663762,0.0045522465,0.0007464471,0.001100037,0.00091615,0.0011022893,0.015200514],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003086366,0.000021507629,0.0014943898,0.00021715142,0.0000070558576,0.000454317,0.0040228977,0.00017181794,0.000570907,0.030481758,0.79579735,0.16672993],"study_design_scores_gemma":[0.0000017395288,0.000003558646,0.0029986606,0.00011054493,0.000002958262,0.00008598614,0.002697598,0.000030447756,0.00011903251,0.00054617395,0.99339664,0.000006510421],"about_ca_topic_score_codex":0.8854402,"about_ca_topic_score_gemma":0.983703,"teacher_disagreement_score":0.11455983,"about_ca_system_score_codex":0.012590265,"about_ca_system_score_gemma":0.011891209,"threshold_uncertainty_score":0.381392},"labels":[],"label_agreement":null},{"id":"W61083962","doi":"10.17077/1536-8742.1720","title":"Juliette Merritt, Beyond Spectacle: Eliza Haywood's Female Spectators. University of Toronto Press, 2004","year":2008,"lang":"en","type":"article","venue":"Medieval Feminist Forum","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spectacle; Media studies; History; Art; Art history; Sociology; Political science; Law","score_opus":0.019588301610463515,"score_gpt":0.20570216434794072,"score_spread":0.1861138627374772,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W61083962","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018209267,0.53464514,0.001771991,0.2959911,0.007997268,0.000032540436,0.00032855826,0.00020307637,0.15720937],"genre_scores_gemma":[0.05951365,0.33121717,0.002007846,0.04353726,0.0033490725,0.00011689713,0.00017078307,0.00051014544,0.55957717],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991037,0.00036774582,0.00003037432,0.00009495411,0.00027071277,0.00013243535],"domain_scores_gemma":[0.9981876,0.00096442265,0.00013236149,0.00006946615,0.00036082257,0.00028542403],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015425539,0.001123231,0.0005412225,0.0018317838,0.008577071,0.0056730756,0.0013137745,0.004034403,0.02359313],"category_scores_gemma":[0.0027675037,0.0008068748,0.000261352,0.0023272862,0.008113829,0.007951711,0.0023409608,0.0050600725,0.0076389085],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013069429,0.000007012714,0.00014925093,0.0001613909,0.000002796406,0.00015673184,0.015629929,0.000026917369,0.00007364855,0.046635006,0.9171518,0.019992376],"study_design_scores_gemma":[0.0000023233729,0.000002145519,0.00042615976,0.00026285267,0.0000020090497,0.000079181424,0.0074234996,0.000013557071,0.000040526313,0.0029065504,0.9888349,0.000006217057],"about_ca_topic_score_codex":0.23852721,"about_ca_topic_score_gemma":0.56767,"teacher_disagreement_score":0.23852721,"about_ca_system_score_codex":0.008811896,"about_ca_system_score_gemma":0.0072065834,"threshold_uncertainty_score":0.47427768},"labels":[],"label_agreement":null},{"id":"W610870357","doi":"10.14321/qed.2.1.0142","title":"Paris Is Burning: A Queer Film Classic","year":2015,"lang":"en","type":"article","venue":"QED A Journal in GLBTQ Worldmaking","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":10,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Icon; Citation; Download; Section (typography); Library science; Art history; Art; Media studies; Computer science; World Wide Web; Sociology","score_opus":0.0814368631638054,"score_gpt":0.27180798525010574,"score_spread":0.19037112208630036,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W610870357","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001008943,0.63459283,0.00024269884,0.07205626,0.022564717,0.000051536943,0.0004314119,0.00013534453,0.26891628],"genre_scores_gemma":[0.022402683,0.4165388,0.0004360645,0.025509723,0.018650964,0.000060409457,0.0005890917,0.00021516836,0.5155971],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99914086,0.0001694163,0.00003185944,0.000092447706,0.0004676768,0.00009767517],"domain_scores_gemma":[0.9987941,0.00032334268,0.00009777209,0.00005095933,0.0005684656,0.00016544522],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010672341,0.0007048012,0.00041127138,0.0027574243,0.0023889472,0.0059809024,0.0009556481,0.00208411,0.0786463],"category_scores_gemma":[0.0034407824,0.00028374078,0.00032849342,0.0036643578,0.0016256836,0.0042115427,0.0010853802,0.0029544623,0.016013768],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010628602,0.0000053211857,0.000028249571,0.00036403054,0.000004310756,0.000043604206,0.0002908826,0.000016535112,0.00007271254,0.0046051336,0.95941854,0.03514007],"study_design_scores_gemma":[0.0000013974012,0.000003327094,0.00014882184,0.00027229483,0.0000032627547,0.000047768877,0.00021406852,0.0000043480145,0.000028315868,0.00021995678,0.99905413,0.000002312713],"about_ca_topic_score_codex":0.031186283,"about_ca_topic_score_gemma":0.0701286,"teacher_disagreement_score":0.0786463,"about_ca_system_score_codex":0.0075694066,"about_ca_system_score_gemma":0.003965823,"threshold_uncertainty_score":0.26309812},"labels":[],"label_agreement":null},{"id":"W611620313","doi":"","title":"Pour une cinémathèque égyptienne : préalables théoriques, méthodologie, faisabilité","year":2012,"lang":"fr","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cultural heritage; Hegemony; Political science; Movie theater; Media studies; Geography; Politics; Library science; Humanities; Public relations; Sociology; Visual arts; Art; Computer science; Archaeology; Law","score_opus":0.06354616937880442,"score_gpt":0.27407008303052993,"score_spread":0.2105239136517255,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W611620313","genre_codex":"methods","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10698953,0.011759125,0.50049424,0.0115653835,0.00056124176,0.0015398518,0.000767346,0.00038052918,0.36594284],"genre_scores_gemma":[0.7524497,0.005116308,0.20456894,0.0010794471,0.00019395466,0.0027577572,0.0004707683,0.00020661158,0.033156473],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99196905,0.0062285187,0.0002114818,0.000699723,0.0006552579,0.00023601322],"domain_scores_gemma":[0.9806942,0.016556673,0.0005152189,0.0010247455,0.0010191046,0.00019014259],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.013167085,0.0010139322,0.0006386994,0.0036994482,0.0038973098,0.013439055,0.0019350456,0.0020706258,0.019418776],"category_scores_gemma":[0.02230658,0.0008118833,0.00097336515,0.0031090202,0.018155806,0.011271142,0.003282139,0.0032825586,0.0018172736],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003167799,0.000061106184,0.0011646927,0.00036519763,0.000022047161,0.00017240699,0.039857753,0.0003537926,0.0002825869,0.93178225,0.0015700838,0.0243365],"study_design_scores_gemma":[0.00008452461,0.00007829858,0.0036406706,0.0019616291,0.00006523867,0.00072670914,0.08738609,0.0075558196,0.0013471727,0.7478718,0.14920062,0.00008148375],"about_ca_topic_score_codex":0.0075631835,"about_ca_topic_score_gemma":0.0064906827,"teacher_disagreement_score":0.019418776,"about_ca_system_score_codex":0.0063428874,"about_ca_system_score_gemma":0.002993448,"threshold_uncertainty_score":0.06963503},"labels":[],"label_agreement":null},{"id":"W612506225","doi":"","title":"North of Everything: English-Canadian Cinema since 1980 ed. by William Beard, Jerry White (review)","year":2003,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"White (mutation); Movie theater; Art history; History; Art; Media studies; Sociology; Chemistry","score_opus":0.00826751821469068,"score_gpt":0.17011527767252774,"score_spread":0.16184775945783705,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W612506225","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000117168456,0.9920242,0.000021597785,0.003723778,0.0011357862,0.0000039721317,0.00010362459,0.0000057015595,0.0028641329],"genre_scores_gemma":[0.0026905162,0.9892753,0.00006790899,0.0014319011,0.00097565626,0.000007928263,0.00012656134,0.00000864222,0.0054156543],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988549,0.00016738343,0.00006757738,0.00012847755,0.00058766885,0.000193984],"domain_scores_gemma":[0.9959694,0.00054859894,0.00030119266,0.00005960536,0.0024181164,0.0007030559],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019701668,0.0012795896,0.0015726337,0.0057608443,0.00269697,0.0071188365,0.0016826808,0.0019036551,0.02117222],"category_scores_gemma":[0.0053482708,0.00061447866,0.00042775946,0.010756497,0.003008199,0.004080035,0.0013797632,0.0021154003,0.0046191914],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000065750886,0.000020460744,0.0007557214,0.006150634,0.000042730237,0.00011217375,0.0014580392,0.00011726819,0.00013214815,0.0034110476,0.7087292,0.27900484],"study_design_scores_gemma":[0.000004849678,0.0000077619015,0.0046198107,0.0039696177,0.000028837778,0.00016048523,0.0008973382,0.000013548477,0.000036253216,0.00026074998,0.9899824,0.000018189841],"about_ca_topic_score_codex":0.766329,"about_ca_topic_score_gemma":0.88710886,"teacher_disagreement_score":0.23367101,"about_ca_system_score_codex":0.019558266,"about_ca_system_score_gemma":0.03764738,"threshold_uncertainty_score":0.47009426},"labels":[],"label_agreement":null},{"id":"W613008395","doi":"","title":"World film locations, New Orleans","year":2012,"lang":"en","type":"book","venue":"Intellect Books","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Movie theater; Directory; Film industry; Film director; Quarter (Canadian coin); Visual arts; Art; Art history; History; Cartography; Geography; Computer science; Archaeology","score_opus":0.053333332833899676,"score_gpt":0.2275240457484187,"score_spread":0.174190712914519,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W613008395","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0050836005,0.011406746,0.00012551651,0.0020431022,0.0010749104,0.000035862104,0.002289425,0.00023609835,0.97770464],"genre_scores_gemma":[0.012110645,0.011434925,0.00026884838,0.00065457536,0.00020669049,0.000048486418,0.0011400281,0.00021776574,0.97391814],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998379,0.000016844286,0.00000740944,0.000044884524,0.000058121128,0.000034793033],"domain_scores_gemma":[0.99963915,0.000039354094,0.000019550069,0.000024702293,0.00015276246,0.0001244472],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002273009,0.0007136369,0.00025623108,0.0016929851,0.004077567,0.005713324,0.00049999857,0.0005994844,0.3111712],"category_scores_gemma":[0.0007173335,0.0004252797,0.00016421097,0.0018357596,0.00058784796,0.0030477988,0.0029499948,0.0015330015,0.05446097],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008234659,0.00004983249,0.00088765565,0.0005099519,0.000008382466,0.0009881114,0.0055743363,0.00010816194,0.0014784924,0.012231607,0.80307895,0.17500219],"study_design_scores_gemma":[0.000001920045,0.0000035694325,0.0015388055,0.00015180842,0.0000016517951,0.00010551344,0.0012484948,0.000013605948,0.00008592207,0.000167682,0.9966775,0.0000035796386],"about_ca_topic_score_codex":0.09094864,"about_ca_topic_score_gemma":0.30954376,"teacher_disagreement_score":0.3111712,"about_ca_system_score_codex":0.0030211892,"about_ca_system_score_gemma":0.0019910529,"threshold_uncertainty_score":0.98253065},"labels":[],"label_agreement":null},{"id":"W613030055","doi":"10.25071/1718-4657.36743","title":"TELEVISION AND THE “OBJET A”: PSYCHOANALYSIS AND THE \"BOOB TUBE\"","year":2005,"lang":"en","type":"article","venue":"Intersections conference journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Ideology; Object (grammar); Art; Subject (documents); Element (criminal law); Prison; Content (measure theory); Art history; Aesthetics; Sociology; Philosophy; Computer science; Law","score_opus":0.02709742093312331,"score_gpt":0.24268715425783283,"score_spread":0.21558973332470951,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W613030055","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2757398,0.046524435,0.020805549,0.115610875,0.0009343644,0.000070948525,0.000113994385,0.0000858356,0.54011416],"genre_scores_gemma":[0.98033935,0.0052744853,0.0011320362,0.003270257,0.00019862218,0.000043743163,0.000017498656,0.00003964787,0.009684269],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9977449,0.0018422948,0.000015677839,0.000109137465,0.00014559734,0.0001423778],"domain_scores_gemma":[0.9983109,0.0013233883,0.00009725212,0.00006502379,0.00008182939,0.00012157396],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018315502,0.000430917,0.0002516245,0.0018295288,0.0051578563,0.009658624,0.00081712496,0.002327769,0.002987971],"category_scores_gemma":[0.0028439627,0.00021837758,0.00029730948,0.0013649,0.034528065,0.0077591557,0.0026580088,0.0044174134,0.00025209322],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024236477,0.000035621746,0.0005799628,0.000060899245,0.0000077907025,0.00017818759,0.11616797,0.00009466278,0.00019936565,0.8710564,0.005374048,0.0062209386],"study_design_scores_gemma":[0.000032523712,0.00007837732,0.004834078,0.0007604608,0.00001842874,0.00049652485,0.29877806,0.0013722683,0.00042937338,0.44977298,0.24339163,0.00003520356],"about_ca_topic_score_codex":0.006536905,"about_ca_topic_score_gemma":0.0043792315,"teacher_disagreement_score":0.009658624,"about_ca_system_score_codex":0.0049789967,"about_ca_system_score_gemma":0.0016672077,"threshold_uncertainty_score":0.036125362},"labels":[],"label_agreement":null},{"id":"W614729870","doi":"","title":"Take One's Essential Guide to Canadian Film ed. by Wyndham Wise (review)","year":2002,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Library science; Computer science; History; Engineering physics; Engineering","score_opus":0.011169739084484199,"score_gpt":0.18498248635865522,"score_spread":0.173812747274171,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W614729870","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000109730514,0.8722472,0.0005424975,0.07372884,0.020772466,0.000055855224,0.0010470069,0.00020293199,0.03129356],"genre_scores_gemma":[0.0017875921,0.85028136,0.0014241914,0.033318084,0.011238542,0.000101435704,0.00077884895,0.00014518359,0.10092473],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986261,0.00017918974,0.000084333995,0.000099876874,0.000869859,0.00014072948],"domain_scores_gemma":[0.99342716,0.0011162872,0.0002631008,0.00017665909,0.0039450713,0.0010716484],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002015702,0.0017879953,0.0017278229,0.008745446,0.0034753708,0.006433294,0.002320336,0.003241642,0.05592738],"category_scores_gemma":[0.009369853,0.00087323657,0.0006867422,0.010442026,0.0022753542,0.004763168,0.0020513204,0.0039626616,0.03692808],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000004190441,0.0000027698734,0.000047951205,0.00023244845,0.0000036590761,0.000020226627,0.00007111935,0.00001434808,0.000018308017,0.00058552617,0.96564174,0.03335766],"study_design_scores_gemma":[0.0000016898498,0.0000025344145,0.00042390104,0.00054517144,0.0000034884413,0.000057358866,0.00015616533,0.000006708089,0.000011606678,0.00037564043,0.9984085,0.0000072676935],"about_ca_topic_score_codex":0.5549452,"about_ca_topic_score_gemma":0.7819898,"teacher_disagreement_score":0.44505483,"about_ca_system_score_codex":0.011295474,"about_ca_system_score_gemma":0.022643011,"threshold_uncertainty_score":0.8953517},"labels":[],"label_agreement":null},{"id":"W622043254","doi":"","title":"Imperception? Dreamtime 2.0 Down Under","year":2010,"lang":"en","type":"article","venue":"QUT ePrints (Queensland University of Technology)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Strapping; Northern Hemisphere; Empire; Meteorology; History; Geography; Climatology; Geology; Ancient history; Engineering","score_opus":0.010238730286312761,"score_gpt":0.19026238957127486,"score_spread":0.1800236592849621,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W622043254","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0064908774,0.009204024,0.0064715436,0.111710064,0.010276595,0.000023118522,0.0012141743,0.0028054928,0.8518042],"genre_scores_gemma":[0.2402316,0.009407093,0.003921396,0.035699815,0.002963389,0.00010146138,0.001712895,0.0034640045,0.7024984],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993812,0.00024101452,0.000018600613,0.00007515524,0.00014297447,0.00014105],"domain_scores_gemma":[0.9985684,0.00026790437,0.00006745422,0.00021571705,0.00020626113,0.00067413383],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001342482,0.00038262186,0.0002247682,0.00055181055,0.0035272727,0.0068185506,0.00077011704,0.0013354104,0.12888977],"category_scores_gemma":[0.0046995655,0.00027610842,0.0003601007,0.00049891643,0.0034320757,0.007521921,0.0046682586,0.0035362104,0.04120082],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005377436,0.0000130543285,0.0004917079,0.00009666775,0.0000051380284,0.00012028133,0.009582583,0.000035358327,0.000105062725,0.1097532,0.8254298,0.054313395],"study_design_scores_gemma":[0.0000037728034,0.000004572587,0.00024452526,0.00007896914,0.0000016265562,0.00012416519,0.005964984,0.00003119032,0.00007638275,0.013352326,0.9801083,0.000009237972],"about_ca_topic_score_codex":0.006128625,"about_ca_topic_score_gemma":0.009559864,"teacher_disagreement_score":0.12888977,"about_ca_system_score_codex":0.0015440285,"about_ca_system_score_gemma":0.0016892031,"threshold_uncertainty_score":0.43117923},"labels":[],"label_agreement":null},{"id":"W624765759","doi":"","title":"Hooked : drug war films in Britain, Canada, and the United States","year":2008,"lang":"en","type":"book","venue":"Routledge eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":49,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Counterculture; Narrative; Addiction; Pleasure; Harm reduction; Harm; Mythology; Censorship; Siege; Political science; Criminology; Drug; Spanish Civil War; Art; Media studies; Psychiatry; Law; Sociology; History; Medicine; Psychology; Literature; Ancient history; Psychotherapist; Nursing; Public health","score_opus":0.01349349910946008,"score_gpt":0.17479940379583778,"score_spread":0.1613059046863777,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W624765759","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10404034,0.07064862,0.00023482075,0.025441581,0.0030231297,0.000082658444,0.008979612,0.00017927008,0.78736997],"genre_scores_gemma":[0.49764314,0.048697118,0.00045258552,0.0033005192,0.0006974055,0.000039588027,0.0034097475,0.00026340006,0.44549656],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99971336,0.000038595783,0.0000053269314,0.000018982724,0.00013388757,0.00008985675],"domain_scores_gemma":[0.9993561,0.00014064791,0.00004295214,0.000018491515,0.00022172883,0.00022009294],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00023647603,0.00046349518,0.00021972532,0.0023462554,0.0070680473,0.0047387974,0.00064455485,0.0006185401,0.044735756],"category_scores_gemma":[0.001160608,0.00023876037,0.00015211554,0.0050943173,0.001816351,0.0011832865,0.0011438015,0.0011727086,0.001905584],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008997208,0.000037249723,0.0051010475,0.000536247,0.00001565605,0.0006776566,0.059773527,0.00015581584,0.00060041517,0.016032936,0.8399578,0.07702172],"study_design_scores_gemma":[0.0000046524024,0.0000073046267,0.027843172,0.00053310185,0.0000072223493,0.00017628999,0.04199688,0.000048010632,0.00023326915,0.00036284837,0.9287741,0.000013218749],"about_ca_topic_score_codex":0.8499754,"about_ca_topic_score_gemma":0.9523436,"teacher_disagreement_score":0.1500246,"about_ca_system_score_codex":0.015736911,"about_ca_system_score_gemma":0.008927254,"threshold_uncertainty_score":0.30181617},"labels":[],"label_agreement":null},{"id":"W624832016","doi":"","title":"Les 200 films québécois qu’il faut avoir vus. 24 images, no. 156, 2012","year":2012,"lang":"fr","type":"article","venue":"Images","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.03330785916246642,"score_gpt":0.2429865695705381,"score_spread":0.20967871040807168,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W624832016","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.30343422,0.04886662,0.0017418952,0.029719846,0.006219089,0.00013170633,0.015274201,0.00042840606,0.59418404],"genre_scores_gemma":[0.6521072,0.0139192585,0.0019488654,0.0023099135,0.0016073484,0.00007356119,0.003059823,0.00023737531,0.3247367],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99960846,0.00011295158,0.0000121282665,0.000062019986,0.00013414804,0.0000702727],"domain_scores_gemma":[0.9991959,0.00027530408,0.00005405659,0.00003520664,0.0002966454,0.00014293393],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00048766137,0.0006601303,0.0002714011,0.0015381698,0.0039775954,0.002842018,0.00030867895,0.0010054058,0.05027332],"category_scores_gemma":[0.003265099,0.0003156824,0.0002956655,0.0022904824,0.0011547991,0.0013757527,0.00049091096,0.0022183827,0.0018511298],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00051596016,0.00012437142,0.012950922,0.0006208998,0.00012508345,0.001902273,0.02823035,0.0004355802,0.004265378,0.038391132,0.74114597,0.1712921],"study_design_scores_gemma":[0.000021561475,0.000026823944,0.05631674,0.00030893122,0.00002806649,0.00061598304,0.009624299,0.00030362525,0.00086293544,0.0005679092,0.93128324,0.000039822673],"about_ca_topic_score_codex":0.6044894,"about_ca_topic_score_gemma":0.8082824,"teacher_disagreement_score":0.3955106,"about_ca_system_score_codex":0.006471288,"about_ca_system_score_gemma":0.0025231985,"threshold_uncertainty_score":0.7956797},"labels":[],"label_agreement":null},{"id":"W627421748","doi":"","title":"Atom Egoyan : interviews","year":2010,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Film director; Craft; Art; Visual arts; Movie theater; Film studies; Identity (music); Media studies; Art history; Sociology; Aesthetics","score_opus":0.043588508039574446,"score_gpt":0.2272402821561904,"score_spread":0.18365177411661596,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W627421748","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.61057746,0.007257828,0.0058832997,0.035030525,0.0011876486,0.002530722,0.0036421153,0.00027572684,0.3336146],"genre_scores_gemma":[0.79237384,0.0058397036,0.0041538146,0.012252942,0.00014105113,0.0030455308,0.00082155096,0.00018518767,0.18118635],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99479264,0.0027942047,0.00021037273,0.00042261565,0.00066410226,0.0011160411],"domain_scores_gemma":[0.9946542,0.0025240022,0.00032872875,0.00011233369,0.0010424169,0.0013384036],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004989587,0.00043474633,0.0005851031,0.0017905844,0.0153688835,0.005634095,0.0011960224,0.0025902563,0.0148918275],"category_scores_gemma":[0.007937326,0.0006575719,0.00012684331,0.003367384,0.004787589,0.0035334763,0.004930007,0.004090942,0.002914849],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000696087,0.0001090899,0.0013642448,0.00017100103,0.0000013155063,0.0012074829,0.93189234,0.00006890293,0.0014781288,0.013873175,0.040444784,0.009319935],"study_design_scores_gemma":[0.0000056956096,0.000016916525,0.0012746112,0.00018485579,0.0000012673875,0.00022295162,0.78966266,0.00007965985,0.00027836097,0.0008904625,0.20736775,0.000014767779],"about_ca_topic_score_codex":0.044263005,"about_ca_topic_score_gemma":0.09915504,"teacher_disagreement_score":0.044263005,"about_ca_system_score_codex":0.013145962,"about_ca_system_score_gemma":0.011541214,"threshold_uncertainty_score":0.09538108},"labels":[],"label_agreement":null},{"id":"W630456619","doi":"10.2307/25515487","title":"Censoring Irish Nationalism: The British, Irish and American Suppression of Republican Images in Film and Television, 1909-1995","year":2003,"lang":"en","type":"article","venue":"The Canadian Journal of Irish Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":4,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Irish; Irish nationalism; Censoring (clinical trials); Nationalism; Media studies; Political science; Sociology; Law; Medicine; Linguistics; Politics","score_opus":0.03580275306352768,"score_gpt":0.2590697121021462,"score_spread":0.2232669590386185,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W630456619","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9396676,0.0012352496,0.00006455431,0.0017546235,0.00005573167,0.000007396027,0.00021052419,0.000005435378,0.056998808],"genre_scores_gemma":[0.9930252,0.00054642296,0.000024779167,0.00012751325,0.000033487897,0.0000030457034,0.00012594406,0.000006184049,0.0061074123],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.99913317,0.00018480014,0.0000278631,0.00007004643,0.00027862558,0.00030548897],"domain_scores_gemma":[0.9962907,0.000810114,0.0012872544,0.00018458131,0.0010205955,0.00040689914],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012287415,0.00013588103,0.00018908552,0.0013245612,0.0023426665,0.003124088,0.0003993366,0.00056667364,0.0033295457],"category_scores_gemma":[0.0053455476,0.00014145815,0.00011532838,0.0017779269,0.0026182376,0.0012726034,0.0016010276,0.001448423,0.00042265432],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.001438943,0.00020650314,0.4688599,0.00024151933,0.00009049368,0.0015925188,0.33944166,0.0003133131,0.0020528466,0.025691932,0.041905254,0.118165165],"study_design_scores_gemma":[0.000013786946,0.00005466797,0.7356395,0.00014746044,0.000029663162,0.0004180961,0.1642868,0.0001532976,0.00073653826,0.00041266083,0.098066345,0.000041178475],"about_ca_topic_score_codex":0.336404,"about_ca_topic_score_gemma":0.51448137,"teacher_disagreement_score":0.336404,"about_ca_system_score_codex":0.006093922,"about_ca_system_score_gemma":0.0014811631,"threshold_uncertainty_score":0.6688918},"labels":[],"label_agreement":null},{"id":"W632166897","doi":"10.71781/14733","title":"Explorations of identity in Philip K. Dick's Do androids dream of electric sheep?","year":2008,"lang":"en","type":"dissertation","venue":"Open MIND","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dream; Identity (music); Art; Performance art; Art history; Humanities; Psychology; Aesthetics","score_opus":0.055490636734660176,"score_gpt":0.3003753090812966,"score_spread":0.24488467234663644,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W632166897","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11261123,0.027524117,0.004825011,0.16134816,0.0014551698,0.00002449185,0.00014445528,0.000051658826,0.6920157],"genre_scores_gemma":[0.86248416,0.00688478,0.0009368856,0.005855136,0.00042252932,0.000019245903,0.000031246633,0.00009518844,0.1232708],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9992466,0.00046999555,0.000011155134,0.0000849961,0.000074484866,0.00011274413],"domain_scores_gemma":[0.9986105,0.000870956,0.00007682635,0.00009130927,0.00013975763,0.00021067241],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0017062065,0.00028025478,0.00028077365,0.0007739762,0.006293289,0.007120097,0.00047331557,0.0018456436,0.0071852314],"category_scores_gemma":[0.003246931,0.0002558827,0.00015678699,0.0007391326,0.01605314,0.006778314,0.0027109797,0.0030144148,0.0007801307],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030867774,0.000009589952,0.00046794207,0.000027607333,0.0000025078255,0.00030139514,0.27115104,0.00003940473,0.0001082189,0.6853413,0.031468246,0.011051857],"study_design_scores_gemma":[0.000012785542,0.000014793687,0.0016932659,0.00025167322,0.000004920769,0.0004870858,0.16965058,0.00013994997,0.00014129723,0.13130566,0.69628155,0.000016320691],"about_ca_topic_score_codex":0.031236416,"about_ca_topic_score_gemma":0.0698993,"teacher_disagreement_score":0.031236416,"about_ca_system_score_codex":0.004003146,"about_ca_system_score_gemma":0.0016415954,"threshold_uncertainty_score":0.062109172},"labels":[],"label_agreement":null},{"id":"W633079562","doi":"","title":"Popular Culture in London c. 1890–1918: The Transformation of Entertainment by Andrew Horrall (review)","year":2003,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":17,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Entertainment; Transformation (genetics); History; Media studies; Sociology; Art; Visual arts; Chemistry","score_opus":0.009650001371582917,"score_gpt":0.18720174596693337,"score_spread":0.17755174459535045,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W633079562","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011217146,0.9857427,0.0000141165465,0.009492558,0.0007254618,0.00000257686,0.00019155955,0.0000026169505,0.0027067077],"genre_scores_gemma":[0.019575436,0.9703131,0.00004125753,0.0037123726,0.001832697,0.000012042381,0.00021816639,0.000007453057,0.0042874645],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993081,0.0001920162,0.00007889736,0.00009123131,0.00019681717,0.0001330099],"domain_scores_gemma":[0.9980926,0.000576545,0.0004460254,0.000059251986,0.00053861714,0.00028688437],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008355061,0.0006896917,0.00093327207,0.0035775192,0.0008223134,0.0033600417,0.0005541011,0.001839806,0.0065692603],"category_scores_gemma":[0.0024017366,0.00041766977,0.0004357014,0.008340892,0.0026814446,0.0031255705,0.0017415929,0.00174045,0.0015714914],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029187888,0.00003851776,0.0076534688,0.013738072,0.00029990025,0.0005139087,0.008247321,0.00032472488,0.00021950204,0.017352164,0.5316167,0.4197039],"study_design_scores_gemma":[0.000023882843,0.000034265846,0.03728492,0.0074042846,0.00007445791,0.0003330605,0.002922998,0.000015015993,0.000088071945,0.0006882688,0.9511005,0.000030219895],"about_ca_topic_score_codex":0.12990198,"about_ca_topic_score_gemma":0.24435091,"teacher_disagreement_score":0.12990198,"about_ca_system_score_codex":0.0055565056,"about_ca_system_score_gemma":0.005957021,"threshold_uncertainty_score":0.25829172},"labels":[],"label_agreement":null},{"id":"W63354150","doi":"","title":"Queer Film Classics Film Book Series ed. by Thomas Waugh, Matthew Hays (review)","year":2014,"lang":"en","type":"article","venue":"Journal of Film and Video","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Movie theater; Politics; Beauty; Art; Art history; Human sexuality; Queer theory; Literature; Sociology; Aesthetics; Gender studies; Law","score_opus":0.014001553196313271,"score_gpt":0.21991699241415705,"score_spread":0.20591543921784378,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W63354150","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00006902134,0.9792686,0.00009380217,0.0046401247,0.0026695314,0.000025864423,0.00039732756,0.000038457074,0.012797136],"genre_scores_gemma":[0.0010801713,0.9516272,0.0002003369,0.002542717,0.0016646053,0.000053186763,0.00061340374,0.000037720492,0.0421806],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938464,0.00006849314,0.00004993518,0.000086797474,0.00034166416,0.00006847772],"domain_scores_gemma":[0.9987638,0.00024283442,0.0001369152,0.000045964047,0.000651939,0.00015847113],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007757517,0.001466619,0.0013662142,0.0032043105,0.0011428206,0.0035106377,0.0013757213,0.0014762348,0.067627825],"category_scores_gemma":[0.0033537275,0.00064373686,0.00082323706,0.00701502,0.0008968312,0.0030733938,0.0010974418,0.0033731803,0.031483166],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015577438,0.00001001706,0.00006568337,0.002285164,0.000019247187,0.000053433974,0.00007767586,0.000040770625,0.00008267457,0.00087677105,0.8502696,0.14620344],"study_design_scores_gemma":[0.000006874469,0.0000056020626,0.0004896473,0.002220036,0.000014581855,0.00017657841,0.00008688473,0.0000099383105,0.000026102782,0.00022301453,0.9967344,0.000006491055],"about_ca_topic_score_codex":0.098785006,"about_ca_topic_score_gemma":0.13798954,"teacher_disagreement_score":0.098785006,"about_ca_system_score_codex":0.0040905843,"about_ca_system_score_gemma":0.009072729,"threshold_uncertainty_score":0.2262376},"labels":[],"label_agreement":null},{"id":"W636816205","doi":"","title":"Film in Canada","year":2006,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Materials science","score_opus":0.016388708129157853,"score_gpt":0.1664772845086382,"score_spread":0.15008857637948034,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W636816205","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015449757,0.022058576,0.00020045659,0.020772714,0.00384759,0.000061879175,0.0037363323,0.00010046787,0.9337723],"genre_scores_gemma":[0.103019,0.019247487,0.00032263977,0.0019313308,0.00040497162,0.000022155542,0.0015480713,0.00009040896,0.87341386],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99926907,0.000039275874,0.00001982119,0.00008885766,0.00033376852,0.00024930135],"domain_scores_gemma":[0.9988165,0.000061042265,0.000025509426,0.00002911976,0.0007537714,0.00031412864],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00040563548,0.00047547888,0.0003742952,0.002428643,0.008742123,0.0077703865,0.0008234054,0.0012679114,0.09048096],"category_scores_gemma":[0.001943677,0.00027398407,0.00031188736,0.0045817457,0.0011538194,0.0013262269,0.0010587268,0.0018658157,0.005251453],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006034126,0.000035884506,0.0021853251,0.0002026196,0.000013746657,0.00031572132,0.0024444726,0.0003016042,0.00025994374,0.06670856,0.83363444,0.09383739],"study_design_scores_gemma":[0.000004181217,0.000005643176,0.0057323254,0.00017438152,0.0000071766867,0.00005046207,0.0020221176,0.00007841789,0.000108426095,0.00072176603,0.99108547,0.000009601253],"about_ca_topic_score_codex":0.98120004,"about_ca_topic_score_gemma":0.9928866,"teacher_disagreement_score":0.09048096,"about_ca_system_score_codex":0.04907587,"about_ca_system_score_gemma":0.05914539,"threshold_uncertainty_score":0.356072},"labels":[],"label_agreement":null},{"id":"W640974413","doi":"","title":"One Hundred Years of Canadian Cinema","year":2004,"lang":"en","type":"book","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":21,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Filmmaking; Film industry; National cinema; Film studies; Media studies; Film genre; Politics; History; Sociology; Political science; Art history; Law","score_opus":0.04135237928887279,"score_gpt":0.19234511820862957,"score_spread":0.15099273891975679,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W640974413","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.025140602,0.15694314,0.00215564,0.027564226,0.009770724,0.00022163674,0.0050650565,0.00034806956,0.7727909],"genre_scores_gemma":[0.25669834,0.13809429,0.0035533183,0.0072857193,0.0023600017,0.0001612746,0.0045462525,0.00036554266,0.58693516],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99837935,0.00012067032,0.00005340922,0.00021838384,0.00095368497,0.00027443477],"domain_scores_gemma":[0.9974009,0.00019596139,0.00007880733,0.000087272376,0.0016053385,0.0006317307],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00093186274,0.000847286,0.00041350565,0.0057167765,0.009701657,0.0055507272,0.0010687058,0.00092024525,0.038210686],"category_scores_gemma":[0.0036009073,0.0003198665,0.00029286282,0.0064560925,0.0035144778,0.0018681687,0.0022804856,0.001598856,0.0034341915],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000112481335,0.00005655075,0.0035888061,0.00092837564,0.000032050113,0.0003520166,0.02123917,0.00017505973,0.0018239572,0.06759095,0.66035837,0.24374221],"study_design_scores_gemma":[0.0000013314475,0.0000051611946,0.0038412048,0.00021198395,0.000004667551,0.00008201231,0.0018996041,0.000024753519,0.00008867111,0.00025420202,0.9935755,0.000010892602],"about_ca_topic_score_codex":0.9073053,"about_ca_topic_score_gemma":0.9742338,"teacher_disagreement_score":0.0926947,"about_ca_system_score_codex":0.051248822,"about_ca_system_score_gemma":0.03174306,"threshold_uncertainty_score":0.37183797},"labels":[],"label_agreement":null},{"id":"W643013320","doi":"10.71781/12255","title":"Le \"Festivable\" ou conceptualisation de l'expérience des festivals de cinéma : exemple du Festival du Nouveau Cinéma de Montréal","year":2008,"lang":"fr","type":"dissertation","venue":"Papyrus : Institutional Repository (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.010808786661327919,"score_gpt":0.17507673080047473,"score_spread":0.1642679441391468,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W643013320","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.41519922,0.021799393,0.0144567685,0.026821397,0.000852079,0.00019697349,0.001692249,0.00010471135,0.5188772],"genre_scores_gemma":[0.97002643,0.00231459,0.0010890639,0.00029433306,0.00009788153,0.00005168773,0.00014060542,0.000027814653,0.025957664],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9992656,0.0003256938,0.000015518981,0.0000857915,0.00012573042,0.00018171952],"domain_scores_gemma":[0.99894065,0.0002982342,0.00011173069,0.00006785998,0.00019365909,0.00038789868],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012063651,0.00043200713,0.00017997068,0.0013704866,0.0044576596,0.0062828097,0.0010304064,0.0009504067,0.009540168],"category_scores_gemma":[0.002697269,0.00020109465,0.00023033755,0.001979534,0.008195332,0.0027486335,0.002212661,0.0012416809,0.00024685482],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009895971,0.000047374328,0.010270557,0.00041389902,0.000024536868,0.00073517195,0.44585663,0.0004770723,0.0016161626,0.47782522,0.027342083,0.03529221],"study_design_scores_gemma":[0.000025613075,0.000047246474,0.06512666,0.0007320229,0.00002971931,0.00046413823,0.30977666,0.00072494947,0.0006333798,0.018046888,0.6043344,0.000058237438],"about_ca_topic_score_codex":0.50611395,"about_ca_topic_score_gemma":0.64084584,"teacher_disagreement_score":0.49388605,"about_ca_system_score_codex":0.014065314,"about_ca_system_score_gemma":0.0086030895,"threshold_uncertainty_score":0.9935893},"labels":[],"label_agreement":null},{"id":"W65493512","doi":"","title":"The technologies, aesthetics, philosophy and politics of high definition video","year":2009,"lang":"en","type":"article","venue":"UWE Research Repository (UWE Bristol)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Aesthetics; Politics; Las vegas; Proposition; Elite; Common sense; Face (sociological concept); Sociology; Art; Media studies; Political science; Law; Epistemology; Philosophy; Social science","score_opus":0.06419286155937796,"score_gpt":0.27185506586531716,"score_spread":0.20766220430593918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W65493512","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.042413354,0.020920236,0.009570888,0.06465475,0.0005315585,0.00002301002,0.00007285957,0.000038154045,0.8617752],"genre_scores_gemma":[0.9226746,0.010757765,0.0024133932,0.004701327,0.00070495927,0.00004733139,0.000038608283,0.000075671705,0.058586348],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9972697,0.0017582905,0.000043610708,0.00021515213,0.00047098982,0.00024219173],"domain_scores_gemma":[0.99835205,0.0010472966,0.00015351693,0.00013249114,0.00015602163,0.00015865662],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023256924,0.0002600622,0.00014267421,0.0011085812,0.0038252503,0.012335943,0.0005045083,0.0017406581,0.005792621],"category_scores_gemma":[0.0035909195,0.00022354294,0.00011940361,0.0011558193,0.025684414,0.007365902,0.002206304,0.0033633455,0.0006268564],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007875123,0.000005366134,0.00017201566,0.000016135897,8.2727144e-7,0.000020830505,0.002133065,0.00005757029,0.00007054138,0.987933,0.0039143804,0.0056682993],"study_design_scores_gemma":[0.000014453266,0.000038893737,0.0029167319,0.00032406815,0.000005412573,0.000295581,0.013884527,0.00064584654,0.00055470667,0.40730783,0.573983,0.000028872795],"about_ca_topic_score_codex":0.0074282354,"about_ca_topic_score_gemma":0.0063234633,"teacher_disagreement_score":0.012335943,"about_ca_system_score_codex":0.006564169,"about_ca_system_score_gemma":0.001170549,"threshold_uncertainty_score":0.047626615},"labels":[],"label_agreement":null},{"id":"W656657471","doi":"","title":"Cinema and Modernity","year":2006,"lang":"en","type":"book","venue":"The Journal of the Abraham Lincoln Association","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":12,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Modernity; Movie theater; Art history; Art; History; Philosophy","score_opus":0.015534065753183031,"score_gpt":0.1971157958168273,"score_spread":0.18158173006364428,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W656657471","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01207344,0.121977046,0.0014909666,0.07481776,0.004778616,0.00003480916,0.000091401,0.000059221522,0.78467685],"genre_scores_gemma":[0.7044025,0.07159793,0.0015853232,0.019398885,0.010983633,0.00010315143,0.000120949946,0.00014909822,0.19165856],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99829596,0.0010353836,0.000038407576,0.00018056332,0.00024429493,0.0002052858],"domain_scores_gemma":[0.99799794,0.00091676414,0.00022821184,0.00020002725,0.0002951932,0.0003618659],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013558393,0.00044333952,0.0003022089,0.0014293437,0.004836235,0.008605868,0.0006475322,0.0014354959,0.025147012],"category_scores_gemma":[0.0049918573,0.00021282201,0.00022563804,0.0013677978,0.010657412,0.0072665745,0.0029859433,0.0033111211,0.0022245392],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002475619,0.000033490716,0.0006362659,0.00025334145,0.000010118592,0.00008203117,0.0252271,0.000044248238,0.00022186426,0.82516164,0.10561463,0.042690497],"study_design_scores_gemma":[0.000005716313,0.000021082344,0.00077369966,0.0003829673,0.0000045303495,0.000107179396,0.0066970615,0.000037343147,0.00008821433,0.03484405,0.95703095,0.000007153301],"about_ca_topic_score_codex":0.0036473107,"about_ca_topic_score_gemma":0.0035303228,"teacher_disagreement_score":0.025147012,"about_ca_system_score_codex":0.00341801,"about_ca_system_score_gemma":0.001473287,"threshold_uncertainty_score":0.08412516},"labels":[],"label_agreement":null},{"id":"W6763983","doi":"10.32873/uno.dc.jrf.19.01.23","title":"Sundance Film Festival 2015","year":2015,"lang":"en","type":"article","venue":"Journal of Religion & Film","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cape Breton University","funders":"","keywords":"Vision; Hollywood; Film festival; Entertainment; Art; Art history; Media studies; Power (physics); Visual arts; History; Advertising; Sociology","score_opus":0.04286601163522238,"score_gpt":0.25758898068647945,"score_spread":0.21472296905125707,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6763983","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01946894,0.01324194,0.0008465366,0.026189793,0.023258332,0.0006750768,0.10642446,0.0020111226,0.80788386],"genre_scores_gemma":[0.06090426,0.0041937777,0.0008180702,0.0027757175,0.0063808756,0.0002704582,0.0495756,0.0006918189,0.87438935],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967945,0.000042451895,0.000012713726,0.0000345439,0.00014297242,0.00008781134],"domain_scores_gemma":[0.9987326,0.00009747505,0.0001217012,0.000060091075,0.00047056668,0.0005176241],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00064836274,0.00068080635,0.0003105883,0.0019885472,0.0019099452,0.0027388586,0.00052673684,0.0010619826,0.21235412],"category_scores_gemma":[0.002433384,0.00023478412,0.00029159017,0.0013367146,0.00027232955,0.0013607894,0.0019385158,0.0012482022,0.045856133],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006859769,0.00001811107,0.00027362906,0.000099421835,0.0000039400475,0.000041240914,0.00013928488,0.000023004055,0.00020113088,0.0007038234,0.98912865,0.009299219],"study_design_scores_gemma":[0.000009773252,0.000024782714,0.006861679,0.00008491186,0.0000031828056,0.000029076877,0.00024910638,0.000051366555,0.00011510473,0.0001303406,0.99243355,0.0000070633964],"about_ca_topic_score_codex":0.02354638,"about_ca_topic_score_gemma":0.09949942,"teacher_disagreement_score":0.21235412,"about_ca_system_score_codex":0.001330847,"about_ca_system_score_gemma":0.0009760472,"threshold_uncertainty_score":0.71039534},"labels":[],"label_agreement":null},{"id":"W68791633","doi":"10.71781/9348","title":"Les relations entre la scène et le cinéma dans le spectacle d'avant-garde : une étude intermédiale et in situ de Relâche de Picabia, Satie et Clair","year":2009,"lang":"fr","type":"dissertation","venue":"Open MIND","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Spectacle; Political science","score_opus":0.028302290627280135,"score_gpt":0.2840658084891876,"score_spread":0.2557635178619075,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W68791633","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7181722,0.007304855,0.002702294,0.008675959,0.00015471516,0.000053769574,0.0002456168,0.000029428053,0.26266116],"genre_scores_gemma":[0.9826299,0.0009576233,0.00030631907,0.00011493705,0.000037053356,0.000015141949,0.00003345085,0.000022743336,0.015882785],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990809,0.00043694684,0.000012444241,0.000107383385,0.00014482296,0.00021749709],"domain_scores_gemma":[0.9977398,0.00113132,0.000337535,0.00009265766,0.00030106897,0.0003976992],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016889796,0.0003800673,0.0003156905,0.001673322,0.0060505783,0.008988716,0.00081577635,0.00096018636,0.011411899],"category_scores_gemma":[0.005741592,0.0002922024,0.00020476777,0.0023958564,0.008025792,0.0042893197,0.0031237628,0.002134682,0.00042271454],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014041724,0.0000503659,0.016565276,0.00017538117,0.000020470521,0.00071792974,0.77571076,0.00010282672,0.0011245476,0.16990294,0.005197961,0.030291103],"study_design_scores_gemma":[0.000023375598,0.000060276143,0.11802404,0.0005103729,0.000051648156,0.0004704756,0.64480036,0.0004118522,0.000723697,0.01422631,0.22065817,0.00003948605],"about_ca_topic_score_codex":0.21038215,"about_ca_topic_score_gemma":0.2589857,"teacher_disagreement_score":0.21038215,"about_ca_system_score_codex":0.009747623,"about_ca_system_score_gemma":0.0047748797,"threshold_uncertainty_score":0.41831523},"labels":[],"label_agreement":null},{"id":"W6887721712","doi":"10.17613/a9eb4-6kq72","title":"Media and Peeping Tom Culture: Violating Familial Privacy and Communal Responsibility in the Evolution of Voyeurism","year":2023,"lang":"en","type":"article","venue":"Knowledge Commons (Lakehead University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University","funders":"","keywords":"Voyeurism; Interpretation (philosophy); Reality television; Sensationalism; Reality tv; Exhibitionism; Focus (optics)","score_opus":0.044810720759336696,"score_gpt":0.24104511273560775,"score_spread":0.19623439197627104,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6887721712","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9472317,0.00055434695,0.00035867014,0.0015910929,0.000036027744,0.000011490575,0.000009216969,0.000010125371,0.05019738],"genre_scores_gemma":[0.9987526,0.00011548875,0.000070370195,0.000043486987,0.000006198104,0.0000034048035,0.000002388805,0.0000044477956,0.0010016588],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99832004,0.0010696026,0.00003582081,0.00016402268,0.00013266214,0.00027774967],"domain_scores_gemma":[0.9976949,0.001164169,0.00046718775,0.00019704571,0.00013628055,0.0003404203],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013968046,0.00024407219,0.00019015043,0.0012198427,0.008806179,0.007479799,0.0008316673,0.0011599101,0.0030200663],"category_scores_gemma":[0.005568396,0.00030207814,0.00017089707,0.0008616725,0.0142837865,0.004048577,0.004947577,0.0018924465,0.00013940885],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000070517424,0.00006359538,0.023957495,0.0000471998,0.00001297486,0.0017608044,0.906312,0.000052176805,0.0012362045,0.051083915,0.00049264554,0.014910429],"study_design_scores_gemma":[0.000009514404,0.00010704788,0.054626826,0.00015238953,0.000023579862,0.0016797488,0.9024367,0.00018950016,0.00091676274,0.006081327,0.0337411,0.0000355789],"about_ca_topic_score_codex":0.011141891,"about_ca_topic_score_gemma":0.01371512,"teacher_disagreement_score":0.011141891,"about_ca_system_score_codex":0.0031898755,"about_ca_system_score_gemma":0.0016374601,"threshold_uncertainty_score":0.023144305},"labels":[],"label_agreement":null},{"id":"W6893500805","doi":"10.5281/zenodo.4133244","title":"TÉLÉCHARGER { Le château (2020) } FILM COMPLET Regarder film en ligne zra","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Social memory; Social life; Glide plane","score_opus":0.040654238234634904,"score_gpt":0.22096779153966037,"score_spread":0.18031355330502546,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893500805","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006689213,0.00029909005,0.0014588718,0.0006063408,0.0013965257,0.0002332281,0.009830191,0.0157914,0.96971536],"genre_scores_gemma":[0.002549889,0.0003287539,0.0009014534,0.00028869486,0.00024792983,0.00010688721,0.0052189236,0.006775488,0.983582],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996486,0.000023802268,0.0000126748,0.000063566666,0.00017646483,0.00007492921],"domain_scores_gemma":[0.9984434,0.00012292521,0.000041833526,0.00027157794,0.00064729736,0.00047306478],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003890056,0.0011980376,0.00060375314,0.00140802,0.0016003973,0.005404549,0.0012344855,0.0012268751,0.94167346],"category_scores_gemma":[0.0025921478,0.0006025892,0.00067734206,0.0011072926,0.00027801347,0.0039136894,0.002872225,0.0015964927,0.90048397],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003878824,0.000012730715,0.00004811703,0.00007711514,0.0000017890912,0.000031020474,0.0000438355,0.000020705751,0.00048166455,0.00068132504,0.9724646,0.026098365],"study_design_scores_gemma":[0.000015694803,0.000011018215,0.00044172062,0.000052966374,0.0000026966402,0.000058409776,0.00007233317,0.00007062025,0.00050937635,0.00023508699,0.9985207,0.000009368855],"about_ca_topic_score_codex":0.0064819157,"about_ca_topic_score_gemma":0.0136291925,"teacher_disagreement_score":0.058326542,"about_ca_system_score_codex":0.0011097393,"about_ca_system_score_gemma":0.00064649404,"threshold_uncertainty_score":0.083195746},"labels":[],"label_agreement":null},{"id":"W6893565659","doi":"10.5281/zenodo.4124623","title":"STREAMING VF~ Falling (2020) streaming vF VOSTFR en Ligne Film FR iic","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Falling in love; Video recording","score_opus":0.036557102783395974,"score_gpt":0.22146444215433844,"score_spread":0.18490733937094248,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893565659","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00042294423,0.0002677067,0.0017382114,0.0006236997,0.0011911371,0.00019785574,0.01683477,0.01333644,0.9653872],"genre_scores_gemma":[0.002632122,0.00034932196,0.0014966311,0.00039978098,0.0003178408,0.00012077228,0.013940241,0.007171699,0.97357154],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99968696,0.000019197736,0.000010493581,0.000049048766,0.00016442814,0.000069894224],"domain_scores_gemma":[0.9989673,0.00008644565,0.000024829575,0.00015554579,0.0004198255,0.00034611087],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00033614217,0.0009946626,0.00045247798,0.0012700683,0.00169544,0.00449677,0.0012784238,0.0012865536,0.92961967],"category_scores_gemma":[0.0022599753,0.0004994396,0.0005998931,0.0013168369,0.0002611913,0.003391722,0.0033169123,0.0014395152,0.833636],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017698914,0.000005496003,0.000036804777,0.000044062952,8.335118e-7,0.000021224645,0.000029928835,0.000016322912,0.00024211685,0.0005739178,0.9802215,0.018790102],"study_design_scores_gemma":[0.00000827553,0.000006368882,0.0002704012,0.00004266759,0.0000013012575,0.000043676217,0.000054666958,0.000047401947,0.00019205516,0.00029743195,0.99902964,0.000006194628],"about_ca_topic_score_codex":0.008577851,"about_ca_topic_score_gemma":0.022031479,"teacher_disagreement_score":0.07038033,"about_ca_system_score_codex":0.0009918455,"about_ca_system_score_gemma":0.0007762397,"threshold_uncertainty_score":0.100388944},"labels":[],"label_agreement":null},{"id":"W6893581690","doi":"10.5281/zenodo.4145228","title":"Assistir A Família Addams (2019) Dublado Filme Online Grátis oib","year":2020,"lang":"pt","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Group (periodic table); Agency (philosophy); Movie theater","score_opus":0.0791756530074512,"score_gpt":0.23883229581719426,"score_spread":0.15965664280974307,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893581690","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0029883184,0.0008757708,0.0003996869,0.0051016076,0.0041202786,0.00017429284,0.0025770103,0.001979812,0.9817832],"genre_scores_gemma":[0.005840334,0.0006738599,0.00070272305,0.0013928806,0.00046855488,0.00008410682,0.0010289511,0.00049798697,0.9893106],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998324,0.000021391548,0.000005192765,0.00002538558,0.000057265806,0.000058304064],"domain_scores_gemma":[0.99930704,0.00005867276,0.000024290637,0.000037301365,0.0001752041,0.00039748903],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027986788,0.0005530572,0.00024210561,0.00048693005,0.0020729809,0.0024934274,0.0005272811,0.001066795,0.78740156],"category_scores_gemma":[0.0014186875,0.00026727965,0.00032336864,0.00027450518,0.0002479531,0.002032714,0.0029503831,0.0013896895,0.48249218],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015669355,0.000016548922,0.00015584906,0.000037425754,0.0000011660773,0.000083000836,0.00020803956,0.0000048057473,0.00026167146,0.00028920508,0.974429,0.02449754],"study_design_scores_gemma":[0.0000056839185,0.000013955813,0.0014822363,0.000054603952,0.0000019128083,0.00011956894,0.00075846066,0.000015043207,0.00012418863,0.000104189676,0.99731594,0.0000042326715],"about_ca_topic_score_codex":0.0062819994,"about_ca_topic_score_gemma":0.036081776,"teacher_disagreement_score":0.21259844,"about_ca_system_score_codex":0.0005896456,"about_ca_system_score_gemma":0.00047329025,"threshold_uncertainty_score":0.30324584},"labels":[],"label_agreement":null},{"id":"W6893584534","doi":"10.5281/zenodo.4261945","title":"If I Only Had Christmas (2020) Film ▶ HD !Complet En Francais ~ Streaming Vf Entier 4k. rox","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Entertainment; French; Web site; Video recording","score_opus":0.033538104803638905,"score_gpt":0.22053146844548002,"score_spread":0.1869933636418411,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893584534","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017345065,0.0014214334,0.0006571419,0.002488806,0.0035195365,0.00015809709,0.010504403,0.0017424604,0.9777736],"genre_scores_gemma":[0.00674916,0.0017286534,0.0006842302,0.0007197205,0.0004920572,0.000081275146,0.004491311,0.0012159673,0.98383766],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99979764,0.000014852133,0.00000894675,0.000026536547,0.00010214797,0.00004986229],"domain_scores_gemma":[0.9993887,0.000059489834,0.00001989409,0.000058632133,0.0002808141,0.00019244841],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003266191,0.0004462688,0.00024334676,0.00078837294,0.0022366375,0.003110352,0.000512463,0.0005916689,0.6843512],"category_scores_gemma":[0.0011207019,0.00027025928,0.00029344278,0.0009948057,0.00034337252,0.0026349302,0.0012712477,0.0014988019,0.37866348],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023643563,0.0000074112104,0.000087155546,0.00009636381,8.273224e-7,0.000039608207,0.00015263124,0.000011850357,0.000520301,0.0008728469,0.97574425,0.022443242],"study_design_scores_gemma":[0.0000026698244,0.0000039359393,0.0005388009,0.000057344234,7.339546e-7,0.000039897117,0.0001655367,0.000007896153,0.00015200398,0.00006556515,0.9989623,0.0000033542683],"about_ca_topic_score_codex":0.029245086,"about_ca_topic_score_gemma":0.09489497,"teacher_disagreement_score":0.3156488,"about_ca_system_score_codex":0.0013421873,"about_ca_system_score_gemma":0.00096934324,"threshold_uncertainty_score":0.45023465},"labels":[],"label_agreement":null},{"id":"W6893617653","doi":"10.5281/zenodo.4259073","title":"Regarder ]]\"The Christmas Yule Blog (2020))\" FRANÇAIS FILM-STREAMING VF pwj","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Entertainment; Entertainment industry; Live streaming; Aerial photos","score_opus":0.037719770341480816,"score_gpt":0.2140926600943919,"score_spread":0.1763728897529111,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893617653","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008942428,0.0002256796,0.0003224207,0.0009252854,0.0009710502,0.000090423266,0.0077035828,0.0043655336,0.98450166],"genre_scores_gemma":[0.0042585633,0.00022637536,0.0004232664,0.0005185145,0.00014390954,0.000035900368,0.0041152993,0.002458701,0.98781943],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999788,0.000015635642,0.0000073957276,0.000029903009,0.00009663199,0.00006246062],"domain_scores_gemma":[0.9993007,0.000033320834,0.000023336106,0.000070553455,0.00030593586,0.00026617077],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00029520554,0.0005006772,0.00021743287,0.00068670756,0.0017329116,0.0032983252,0.0005469574,0.00083877146,0.8491594],"category_scores_gemma":[0.0012298451,0.00025080008,0.0002507795,0.00074549275,0.00023746178,0.0025121253,0.0020070004,0.0010450409,0.70909137],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013682,0.0000062240892,0.000094350806,0.00003272511,6.55769e-7,0.000026016296,0.00008925248,0.0000065709523,0.00016176293,0.0006285496,0.983333,0.015607359],"study_design_scores_gemma":[0.000003338457,0.000003131331,0.0004815567,0.000022844173,5.1310246e-7,0.000023760274,0.00009940446,0.000012200289,0.00009767109,0.000044111468,0.9992077,0.0000037639738],"about_ca_topic_score_codex":0.036492784,"about_ca_topic_score_gemma":0.10732329,"teacher_disagreement_score":0.15084058,"about_ca_system_score_codex":0.0011455673,"about_ca_system_score_gemma":0.00073667,"threshold_uncertainty_score":0.21515578},"labels":[],"label_agreement":null},{"id":"W6893637412","doi":"10.5281/zenodo.4517113","title":"Guarda Crisis (2021) Film Completo Streaming Italiano HD Gratis rxo","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Hyporeflexia; Dysgeusia; Fusible alloy; Diafiltration; Demotion","score_opus":0.04866054015298767,"score_gpt":0.22879546905963744,"score_spread":0.18013492890664975,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893637412","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005950594,0.00039620453,0.00015097603,0.0013889327,0.0016931259,0.0001270123,0.0101084635,0.0012800737,0.98426],"genre_scores_gemma":[0.0039022474,0.00051117194,0.0002790975,0.0007191974,0.00050089386,0.00008471112,0.008906836,0.001209358,0.9838864],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998049,0.000012531697,0.0000050780905,0.000024872681,0.000085262116,0.00006734184],"domain_scores_gemma":[0.9995957,0.000026416263,0.000014779778,0.000034185152,0.00014418204,0.0001847489],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002192208,0.0007323554,0.00026132932,0.0008553797,0.0016419402,0.003682459,0.0006183824,0.0010035532,0.82816315],"category_scores_gemma":[0.0008703537,0.0003651172,0.0004038502,0.0008151256,0.00021157527,0.0022254263,0.00246522,0.0015748806,0.57565016],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014260026,0.000004498256,0.000028952645,0.000027126636,4.7304232e-7,0.000020589106,0.00003189311,0.000005869854,0.000081742255,0.00031025344,0.993002,0.006472336],"study_design_scores_gemma":[0.0000070250344,0.0000049126247,0.00061704917,0.000034963818,8.5660093e-7,0.00003322104,0.00008941062,0.000012457249,0.00007019694,0.00009636702,0.99903095,0.0000025774764],"about_ca_topic_score_codex":0.0102169495,"about_ca_topic_score_gemma":0.035838448,"teacher_disagreement_score":0.17183685,"about_ca_system_score_codex":0.0011216406,"about_ca_system_score_gemma":0.00063511136,"threshold_uncertainty_score":0.24510431},"labels":[],"label_agreement":null},{"id":"W6893640582","doi":"10.5281/zenodo.4259828","title":"Regarder] Heart of the Holidays (2020) Streaming Vf En Film Complet Vostfr sdr","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Video recording; Heart beat; Mobile device","score_opus":0.045728825065120805,"score_gpt":0.22433655089232815,"score_spread":0.17860772582720735,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893640582","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00074964523,0.0002995871,0.0005829817,0.00075044885,0.0021270069,0.00017063499,0.010696747,0.006005558,0.9786174],"genre_scores_gemma":[0.003756677,0.0003754782,0.00077904545,0.00046838506,0.00040769088,0.000079653364,0.006345472,0.0038092826,0.98397833],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998272,0.0000089252835,0.0000054063694,0.00002501616,0.00007523153,0.000058364458],"domain_scores_gemma":[0.99923563,0.00004417956,0.000019087864,0.00006229224,0.000288449,0.00035038634],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00022181787,0.00069147896,0.00037531354,0.000855915,0.0017456257,0.003631912,0.0007758837,0.0009849346,0.8746194],"category_scores_gemma":[0.0012520172,0.00041563224,0.00048507695,0.000682687,0.00019930585,0.0024550392,0.0020693778,0.0013280686,0.7384352],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021706799,0.000006733848,0.000059634385,0.00004487552,8.8714324e-7,0.000026331541,0.000056597364,0.000009344814,0.00021612845,0.0003242038,0.9859261,0.013307443],"study_design_scores_gemma":[0.000011045235,0.000009029149,0.00075316936,0.000047375008,0.0000016891653,0.00004163958,0.00012954194,0.000029899767,0.00022145166,0.0000944209,0.9986533,0.000007421575],"about_ca_topic_score_codex":0.016662369,"about_ca_topic_score_gemma":0.054250635,"teacher_disagreement_score":0.12538058,"about_ca_system_score_codex":0.00085567555,"about_ca_system_score_gemma":0.00056019286,"threshold_uncertainty_score":0.17884016},"labels":[],"label_agreement":null},{"id":"W6893662333","doi":"10.5281/zenodo.4100777","title":"[WATCH ONLINE]Code 8 (2019) F U L L Movie English Subtitle Streaming .ONLINE F R E E Download dws","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Code (set theory); Download; Upload; Action (physics); Online model; The Internet; Code word; Subtitle","score_opus":0.06479757543788683,"score_gpt":0.23335643390562288,"score_spread":0.16855885846773605,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893662333","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003804664,0.00013736106,0.0011926581,0.0006381428,0.0013958932,0.00021372344,0.009632876,0.0072523947,0.9791565],"genre_scores_gemma":[0.0016021017,0.00016854229,0.00096703036,0.00048727696,0.0002115801,0.00010094447,0.0070057325,0.004949793,0.98450696],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99974626,0.00001363686,0.00000810681,0.000031918167,0.00014402522,0.00005613311],"domain_scores_gemma":[0.99855953,0.00010681852,0.000031318155,0.00014157513,0.00086286844,0.00029788254],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027165428,0.0009810489,0.0003958547,0.0012889747,0.00204286,0.0035352444,0.001350005,0.0014991531,0.9139794],"category_scores_gemma":[0.0024713296,0.00053426594,0.0005529913,0.00095571455,0.00036754753,0.0040261,0.0024107872,0.0018022327,0.82488996],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010556632,0.0000067341543,0.000025958507,0.000035870562,5.558083e-7,0.000015469976,0.0000266575,0.000008762245,0.0001467265,0.00047788618,0.9883471,0.010897737],"study_design_scores_gemma":[0.000007901947,0.000008226683,0.00039945912,0.00005019702,0.0000013708863,0.00005367388,0.00006535784,0.00005778992,0.00023442245,0.0002552482,0.99885666,0.0000096515605],"about_ca_topic_score_codex":0.01819551,"about_ca_topic_score_gemma":0.03329554,"teacher_disagreement_score":0.08602059,"about_ca_system_score_codex":0.0010379703,"about_ca_system_score_gemma":0.0008353043,"threshold_uncertainty_score":0.12269783},"labels":[],"label_agreement":null},{"id":"W6893663097","doi":"10.5281/zenodo.4462746","title":"ON~PUTLOCKERZ'S.!! WATCH Weekends (2021) ONLINE FREE FULL HD 123MOVIES afm","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Download; Coronavirus disease 2019 (COVID-19); Action (physics); Sign (mathematics); Box office","score_opus":0.045430055291346916,"score_gpt":0.22803249812082485,"score_spread":0.18260244282947793,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893663097","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00046712227,0.00024165948,0.0009118003,0.0005090531,0.0011155215,0.00013759575,0.0073851035,0.009687915,0.9795442],"genre_scores_gemma":[0.0019487973,0.00023034791,0.0005774379,0.0003791538,0.00014142077,0.00007079645,0.004030982,0.0056007756,0.98702025],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99979717,0.000013879052,0.0000064668293,0.00003902326,0.000084048384,0.000059531347],"domain_scores_gemma":[0.9991811,0.00007960955,0.000022091092,0.00011773217,0.0003225386,0.00027696852],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025366351,0.0012204993,0.0006466968,0.001197607,0.0021662442,0.004499202,0.001281408,0.0013102712,0.9499421],"category_scores_gemma":[0.0016473926,0.0006919687,0.00079848414,0.00097631227,0.0003772477,0.004719688,0.00420212,0.0018089525,0.8982527],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003155276,0.000013584154,0.000056552566,0.00006863494,0.0000019147565,0.000023814071,0.000058889265,0.000013209289,0.0001821925,0.00070668943,0.9792184,0.01962469],"study_design_scores_gemma":[0.000008385081,0.000007783072,0.00033821477,0.000045169483,0.0000025699132,0.000034254175,0.000097006065,0.00004074738,0.00020161444,0.00022960601,0.99898773,0.00000682893],"about_ca_topic_score_codex":0.0069652237,"about_ca_topic_score_gemma":0.015514116,"teacher_disagreement_score":0.050057888,"about_ca_system_score_codex":0.0007257927,"about_ca_system_score_gemma":0.0005064131,"threshold_uncertainty_score":0.07140142},"labels":[],"label_agreement":null},{"id":"W6893670089","doi":"10.5281/zenodo.4524156","title":"1080p@full#HD Watch CINEMAX online My Way: The Life and Legacy of Pat Patterson (2021) frz","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Action (physics); Sign (mathematics); George (robot); Life writing","score_opus":0.04601387667558703,"score_gpt":0.22386719716625722,"score_spread":0.17785332049067018,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893670089","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00069026207,0.00017280612,0.00085055805,0.0005079483,0.00084809365,0.00011184528,0.004426194,0.0045397524,0.98785245],"genre_scores_gemma":[0.003459978,0.00022219481,0.0007017599,0.00032269213,0.00017582052,0.00006345095,0.0026173322,0.0023220554,0.9901147],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998616,0.000012097579,0.0000035342741,0.000025358786,0.000063104744,0.000034329158],"domain_scores_gemma":[0.9994186,0.0000553235,0.00001575376,0.000062829735,0.00018323204,0.00026430795],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00019217454,0.0007867298,0.00033644916,0.0006107038,0.001680265,0.0033534835,0.0007658073,0.0009535554,0.9357958],"category_scores_gemma":[0.0011008977,0.00041120336,0.00035990472,0.00042595036,0.00033058802,0.002412484,0.0030322052,0.0013133916,0.81876624],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018601248,0.000009860637,0.000048845428,0.000049441616,0.0000012637984,0.000031912623,0.00006604458,0.000016086497,0.00027766163,0.0004605489,0.98411787,0.014901926],"study_design_scores_gemma":[0.000011818499,0.000012412748,0.00058850105,0.00005860217,0.0000025933884,0.00008150449,0.0001598225,0.00005600552,0.00025126326,0.00018774526,0.9985837,0.0000059709428],"about_ca_topic_score_codex":0.0042357747,"about_ca_topic_score_gemma":0.014685932,"teacher_disagreement_score":0.064204216,"about_ca_system_score_codex":0.00055561366,"about_ca_system_score_gemma":0.00032529596,"threshold_uncertainty_score":0.09157944},"labels":[],"label_agreement":null},{"id":"W6893680276","doi":"10.5281/zenodo.4051509","title":"Watch After 2 'After We Collided' [2020] Full Movie Online For Free Streaming","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Pace; Coronavirus disease 2019 (COVID-19); Shot (pellet); Digital media; Closed captioning","score_opus":0.04800392749966739,"score_gpt":0.2240387728672541,"score_spread":0.1760348453675867,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893680276","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002125731,0.00050831854,0.0029384606,0.002475507,0.0056539793,0.00031340006,0.012099883,0.017187348,0.9566973],"genre_scores_gemma":[0.009024811,0.0005497848,0.0022414958,0.0021391725,0.0013832191,0.00016838126,0.012045085,0.00690893,0.96553916],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99977607,0.000018469564,0.000008089574,0.000033659468,0.00009783639,0.00006585705],"domain_scores_gemma":[0.9988864,0.00007707539,0.000031065752,0.000109876855,0.00043363782,0.00046189438],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00034640598,0.00087083445,0.00040122814,0.00078363926,0.0020294723,0.0029583373,0.0008190188,0.0012719308,0.7198959],"category_scores_gemma":[0.002294126,0.00035663607,0.00048190253,0.0006346896,0.0003147019,0.003942601,0.0028982838,0.0014499181,0.5897638],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026565973,0.000006605432,0.000064376014,0.00003275208,0.0000015470035,0.0000326492,0.000056588473,0.000012256289,0.0002643331,0.00033415598,0.9874865,0.011681652],"study_design_scores_gemma":[0.000013447743,0.000019787063,0.0009957032,0.00006489605,0.000003226609,0.000069252535,0.00016173846,0.00010671618,0.0002773818,0.0002766176,0.9979978,0.0000134903385],"about_ca_topic_score_codex":0.0055483645,"about_ca_topic_score_gemma":0.01896494,"teacher_disagreement_score":0.2801041,"about_ca_system_score_codex":0.0005055081,"about_ca_system_score_gemma":0.00040035587,"threshold_uncertainty_score":0.39953446},"labels":[],"label_agreement":null},{"id":"W6893680786","doi":"10.5281/zenodo.4143766","title":"[WATCH-Free]. Spontaneous (2020) . DVD4K. Full.Online.FULL. Movie@Shared wce","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Spontaneous order; Action (physics); Sign (mathematics); Online video; Download","score_opus":0.04866912329465633,"score_gpt":0.21876154830527283,"score_spread":0.1700924250106165,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893680786","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00025574374,0.00022642627,0.00074037834,0.0002806656,0.0007200926,0.00013618026,0.008933186,0.004376136,0.9843313],"genre_scores_gemma":[0.0021851982,0.00033270617,0.00070300594,0.0003597775,0.00019827725,0.000084651394,0.007908353,0.0042708525,0.9839572],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999833,0.0000127131925,0.0000056416716,0.000025702477,0.00008331288,0.000039596776],"domain_scores_gemma":[0.9994143,0.00005315462,0.000013663152,0.000085483116,0.00024030276,0.0001930885],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000220163,0.00097026065,0.00045656934,0.0010617003,0.0012078482,0.0036801714,0.0013049453,0.0010740755,0.9460103],"category_scores_gemma":[0.0013300078,0.0005519228,0.0006558104,0.000986385,0.00028685352,0.002752072,0.0024130726,0.0014417054,0.8802646],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024644622,0.000011715693,0.000031829768,0.00008394796,0.0000016975154,0.000022342709,0.000024182476,0.000019168428,0.00029719877,0.00059684605,0.97886205,0.020024357],"study_design_scores_gemma":[0.000014542266,0.000010231129,0.0003651758,0.000049801733,0.0000022177217,0.00006329693,0.00004464684,0.000048680147,0.00030216607,0.00029852102,0.9987929,0.000007742883],"about_ca_topic_score_codex":0.0047154343,"about_ca_topic_score_gemma":0.009939688,"teacher_disagreement_score":0.05398971,"about_ca_system_score_codex":0.00071076525,"about_ca_system_score_gemma":0.00043790447,"threshold_uncertainty_score":0.0770098},"labels":[],"label_agreement":null},{"id":"W6893683998","doi":"10.5281/zenodo.4517128","title":"Se Crisis 2021 På Nettet Film Online Gratis Danske Undertekster aap","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); The Internet; Addiction; Drug Company","score_opus":0.06575237755038056,"score_gpt":0.24396090184181735,"score_spread":0.1782085242914368,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893683998","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00070725055,0.00038932462,0.00021399473,0.0022840148,0.0022708455,0.000083985564,0.0028449325,0.0009604527,0.9902452],"genre_scores_gemma":[0.0034566151,0.0004159057,0.00019301793,0.00069131935,0.0002543491,0.000045564117,0.001514103,0.000698804,0.9927303],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99985695,0.000012761869,0.000004023413,0.000018837523,0.00006583776,0.000041604577],"domain_scores_gemma":[0.9996761,0.00003670286,0.000012277961,0.000022199845,0.00010304966,0.00014963739],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00016909186,0.0006229292,0.00024157504,0.00056362245,0.0018231041,0.0036694794,0.00051514804,0.0010091354,0.84579104],"category_scores_gemma":[0.00095320964,0.0003513649,0.0002834412,0.0004599423,0.00026179367,0.0026812598,0.002500292,0.0019724634,0.5564889],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012869845,0.0000058489272,0.000021353435,0.000026716218,4.18062e-7,0.000027373831,0.000056631037,0.0000061372857,0.00008913316,0.0004809559,0.9919165,0.007356043],"study_design_scores_gemma":[0.000005976972,0.0000043877462,0.00023932787,0.000036904,6.521318e-7,0.000035934445,0.0002029697,0.000019781717,0.0001028061,0.00013802564,0.9992107,0.0000024677663],"about_ca_topic_score_codex":0.0041258275,"about_ca_topic_score_gemma":0.017468762,"teacher_disagreement_score":0.15420896,"about_ca_system_score_codex":0.0006939628,"about_ca_system_score_gemma":0.00047893525,"threshold_uncertainty_score":0.21996039},"labels":[],"label_agreement":null},{"id":"W6893686855","doi":"10.5281/zenodo.4252371","title":"Mozi-Filmek.Hu HD Teljes Film 【Magyarul】 - Antrum (2020) filmek Videa ulg","year":2020,"lang":"hu","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Antrum; Gastric antrum; Dimmer; Pyloric Antrum; Embarrassment","score_opus":0.0496578155591154,"score_gpt":0.2195735751047947,"score_spread":0.16991575954567928,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893686855","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007700192,0.0003955436,0.00054375944,0.0008293378,0.0011267323,0.00009604279,0.005590004,0.00427764,0.98637086],"genre_scores_gemma":[0.0034857509,0.0003360701,0.00045374918,0.0003463967,0.00016880063,0.000038968665,0.0030793697,0.0019589763,0.990132],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998418,0.000012543006,0.0000047189887,0.000031609798,0.00006882921,0.000040520183],"domain_scores_gemma":[0.9994349,0.000041938656,0.000016378835,0.00005723638,0.00017327444,0.0002763528],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025874175,0.0005972525,0.00031260122,0.00076052314,0.0013896491,0.0040910584,0.0006270246,0.0010041404,0.8773821],"category_scores_gemma":[0.0010616675,0.00039175618,0.00033761794,0.00066412665,0.00023613333,0.003324355,0.0021150573,0.0011515839,0.777723],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003099072,0.00001601109,0.0000905802,0.000060903905,0.0000015800691,0.000034007673,0.00007129282,0.000012677272,0.0003199578,0.0009678899,0.9738491,0.024545016],"study_design_scores_gemma":[0.000007788176,0.000008312534,0.00060505024,0.000031056854,0.0000019245933,0.00004305617,0.000106329026,0.00003094528,0.00023425056,0.00017020002,0.9987565,0.0000045385846],"about_ca_topic_score_codex":0.0048683803,"about_ca_topic_score_gemma":0.013791401,"teacher_disagreement_score":0.1226179,"about_ca_system_score_codex":0.0006901208,"about_ca_system_score_gemma":0.00035053233,"threshold_uncertainty_score":0.17489958},"labels":[],"label_agreement":null},{"id":"W6893698521","doi":"10.5281/zenodo.4020923","title":"Hard Kill (2020) streaming vf film complet en ligne","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gloom; Circumstantial evidence; Paraphernalia; Scapegoat; Limiting; Headline","score_opus":0.04885496833054593,"score_gpt":0.2230162013304611,"score_spread":0.17416123299991518,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893698521","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006990915,0.00017740311,0.0013822357,0.0005323345,0.0017798854,0.00016881268,0.008259379,0.009447142,0.97755367],"genre_scores_gemma":[0.0022945404,0.00016981058,0.00071031775,0.0002743348,0.00029242196,0.00006259362,0.0058299517,0.004744782,0.98562115],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999764,0.000015307796,0.00000713367,0.000038839928,0.0001113383,0.000063406835],"domain_scores_gemma":[0.9989893,0.00007178108,0.00002146971,0.00012040562,0.00045008282,0.00034704644],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00025955265,0.0012668051,0.0005483705,0.0012105406,0.001979876,0.0040497966,0.0012461666,0.0012093656,0.9290217],"category_scores_gemma":[0.001618287,0.000599703,0.00068180077,0.0007175233,0.00032631538,0.0032864646,0.003222449,0.0017546469,0.8555928],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024817453,0.000009112686,0.00004110295,0.000041233692,0.0000014802122,0.000029859404,0.000038230955,0.000024370256,0.0002846411,0.00035926615,0.98638874,0.012757162],"study_design_scores_gemma":[0.000013012202,0.00002023726,0.00054062845,0.000056329776,0.0000032400558,0.0000723241,0.00012760078,0.00010173484,0.00037827314,0.00030562351,0.9983699,0.000011124238],"about_ca_topic_score_codex":0.0070819757,"about_ca_topic_score_gemma":0.022498937,"teacher_disagreement_score":0.070978284,"about_ca_system_score_codex":0.0007705582,"about_ca_system_score_gemma":0.0005329852,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W6893708080","doi":"10.5281/zenodo.4106966","title":"[-@!~FULL-movie]-Watch Invisible Man (2020) HD English Full Movie ylr","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"nobody; Government (linguistics); Download; Action (physics); Box office; Sign (mathematics)","score_opus":0.048896247131143426,"score_gpt":0.21639459116613532,"score_spread":0.1674983440349919,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893708080","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004983173,0.0002041826,0.0015481845,0.00042490967,0.0013179065,0.00019450692,0.00751974,0.009783241,0.978509],"genre_scores_gemma":[0.0025353082,0.00026719886,0.0013305777,0.0005254881,0.00021770816,0.000094863884,0.0055773593,0.0066914903,0.98275995],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99987483,0.000008140781,0.0000044826616,0.000021714526,0.000060137834,0.00003063001],"domain_scores_gemma":[0.9992879,0.000054372933,0.000013643638,0.00010351661,0.00035293202,0.00018759066],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020064514,0.00087720953,0.00037933214,0.00075922185,0.0013234611,0.00284364,0.0010767607,0.0010464465,0.9310608],"category_scores_gemma":[0.0013061938,0.0004968174,0.0005402888,0.0006138781,0.00027097808,0.003322731,0.0023156076,0.0013404659,0.8720518],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021179474,0.000011026007,0.000039167386,0.00007363774,0.0000013382137,0.00002340487,0.000038472066,0.000016193446,0.00039375038,0.0006309467,0.98117733,0.017573554],"study_design_scores_gemma":[0.000011378626,0.000011104001,0.00039000894,0.000046914127,0.0000019472402,0.00006936382,0.0000641278,0.00006044195,0.00038096763,0.00022818583,0.9987268,0.00000867465],"about_ca_topic_score_codex":0.0047448347,"about_ca_topic_score_gemma":0.009940097,"teacher_disagreement_score":0.06893921,"about_ca_system_score_codex":0.0005123365,"about_ca_system_score_gemma":0.0003316844,"threshold_uncertainty_score":0.09833336},"labels":[],"label_agreement":null},{"id":"W6893709646","doi":"10.5281/zenodo.4211103","title":"123movies!! watch Le club Vinland (2020) full movie online free klp","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Club; The Internet; Sign (mathematics); Online chat; Download","score_opus":0.05251191061325834,"score_gpt":0.2178778765941388,"score_spread":0.16536596598088044,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893709646","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00045175906,0.00018669864,0.00040554145,0.00042174043,0.0011346844,0.00009600795,0.0039870986,0.0028956744,0.9904208],"genre_scores_gemma":[0.0014605063,0.00018823537,0.000270276,0.00021765454,0.00014925447,0.00004552955,0.0027307093,0.0016135803,0.99332434],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997844,0.000014698588,0.0000065797426,0.000035632158,0.00010731132,0.000051434254],"domain_scores_gemma":[0.999318,0.00003749687,0.00001530253,0.00006212212,0.00023086075,0.00033632084],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025324352,0.0008753981,0.00045988028,0.00085880444,0.001651857,0.0040331674,0.00083602814,0.0008963652,0.93000644],"category_scores_gemma":[0.0011662163,0.00039819579,0.00052470964,0.0008073735,0.00026833825,0.0029292558,0.0033228116,0.0015101914,0.8612007],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016513744,0.000012445985,0.000043452812,0.00004617092,9.888922e-7,0.000019221225,0.000030139154,0.000011210048,0.00014944337,0.00040971526,0.9841611,0.01509963],"study_design_scores_gemma":[0.0000056233625,0.0000071770764,0.00028795324,0.00002870461,0.0000010694225,0.000024433926,0.0000755769,0.0000270355,0.00009500907,0.000093087765,0.99935025,0.000004051028],"about_ca_topic_score_codex":0.0054526227,"about_ca_topic_score_gemma":0.019053202,"teacher_disagreement_score":0.069993556,"about_ca_system_score_codex":0.0007023002,"about_ca_system_score_gemma":0.0004698486,"threshold_uncertainty_score":0.0998373},"labels":[],"label_agreement":null},{"id":"W6893719272","doi":"10.5281/zenodo.4253581","title":"Regarder ]]\"L'État sauvage (2019))\" FRANÇAIS FILM-STREAMING VF onh","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Filter (signal processing); Population","score_opus":0.042957875775431975,"score_gpt":0.21836980710691173,"score_spread":0.17541193133147975,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893719272","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001183516,0.0006735022,0.0008994428,0.0018441839,0.0028895717,0.00022035593,0.012990262,0.0037491585,0.9755501],"genre_scores_gemma":[0.0039284597,0.0006212919,0.0009156671,0.0005869372,0.0002858421,0.00007406863,0.004483792,0.00198208,0.9871219],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99969065,0.000025212552,0.000012304373,0.000041173964,0.00015377701,0.0000769865],"domain_scores_gemma":[0.99911815,0.00006139909,0.000026962205,0.00008378714,0.0004690524,0.00024073222],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00047434506,0.00061031885,0.00025206583,0.00090076675,0.0020036728,0.0041304776,0.00072221155,0.0009530953,0.80422044],"category_scores_gemma":[0.0013372909,0.00028248402,0.00041069544,0.0010018579,0.00030200614,0.0024567368,0.0016363802,0.0013720511,0.5885526],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024694367,0.000009420392,0.000113463946,0.00007851282,0.000001020951,0.000043742373,0.00012514896,0.000014862112,0.00047565514,0.0010020309,0.97573644,0.02237512],"study_design_scores_gemma":[0.0000033235046,0.0000039614815,0.00040238368,0.0000448852,7.1780477e-7,0.000029563262,0.000107037806,0.0000135974715,0.00016225142,0.0000557424,0.99917245,0.000004124155],"about_ca_topic_score_codex":0.04069838,"about_ca_topic_score_gemma":0.11027487,"teacher_disagreement_score":0.19577956,"about_ca_system_score_codex":0.0016830756,"about_ca_system_score_gemma":0.0012041819,"threshold_uncertainty_score":0.2792557},"labels":[],"label_agreement":null},{"id":"W6893744716","doi":"10.5281/zenodo.4319608","title":"2020~&gt;(Regarder) Fatman en streaming VF Film complet HD","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Live streaming; Video streaming; Documentary film; Real Time Streaming Protocol","score_opus":0.05048081296572616,"score_gpt":0.22665428869022541,"score_spread":0.17617347572449926,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893744716","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003372639,0.00024760887,0.00040333206,0.00095380197,0.0015658417,0.00006720018,0.004655851,0.0023468842,0.98942226],"genre_scores_gemma":[0.0012029762,0.0001609153,0.00022670542,0.0002393829,0.00011890784,0.00002043293,0.0019417588,0.00090473477,0.99518424],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99975926,0.000013790419,0.0000060125685,0.000047011737,0.00011829767,0.000055651337],"domain_scores_gemma":[0.9992637,0.00003450939,0.00001819768,0.000061300256,0.00031197385,0.0003102213],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00029378876,0.0006506646,0.00029145728,0.000706066,0.0015416001,0.0041751345,0.00061649544,0.0012354532,0.91401345],"category_scores_gemma":[0.0012455371,0.00032725904,0.00034270337,0.0007321617,0.00027839726,0.0030938543,0.0023287714,0.0012035221,0.8606077],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011488593,0.0000041291028,0.00004154479,0.000022147695,5.927256e-7,0.000016785965,0.000023542643,0.000011355245,0.00016005654,0.0006777821,0.98222244,0.016808162],"study_design_scores_gemma":[0.0000028051388,0.000003232179,0.00016756383,0.000015200315,5.199903e-7,0.000018263248,0.000047446407,0.000017447152,0.00006539043,0.000098313394,0.9995615,0.0000023029177],"about_ca_topic_score_codex":0.01545364,"about_ca_topic_score_gemma":0.03658948,"teacher_disagreement_score":0.085986555,"about_ca_system_score_codex":0.0011464352,"about_ca_system_score_gemma":0.0007965956,"threshold_uncertainty_score":0.12264937},"labels":[],"label_agreement":null},{"id":"W6893747240","doi":"10.5281/zenodo.4253760","title":"Regarder ]]\"Lara (2020))\" FRANÇAIS FILM-STREAMING VF qzo","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Field (mathematics); Nucleofection; Feature (linguistics)","score_opus":0.040621694664894334,"score_gpt":0.2172528537187384,"score_spread":0.17663115905384408,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893747240","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012016114,0.0004225773,0.001338275,0.0016950957,0.0022562598,0.00029528717,0.029327534,0.014949625,0.94851375],"genre_scores_gemma":[0.0052889595,0.00046703953,0.0016143849,0.00080574467,0.0002970471,0.0001075059,0.015592511,0.0069646453,0.9688621],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99970406,0.000023802271,0.0000105295185,0.000045995694,0.00012312034,0.00009257572],"domain_scores_gemma":[0.9988105,0.000067165245,0.000031674164,0.00014518281,0.00056267995,0.00038271083],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0005136012,0.0007513557,0.00029481627,0.0009538152,0.0018454356,0.0042011426,0.0009047454,0.0011804,0.857767],"category_scores_gemma":[0.0016872414,0.0004155409,0.0005323158,0.0010047465,0.00026646847,0.0031661491,0.0022085032,0.0012639427,0.71790904],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024880404,0.000007932744,0.00008665087,0.00005284631,0.0000011252073,0.000026991898,0.00006868095,0.000010433084,0.00026974516,0.000550642,0.9837728,0.015127249],"study_design_scores_gemma":[0.000007811846,0.000005636184,0.0005424211,0.000039104554,0.0000013359652,0.000031588326,0.000094564064,0.000028113114,0.00018315716,0.000078153076,0.99898154,0.000006512009],"about_ca_topic_score_codex":0.048606105,"about_ca_topic_score_gemma":0.11057635,"teacher_disagreement_score":0.14223301,"about_ca_system_score_codex":0.0015808323,"about_ca_system_score_gemma":0.0010477523,"threshold_uncertainty_score":0.20287806},"labels":[],"label_agreement":null},{"id":"W6893752032","doi":"10.5281/zenodo.4250295","title":"Regarder Mort Subite 2 (2020) Streaming VF Film Complet noy","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sudden death; Event (particle physics); Feature (linguistics); Subject (documents)","score_opus":0.051969308955515235,"score_gpt":0.23625183484526358,"score_spread":0.18428252588974833,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893752032","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009085484,0.00030953868,0.0021280206,0.00097075774,0.0032078237,0.0003804422,0.012131899,0.01149584,0.96846706],"genre_scores_gemma":[0.003547535,0.00041126428,0.0016448414,0.00055170606,0.0005593191,0.00014781233,0.00818891,0.006816235,0.97813237],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967754,0.000017829088,0.000012465217,0.000039354596,0.00017390776,0.00007889041],"domain_scores_gemma":[0.998874,0.0001004671,0.000030153813,0.00017109679,0.0005336894,0.0002906302],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00043283176,0.0008004019,0.0004055483,0.0012096276,0.0015403646,0.0039057694,0.0010360102,0.0012072617,0.8723078],"category_scores_gemma":[0.0022502516,0.00052042375,0.0006129979,0.00086442125,0.0002857671,0.0037186884,0.0021900546,0.0015679289,0.73671323],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004734013,0.00001369505,0.00008125715,0.000080281294,0.000001338114,0.000044180175,0.00006137941,0.000022631835,0.00066505186,0.0007958756,0.9779785,0.020208525],"study_design_scores_gemma":[0.000009792796,0.000011264788,0.0005159334,0.000055091863,0.0000017244708,0.000057029454,0.00007510943,0.00004389442,0.0004727764,0.00018273998,0.9985672,0.0000074400473],"about_ca_topic_score_codex":0.0065522077,"about_ca_topic_score_gemma":0.018774023,"teacher_disagreement_score":0.12769222,"about_ca_system_score_codex":0.0008327548,"about_ca_system_score_gemma":0.0007182152,"threshold_uncertainty_score":0.18213737},"labels":[],"label_agreement":null},{"id":"W6893754265","doi":"10.5281/zenodo.4255074","title":"STREAMING VF~ Good Devil (2020) streaming vF VOSTFR en Ligne Film FR bmo","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Staring; Order (exchange); Filter (signal processing)","score_opus":0.033043872918744506,"score_gpt":0.22301756386565882,"score_spread":0.18997369094691433,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893754265","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00042385684,0.00023479163,0.0009218415,0.0006168745,0.0010679152,0.00014812728,0.010063125,0.0063891923,0.9801342],"genre_scores_gemma":[0.0021670875,0.00030802377,0.0009968817,0.00033447685,0.00021636803,0.000078236735,0.0077762753,0.0044387197,0.98368394],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972504,0.000018060215,0.000008058086,0.000041069496,0.00014394375,0.00006370244],"domain_scores_gemma":[0.9990177,0.000088094144,0.000024770234,0.0001119882,0.0003815703,0.00037583627],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00029199437,0.0009480109,0.00043676904,0.0011882359,0.0017396044,0.004499138,0.001088347,0.0013283689,0.925977],"category_scores_gemma":[0.0020778736,0.00048227777,0.0005878609,0.0010819193,0.00029165522,0.0035508468,0.003242548,0.0015134859,0.8184963],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014591532,0.000006774926,0.000038523318,0.000047488855,8.566249e-7,0.000021740054,0.00003492574,0.00001612576,0.00016415773,0.0006326427,0.98273176,0.016290454],"study_design_scores_gemma":[0.0000075206317,0.0000069682355,0.00028553404,0.00004314926,0.0000013491017,0.000041248808,0.00007323441,0.000033057597,0.00014441005,0.00029878374,0.999059,0.000005802998],"about_ca_topic_score_codex":0.009276244,"about_ca_topic_score_gemma":0.030532999,"teacher_disagreement_score":0.07402301,"about_ca_system_score_codex":0.0009649042,"about_ca_system_score_gemma":0.0007837565,"threshold_uncertainty_score":0.10558474},"labels":[],"label_agreement":null},{"id":"W6893755116","doi":"10.5281/zenodo.4131393","title":"Regarder Le club Vinland (2020) Streaming VF Film Complet cet","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Club; Context (archaeology); Table (database); Myoglobinuria","score_opus":0.05081713602674666,"score_gpt":0.22358863254878844,"score_spread":0.17277149652204177,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893755116","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005544302,0.00020545312,0.00055120233,0.00077548483,0.0016655152,0.00015214925,0.008196714,0.004688946,0.9832101],"genre_scores_gemma":[0.0023612543,0.00022897695,0.00054492237,0.0003570277,0.0002842068,0.000064688174,0.0053470535,0.0027259195,0.988086],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99968266,0.000018603527,0.0000093812705,0.000046892794,0.00015577821,0.00008665221],"domain_scores_gemma":[0.9988005,0.00006911926,0.000031544554,0.0001094015,0.0004255377,0.0005638856],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00031268824,0.0007086921,0.00035949118,0.0010092277,0.0018434568,0.004445492,0.0008717099,0.0011243337,0.91977346],"category_scores_gemma":[0.0019405182,0.00039566908,0.00047246108,0.00092127465,0.00023179424,0.0032608232,0.002823084,0.0013621547,0.82212096],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017667404,0.000008252315,0.000059400918,0.00003753199,7.319137e-7,0.000027112648,0.000040995994,0.000010151663,0.00016270723,0.00042235033,0.98530835,0.013904717],"study_design_scores_gemma":[0.000008534435,0.0000070910755,0.00037614116,0.000037113212,0.0000010832574,0.000035093344,0.00008927994,0.000028107946,0.00015563602,0.00011834745,0.99913895,0.000004582151],"about_ca_topic_score_codex":0.011016137,"about_ca_topic_score_gemma":0.039607033,"teacher_disagreement_score":0.08022654,"about_ca_system_score_codex":0.0009723276,"about_ca_system_score_gemma":0.0007371524,"threshold_uncertainty_score":0.11443335},"labels":[],"label_agreement":null},{"id":"W6893765049","doi":"10.5281/zenodo.4254226","title":"Regarder Nulle trace (2020) Streaming VF Film Complet hqg","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"TRACE (psycholinguistics); Long-term prediction; Nucleofection","score_opus":0.05477594512832455,"score_gpt":0.22849271860589956,"score_spread":0.17371677347757503,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893765049","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002072984,0.00047555112,0.006256321,0.0016919628,0.002607841,0.00054990454,0.04341853,0.050753348,0.8921735],"genre_scores_gemma":[0.0090228645,0.00062878116,0.004885519,0.0013112325,0.00062518095,0.00033407644,0.0351358,0.030143524,0.917913],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996598,0.000019836183,0.000015056288,0.000048097023,0.00016183578,0.00009549294],"domain_scores_gemma":[0.99867237,0.00013470552,0.000033166893,0.00022330988,0.00060193014,0.0003344506],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00037271003,0.0010897513,0.00045299978,0.001304334,0.0014489162,0.0039937366,0.001339302,0.0014763015,0.83348763],"category_scores_gemma":[0.0028893175,0.0006179785,0.00061673054,0.0009139799,0.0002656,0.004279157,0.0028445541,0.0014937402,0.64910024],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000071791925,0.000018996623,0.00016212634,0.00010422369,0.000002357768,0.00005702018,0.00008204206,0.000031228396,0.0007276777,0.000964288,0.9702922,0.027485998],"study_design_scores_gemma":[0.00002487095,0.000018037506,0.00085654826,0.00008714773,0.0000038808766,0.000090331625,0.00010704051,0.00014281306,0.0011354419,0.00044497888,0.99707305,0.000015770913],"about_ca_topic_score_codex":0.01008267,"about_ca_topic_score_gemma":0.0209625,"teacher_disagreement_score":0.16651237,"about_ca_system_score_codex":0.0010004811,"about_ca_system_score_gemma":0.00080095936,"threshold_uncertainty_score":0.23750961},"labels":[],"label_agreement":null},{"id":"W6893770059","doi":"10.5281/zenodo.4142577","title":"REGARDER''-Lost Girls &amp; Love Hotels (2020)]EN STREAMING FILM FR COMPLET ehx","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Paraphernalia; Population; Subconscious; Subject (documents); Scapegoat; Indignation","score_opus":0.059392199512348365,"score_gpt":0.2353357014172602,"score_spread":0.17594350190491184,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893770059","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005650332,0.00025929554,0.00026068106,0.00061952183,0.0015755248,0.00008512493,0.0033720501,0.0016703003,0.9915924],"genre_scores_gemma":[0.0016450507,0.00023405055,0.00023977303,0.00029379985,0.00014063223,0.000029638768,0.0012599552,0.0008404613,0.9953166],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99987817,0.000007914058,0.000003337742,0.000018290844,0.000050818806,0.000041495736],"domain_scores_gemma":[0.9995994,0.00002410098,0.000010425613,0.000027723581,0.000117445066,0.00022090238],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00019407524,0.00066706684,0.0003099934,0.0005197025,0.0016639472,0.0033374096,0.00062273187,0.000886888,0.9020107],"category_scores_gemma":[0.0007574607,0.00035555722,0.0004377173,0.0005618588,0.00022045245,0.0023870275,0.0021580544,0.0015465916,0.7893447],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013933861,0.0000083549085,0.000059417613,0.000035279627,7.339384e-7,0.00002590014,0.0000562911,0.000006992021,0.00012327476,0.00048770156,0.9847068,0.014475243],"study_design_scores_gemma":[0.0000057917573,0.000007012653,0.0004203523,0.0000333401,0.0000010058327,0.000037990063,0.00013064547,0.0000139224585,0.000101672886,0.00006675824,0.9991779,0.0000035603357],"about_ca_topic_score_codex":0.0072674407,"about_ca_topic_score_gemma":0.02972801,"teacher_disagreement_score":0.09798932,"about_ca_system_score_codex":0.000548646,"about_ca_system_score_gemma":0.00042760963,"threshold_uncertainty_score":0.1397698},"labels":[],"label_agreement":null},{"id":"W6893772445","doi":"10.5281/zenodo.4127858","title":"REGARDER[[Chef en pandémie (2020)]EN STREAMING FILM FR COMPLET kxe","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filter (signal processing); Field (mathematics); Limiting","score_opus":0.047761774956713854,"score_gpt":0.22645531635074337,"score_spread":0.17869354139402951,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893772445","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016851595,0.0005548221,0.0016277411,0.0033327697,0.0035103678,0.00024647542,0.012330632,0.006825714,0.96988636],"genre_scores_gemma":[0.005572746,0.0005998647,0.0014822008,0.0010442409,0.0003882855,0.0001008811,0.005700547,0.0033584554,0.9817529],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997601,0.00001932184,0.0000075298867,0.000032347936,0.00011128659,0.00006942049],"domain_scores_gemma":[0.9991998,0.00008356854,0.000022176491,0.000060891172,0.0004163284,0.0002172485],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00041435938,0.0006441026,0.00027267614,0.00080604135,0.0022277315,0.0031578736,0.0007441431,0.001247429,0.7566862],"category_scores_gemma":[0.0020717077,0.00032260286,0.0003639074,0.0007149868,0.00034406225,0.0029304093,0.0016076074,0.0014109489,0.4617886],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023198176,0.000007389339,0.00010488341,0.00004487688,9.798525e-7,0.000042486918,0.00013342973,0.000011989999,0.00020826377,0.000849473,0.9840763,0.0144967735],"study_design_scores_gemma":[0.000006123574,0.0000052819837,0.0006273133,0.00004593991,0.0000013839034,0.000046204543,0.00016336035,0.000027085218,0.00015977956,0.0000890323,0.99882203,0.000006506673],"about_ca_topic_score_codex":0.046777435,"about_ca_topic_score_gemma":0.13133636,"teacher_disagreement_score":0.24331379,"about_ca_system_score_codex":0.0014710543,"about_ca_system_score_gemma":0.0011453202,"threshold_uncertainty_score":0.34705758},"labels":[],"label_agreement":null},{"id":"W6893774557","doi":"10.5281/zenodo.4143738","title":"123MovieZ!![HDQ]-WaTcH 1917 (2019) Online Full For Free at Putlockers nda","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Action (physics); Sign (mathematics); Adversary; Box office; Online video","score_opus":0.06813076597318898,"score_gpt":0.2294959546426288,"score_spread":0.16136518866943983,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893774557","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00032660112,0.00012749147,0.0003885366,0.00031899704,0.0006968018,0.000077540906,0.003932154,0.0029878083,0.9911442],"genre_scores_gemma":[0.0013784309,0.00011863742,0.00028957645,0.0001916897,0.000085748725,0.000035041638,0.002348609,0.0017711711,0.99378115],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99985707,0.000009127362,0.0000040881414,0.00002227398,0.00006903583,0.000038446073],"domain_scores_gemma":[0.9994937,0.00003464754,0.000011067653,0.000063234154,0.0002408351,0.00015649812],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00019933264,0.00065231713,0.0003990299,0.00085447216,0.0019981365,0.0034751364,0.00080761017,0.0010111203,0.9446667],"category_scores_gemma":[0.0009672301,0.00043094903,0.0005167545,0.0006358599,0.00031225718,0.0026459303,0.0026354224,0.001469816,0.8737083],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018244911,0.000009946697,0.000049292466,0.000045688095,0.0000011851673,0.000018823384,0.000040020484,0.000011491787,0.00019108699,0.00083461695,0.9799502,0.018829355],"study_design_scores_gemma":[0.0000052759656,0.0000069625344,0.000335067,0.000030101033,0.0000011368063,0.000029919298,0.00007149141,0.000022862976,0.00013777257,0.00014173712,0.9992132,0.000004496936],"about_ca_topic_score_codex":0.0076700393,"about_ca_topic_score_gemma":0.020817911,"teacher_disagreement_score":0.055333316,"about_ca_system_score_codex":0.000924834,"about_ca_system_score_gemma":0.00039418647,"threshold_uncertainty_score":0.078926265},"labels":[],"label_agreement":null},{"id":"W6893781660","doi":"10.5281/zenodo.4102285","title":"REGARDER[[Falling (2020)]EN STREAMING FILM FR COMPLET pqb","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Imago; Falling in love; Hum","score_opus":0.05795315160438215,"score_gpt":0.2241138984147206,"score_spread":0.16616074681033843,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893781660","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00068067503,0.00020936344,0.0018624715,0.00087928603,0.0013010419,0.00022389667,0.0072756577,0.012035265,0.9755323],"genre_scores_gemma":[0.0032588667,0.00022609888,0.0014354577,0.00055668474,0.0002259314,0.000113753435,0.004347116,0.0064029223,0.9834331],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997321,0.000019116826,0.000009166075,0.000040948853,0.0001352311,0.00006336244],"domain_scores_gemma":[0.99919945,0.00007115313,0.000024372785,0.0000796973,0.00036438933,0.0002609364],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032819665,0.00086656376,0.0003622287,0.00081305235,0.0017100306,0.0030581888,0.0009018432,0.0011577415,0.9139013],"category_scores_gemma":[0.0020174466,0.00044090077,0.00040795095,0.0006710284,0.0002519123,0.0031482126,0.0022904496,0.0012376916,0.78679776],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024282233,0.000009591348,0.000056092085,0.0000478154,7.764833e-7,0.000034389894,0.000085045285,0.000009291441,0.00025808116,0.0005955463,0.9769397,0.021939386],"study_design_scores_gemma":[0.000010175533,0.000009270461,0.00040254995,0.00003861013,0.0000013301091,0.000056117595,0.00009889332,0.000040627016,0.00022117625,0.00019033211,0.99892396,0.000007088008],"about_ca_topic_score_codex":0.008433345,"about_ca_topic_score_gemma":0.022638721,"teacher_disagreement_score":0.08609867,"about_ca_system_score_codex":0.00072797167,"about_ca_system_score_gemma":0.00054026593,"threshold_uncertainty_score":0.12280923},"labels":[],"label_agreement":null},{"id":"W6893785303","doi":"10.5281/zenodo.4212478","title":"Assistir A Morte de Isaac (2020) Dublado Filme Online Grátis iij","year":2020,"lang":"pt","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Treasure; The Imaginary; Cult; Mythology; Heaven; Dream; Movie theater","score_opus":0.06601632609762892,"score_gpt":0.24155325996690835,"score_spread":0.17553693386927943,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893785303","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016457406,0.0006860566,0.0004109485,0.0017965805,0.003152909,0.00011985201,0.0020972919,0.0025171584,0.98757356],"genre_scores_gemma":[0.0030991111,0.00035838038,0.0004248113,0.0003482117,0.00030148824,0.000029940331,0.00076004694,0.0005319975,0.994146],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998041,0.000014204137,0.0000049813675,0.000029529354,0.000089531284,0.00005770357],"domain_scores_gemma":[0.9992865,0.0000425129,0.000020118478,0.000046056568,0.00024718567,0.00035770872],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027817176,0.0006629318,0.00025276106,0.000676524,0.0023446598,0.0035863516,0.0006383346,0.0010596825,0.80862975],"category_scores_gemma":[0.0011630905,0.00033217616,0.0002995515,0.00040609084,0.00033332073,0.002027697,0.0023098225,0.001297306,0.5571637],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021432406,0.000012021023,0.00010707479,0.000043357537,0.000001138837,0.000069046175,0.00013826252,0.000011315106,0.00038221735,0.00055956555,0.9818487,0.016805965],"study_design_scores_gemma":[0.0000032496746,0.000009960729,0.0007320431,0.000034482087,0.0000013132928,0.000059912003,0.0002624824,0.00001893754,0.00013508655,0.00007343562,0.99866545,0.0000036089064],"about_ca_topic_score_codex":0.01048969,"about_ca_topic_score_gemma":0.0627597,"teacher_disagreement_score":0.19137025,"about_ca_system_score_codex":0.0008328052,"about_ca_system_score_gemma":0.00061641465,"threshold_uncertainty_score":0.27296638},"labels":[],"label_agreement":null},{"id":"W6893785884","doi":"10.5281/zenodo.4163958","title":"Guarda Spontaneous (2020) Film Completo Streaming Italiano HD Gratis myf","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Live streaming; The Internet; Population; Online video","score_opus":0.04912452179383456,"score_gpt":0.21504537865340748,"score_spread":0.16592085685957292,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893785884","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012450877,0.0007126316,0.0009459931,0.0020964094,0.0022904626,0.00024425235,0.03671269,0.004253837,0.9514986],"genre_scores_gemma":[0.00790732,0.00069328066,0.0012273357,0.0006336488,0.001208232,0.00019393397,0.022862377,0.0037291078,0.96154475],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972826,0.00002670663,0.000007924471,0.000049748356,0.00011924055,0.00006808749],"domain_scores_gemma":[0.9992169,0.000106335836,0.00003273262,0.00010877242,0.00023373358,0.00030152593],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0005198868,0.0007306523,0.00035336346,0.0013648649,0.0011000948,0.004030431,0.0008030866,0.0009575977,0.79873276],"category_scores_gemma":[0.0018849669,0.00039599324,0.00046653952,0.0010512588,0.00024934424,0.0019791326,0.0019940473,0.0011587787,0.5268702],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032333286,0.00000726679,0.00005015305,0.000045453096,0.0000015511853,0.000022718325,0.00003693796,0.000012739136,0.00013941956,0.0007312433,0.98771685,0.011203232],"study_design_scores_gemma":[0.000015980284,0.000009536095,0.0010675022,0.000051432457,0.0000019276222,0.000042392647,0.00005728509,0.000043287226,0.00012293221,0.0003073342,0.99827564,0.000004880483],"about_ca_topic_score_codex":0.0066023883,"about_ca_topic_score_gemma":0.0217839,"teacher_disagreement_score":0.20126724,"about_ca_system_score_codex":0.0009639973,"about_ca_system_score_gemma":0.00057645293,"threshold_uncertainty_score":0.28708327},"labels":[],"label_agreement":null},{"id":"W6893786980","doi":"10.5281/zenodo.4141114","title":"Assistir The Craft: Legacy (2020) Dublado Filme Online Grátis zgt","year":2020,"lang":"pt","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subject (documents); Context (archaeology); Troubleshooting; Government (linguistics); Demotion","score_opus":0.06701203764193951,"score_gpt":0.23758401564154083,"score_spread":0.17057197799960133,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893786980","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013387639,0.00036678353,0.0005426895,0.0009934001,0.0010346215,0.000082595296,0.0034987563,0.0031721103,0.9889703],"genre_scores_gemma":[0.0038538119,0.00028683487,0.00041749634,0.0002927746,0.00016629156,0.000029794424,0.0017008568,0.0010633555,0.9921887],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998534,0.000011072396,0.000004046317,0.000027756527,0.000060680777,0.00004310481],"domain_scores_gemma":[0.9994936,0.00003724533,0.000015347736,0.00006047394,0.00015242372,0.00024090787],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021359509,0.0005010484,0.00021304209,0.0006253583,0.0016223683,0.0035439967,0.00059148506,0.00081314263,0.82296014],"category_scores_gemma":[0.0009997374,0.00031261105,0.00023360513,0.00052152,0.00028848814,0.0023418798,0.0026469384,0.00094305293,0.58209103],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002523464,0.000010120029,0.00012216537,0.00005086092,0.0000012386596,0.000058380552,0.00016678736,0.000015721935,0.00034940566,0.0009072099,0.9696121,0.028680747],"study_design_scores_gemma":[0.0000049564055,0.000006132064,0.00063793396,0.000029722925,0.0000010770614,0.000045524306,0.00022257569,0.000022035645,0.00015126336,0.000094732524,0.9987808,0.0000033313456],"about_ca_topic_score_codex":0.009046142,"about_ca_topic_score_gemma":0.048435166,"teacher_disagreement_score":0.17703986,"about_ca_system_score_codex":0.00076042564,"about_ca_system_score_gemma":0.00041094626,"threshold_uncertainty_score":0.2525258},"labels":[],"label_agreement":null},{"id":"W6893799815","doi":"10.5281/zenodo.4130215","title":"[!REGARDER!]~VF Comme la neige au printemps (2020) Film Complet Streaming VF En Francais wqt","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Food studies; Human language; Data verification","score_opus":0.06275025685253535,"score_gpt":0.24035501407831844,"score_spread":0.1776047572257831,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893799815","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011473369,0.0003989373,0.0010010386,0.002147857,0.0032574353,0.00024184983,0.015981244,0.007514222,0.96831],"genre_scores_gemma":[0.0032370975,0.00035501146,0.00078559923,0.0005369454,0.0001918784,0.00006372156,0.006082132,0.0031028474,0.9856448],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99963176,0.000019397787,0.000011506319,0.000048940183,0.00017433868,0.00011399951],"domain_scores_gemma":[0.9984085,0.000058704147,0.000028805372,0.00013274908,0.0008795441,0.0004917526],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00048148748,0.0007179466,0.00033056404,0.00084779307,0.002768541,0.0046450174,0.00091835146,0.0013275968,0.8640125],"category_scores_gemma":[0.002052954,0.00043686212,0.00048469243,0.0009030518,0.00037778588,0.0033875126,0.0021743733,0.0016320895,0.73044086],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000145985305,0.000006208975,0.00008306178,0.000033314132,9.772854e-7,0.000027857333,0.00007621283,0.000010926686,0.00024018018,0.0004674342,0.9881919,0.010847353],"study_design_scores_gemma":[0.0000064405003,0.000006192959,0.00067347434,0.00004470721,0.0000013219011,0.00003540043,0.00018959954,0.000023697536,0.0002022122,0.000091088565,0.99871755,0.0000082458955],"about_ca_topic_score_codex":0.094594255,"about_ca_topic_score_gemma":0.21668863,"teacher_disagreement_score":0.13598752,"about_ca_system_score_codex":0.002065995,"about_ca_system_score_gemma":0.0017568968,"threshold_uncertainty_score":0.1939696},"labels":[],"label_agreement":null},{"id":"W6893813100","doi":"10.5281/zenodo.4098826","title":"[FILMS VOIR] Falling (2020) FILMS STREAMING VF EN GRATUIT ET VOSTFR mro","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Field (mathematics); Feature (linguistics)","score_opus":0.046488269948366294,"score_gpt":0.23096628420742032,"score_spread":0.18447801425905402,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893813100","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006774448,0.00042587778,0.0005681136,0.0011704667,0.0025394312,0.00016173735,0.0068151685,0.0031347042,0.98450696],"genre_scores_gemma":[0.004209747,0.00063131965,0.0010391445,0.00084612385,0.00060228363,0.000101754085,0.005718015,0.0031346153,0.9837171],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997656,0.0000166739,0.000007360606,0.000029357778,0.00012268143,0.00005833376],"domain_scores_gemma":[0.9993531,0.000049295137,0.000021439262,0.00007143946,0.00029323692,0.0002115033],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00030414233,0.000646653,0.00026859064,0.0008851822,0.0020223218,0.0041801133,0.00083612144,0.0009552408,0.8228139],"category_scores_gemma":[0.0015798248,0.00044014998,0.00043715956,0.0010944079,0.00024543641,0.002961515,0.0017979128,0.001835445,0.5771848],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001419146,0.0000057911698,0.00003775777,0.00003841694,7.0968264e-7,0.000024995472,0.00006823357,0.0000048020515,0.00018864272,0.0004978981,0.98470426,0.01441427],"study_design_scores_gemma":[0.0000061294168,0.0000051974903,0.00044599114,0.000039532602,0.0000010213543,0.000047151,0.00010345385,0.000010677198,0.00009712094,0.0001097283,0.9991297,0.0000042173133],"about_ca_topic_score_codex":0.010189207,"about_ca_topic_score_gemma":0.03225804,"teacher_disagreement_score":0.17718607,"about_ca_system_score_codex":0.00069309305,"about_ca_system_score_gemma":0.0005690628,"threshold_uncertainty_score":0.25273442},"labels":[],"label_agreement":null},{"id":"W6893816192","doi":"10.5281/zenodo.4127896","title":"Aline (2020) Film ▶ HD !Complet En Francais ~ Streaming Vf Entier 4k. kkm","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Video recording; Mental deficiency; Glide plane","score_opus":0.041910570678688364,"score_gpt":0.22511834375351022,"score_spread":0.18320777307482186,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893816192","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007962554,0.00039458988,0.0016845647,0.00086636096,0.0010962314,0.00016787638,0.014739109,0.012714458,0.9675405],"genre_scores_gemma":[0.0031211728,0.0003155608,0.0011319673,0.00029124634,0.00014012333,0.000072416995,0.00730101,0.005812516,0.9818141],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996698,0.000022885444,0.000011198796,0.000059478993,0.00014876323,0.00008790718],"domain_scores_gemma":[0.9988764,0.00007186537,0.000030597937,0.00014901918,0.0004737784,0.00039827675],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00045907128,0.0010009935,0.00040251247,0.0010865259,0.0019175475,0.0046704793,0.0011776749,0.0014019936,0.9158109],"category_scores_gemma":[0.0017646503,0.0005958206,0.000530392,0.0011137893,0.00033322253,0.004059206,0.002945223,0.0012888574,0.82249933],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000037525017,0.000009607343,0.000056279478,0.00006240219,0.000001761106,0.000030222443,0.00006588207,0.000023176639,0.000490341,0.0010179813,0.9760691,0.022135725],"study_design_scores_gemma":[0.000008400482,0.0000066720304,0.00028208943,0.000038693288,0.0000015166785,0.000039919338,0.000081519436,0.00004604623,0.00027410098,0.0001705939,0.99904305,0.000007393446],"about_ca_topic_score_codex":0.017749537,"about_ca_topic_score_gemma":0.04158581,"teacher_disagreement_score":0.08418912,"about_ca_system_score_codex":0.0013515302,"about_ca_system_score_gemma":0.0008622367,"threshold_uncertainty_score":0.12008554},"labels":[],"label_agreement":null},{"id":"W6893820578","doi":"10.5281/zenodo.4257886","title":"[[VOIR]] Suspect numéro un (2020) Film Complet Streaming VF En Francais rwz","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Suspect; Event (particle physics); Filter (signal processing); Derogation","score_opus":0.03840973565071415,"score_gpt":0.22099760974613342,"score_spread":0.18258787409541927,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893820578","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0026445754,0.0005234332,0.00062880636,0.0031381415,0.0025534912,0.0002619583,0.024269301,0.0034336695,0.9625466],"genre_scores_gemma":[0.009541139,0.0007262393,0.00093661307,0.00084039284,0.00032127005,0.00009790421,0.011438109,0.0016045927,0.9744937],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997278,0.000015643842,0.000010980503,0.000033391647,0.00012992605,0.000082253624],"domain_scores_gemma":[0.9989759,0.00005162009,0.000038060163,0.0000824344,0.00059244136,0.00025947188],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00037640403,0.00052915205,0.00020942492,0.0009483447,0.0028433222,0.0030571132,0.000656067,0.000885715,0.7090971],"category_scores_gemma":[0.0015604902,0.00038847048,0.00028834102,0.0010514335,0.00029459965,0.002582004,0.001236687,0.0011460771,0.38653895],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015815203,0.000006975942,0.00020187513,0.000041908577,0.0000010943965,0.00003696159,0.00012245549,0.000008171251,0.00024244083,0.0005790986,0.9850299,0.013713254],"study_design_scores_gemma":[0.000005540338,0.000006398711,0.0019086289,0.000053393505,0.0000013881524,0.000044284658,0.00024388917,0.000019991234,0.00017299644,0.00007177923,0.99746513,0.0000065994923],"about_ca_topic_score_codex":0.1326389,"about_ca_topic_score_gemma":0.30787638,"teacher_disagreement_score":0.2909029,"about_ca_system_score_codex":0.0016061999,"about_ca_system_score_gemma":0.0013238607,"threshold_uncertainty_score":0.41493767},"labels":[],"label_agreement":null},{"id":"W6893829548","doi":"10.5281/zenodo.4463904","title":"Little Fish (2021) Film ▶ HD !Complet En Francais ~ Streaming Vf Entier 4k. byp","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Fish <Actinopterygii>; Rhyme; Film festival; Mascot","score_opus":0.03464646855046737,"score_gpt":0.2196980892024262,"score_spread":0.18505162065195882,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893829548","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00076834566,0.0002557926,0.0006067521,0.00078034564,0.00090344955,0.00012235527,0.009988899,0.0048868232,0.9816871],"genre_scores_gemma":[0.002301483,0.00020271582,0.00038012097,0.00022939779,0.0000932663,0.000045358014,0.0040191035,0.0021069462,0.99062157],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99979955,0.000012471959,0.0000054431835,0.00003237656,0.00009152661,0.000058607144],"domain_scores_gemma":[0.99923205,0.000050745348,0.000019044484,0.00007759245,0.00030513338,0.00031540747],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00028651598,0.0008296624,0.0003484539,0.00083666213,0.0016236021,0.0036598726,0.00096291373,0.0012199462,0.92920715],"category_scores_gemma":[0.0013041955,0.00051902776,0.0005018966,0.0008747606,0.00027485925,0.0032298446,0.0025127085,0.0012242467,0.8112986],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025961326,0.000007398299,0.000044925346,0.00004255215,0.0000012245445,0.000023997594,0.000046241094,0.00001431839,0.0002544393,0.0004643436,0.9850197,0.014054825],"study_design_scores_gemma":[0.000010630078,0.000009610913,0.0005222223,0.000050382085,0.0000018668744,0.00004454637,0.00012913272,0.00004451507,0.00019082996,0.00015202643,0.99883646,0.000007710106],"about_ca_topic_score_codex":0.022926318,"about_ca_topic_score_gemma":0.059938062,"teacher_disagreement_score":0.070792854,"about_ca_system_score_codex":0.0011190089,"about_ca_system_score_gemma":0.0006777447,"threshold_uncertainty_score":0.10097742},"labels":[],"label_agreement":null},{"id":"W6893836893","doi":"10.5281/zenodo.4148377","title":"【 \"Monster Hunter (2020)\" 】 2019™ Teljes Film Videa magyarul letöltés dyh","year":2020,"lang":"hu","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Monster; Online presence management; Clearance; Digital media","score_opus":0.0467071630042765,"score_gpt":0.22257907668445376,"score_spread":0.17587191368017727,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893836893","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015753733,0.0005295023,0.0003111372,0.0017475293,0.0026604412,0.00010452957,0.0039584152,0.0019343459,0.9871787],"genre_scores_gemma":[0.0027738519,0.00025091204,0.00017939898,0.00025647675,0.00015489558,0.000022543289,0.0013019239,0.00046204525,0.9945979],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99983764,0.0000121270905,0.0000040712503,0.000027284133,0.00006904456,0.00004989354],"domain_scores_gemma":[0.999582,0.000018074412,0.000010323761,0.000026000656,0.00012836352,0.00023518427],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003005003,0.00049295614,0.00021955234,0.0005947293,0.001810678,0.0033673197,0.0005254265,0.0008191289,0.7535997],"category_scores_gemma":[0.0007884323,0.000303004,0.00026345724,0.00055682106,0.00026572388,0.0021477165,0.002087138,0.0013332075,0.5641828],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020744419,0.000007479958,0.000092922084,0.000027082024,9.686336e-7,0.000039389422,0.000091217924,0.000006967548,0.00018227386,0.0006879852,0.9865589,0.012284094],"study_design_scores_gemma":[0.000003254988,0.0000055739074,0.00050457363,0.000019418443,8.772311e-7,0.00003109344,0.00014184194,0.000010454446,0.00009815102,0.00004984494,0.99913234,0.0000026412013],"about_ca_topic_score_codex":0.014116951,"about_ca_topic_score_gemma":0.05317348,"teacher_disagreement_score":0.2464003,"about_ca_system_score_codex":0.00096235005,"about_ca_system_score_gemma":0.00062087155,"threshold_uncertainty_score":0.3514601},"labels":[],"label_agreement":null},{"id":"W6893839767","doi":"10.5281/zenodo.4253217","title":"{streaming Vf} House Pieces (2019) Streaming vF Film Complet en Ligne qge","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filter (signal processing); Paraphernalia; Nucleofection","score_opus":0.047456263034385396,"score_gpt":0.22889551241615186,"score_spread":0.18143924938176648,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893839767","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008743864,0.00040696532,0.0024153085,0.0010196854,0.0021893573,0.0003095043,0.042489003,0.018481812,0.9318139],"genre_scores_gemma":[0.004359001,0.00059112255,0.0025513198,0.0006364855,0.0005470667,0.00018469532,0.029911913,0.014111652,0.9471068],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99976856,0.000015544452,0.0000087762855,0.000032917054,0.00010976182,0.0000644307],"domain_scores_gemma":[0.99892044,0.00012221787,0.000030805626,0.00017824704,0.00043234235,0.00031592976],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003027046,0.0011523338,0.00044923427,0.0012581036,0.0016525807,0.0046945475,0.0011229364,0.0012017157,0.9026216],"category_scores_gemma":[0.002367152,0.000560336,0.00067612535,0.0012771914,0.00029527224,0.0039012877,0.0029390694,0.0014951207,0.77818304],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025685162,0.000007766257,0.000051889605,0.00007252357,0.0000012281185,0.000028491926,0.00005580135,0.000019022626,0.0002579163,0.00052992074,0.9833462,0.015603484],"study_design_scores_gemma":[0.000013559946,0.0000081496855,0.0005089921,0.00007369732,0.000001955598,0.000055740016,0.000106517364,0.000046462195,0.00028295157,0.00037149293,0.99852103,0.000009512178],"about_ca_topic_score_codex":0.013673739,"about_ca_topic_score_gemma":0.036936205,"teacher_disagreement_score":0.09737837,"about_ca_system_score_codex":0.0011254498,"about_ca_system_score_gemma":0.0007446503,"threshold_uncertainty_score":0.13889837},"labels":[],"label_agreement":null},{"id":"W6893844271","doi":"10.5281/zenodo.4142242","title":"Assistir The Craft: Legacy (2020) Dublado Filme Online Grátis gno","year":2020,"lang":"pt","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subject (documents); Context (archaeology); Government (linguistics); Troubleshooting; Staring","score_opus":0.06657919501852416,"score_gpt":0.23747773329696745,"score_spread":0.17089853827844328,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893844271","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012388764,0.0004213473,0.00039487882,0.0009730378,0.00097250345,0.00007260194,0.0033547643,0.0024254092,0.9901466],"genre_scores_gemma":[0.0038362183,0.00033568472,0.00036119204,0.00030992363,0.00017301812,0.00002748935,0.0016164434,0.0010103435,0.99232966],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99984586,0.000012776999,0.00000431205,0.000028709068,0.00006580376,0.000042524734],"domain_scores_gemma":[0.99951625,0.000037754107,0.000015008642,0.0000571336,0.00013676964,0.0002370153],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00022859013,0.00048369737,0.00019341426,0.00066948857,0.0014767782,0.0037453491,0.00055637624,0.0007967364,0.79095167],"category_scores_gemma":[0.000938733,0.0002928123,0.00021821189,0.0005614688,0.00029520807,0.0023307297,0.0024982353,0.0008991246,0.5575504],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023182498,0.000010499045,0.00011773795,0.00005188606,0.0000010851743,0.0000580098,0.00018484099,0.000013465158,0.00034431525,0.00090142444,0.96733975,0.030953804],"study_design_scores_gemma":[0.000004017442,0.0000050828444,0.00057416735,0.000030122283,8.4261416e-7,0.000040929594,0.00021418369,0.000015252584,0.00012716895,0.00008092182,0.99890447,0.0000027206531],"about_ca_topic_score_codex":0.008899238,"about_ca_topic_score_gemma":0.047231447,"teacher_disagreement_score":0.20904833,"about_ca_system_score_codex":0.00083402224,"about_ca_system_score_gemma":0.0004359498,"threshold_uncertainty_score":0.29818207},"labels":[],"label_agreement":null},{"id":"W6893865103","doi":"10.5281/zenodo.4036849","title":"The Babysitter : Killer Queen (2020) Film Complet en Streaming","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queen (butterfly); Portrait; Hypertext; Romanticism","score_opus":0.038157864998268905,"score_gpt":0.2202975629816163,"score_spread":0.1821396979833474,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893865103","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003724817,0.0018918129,0.0006977604,0.0042517288,0.009537026,0.00028437105,0.010687601,0.002039319,0.9668856],"genre_scores_gemma":[0.012090891,0.0018082452,0.0009897264,0.0012098526,0.0014702571,0.00011398626,0.008005272,0.0012862519,0.9730257],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972314,0.000029077673,0.0000096886815,0.00003570079,0.00013590825,0.00006659908],"domain_scores_gemma":[0.9994085,0.00006087869,0.00001774312,0.000040998504,0.00019832361,0.00027350342],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00040253435,0.00048499397,0.00019623018,0.00067639345,0.0019297005,0.003484709,0.000512526,0.00082029507,0.43994278],"category_scores_gemma":[0.0013897007,0.00031469465,0.00024679222,0.000693821,0.00029470414,0.002290041,0.0020032255,0.0014680638,0.16495499],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000046890782,0.0000073465594,0.000101416896,0.00008329137,0.000001025783,0.000085684675,0.00027173644,0.000013445099,0.000491478,0.0009356596,0.98109996,0.016862076],"study_design_scores_gemma":[0.000007113102,0.0000131395645,0.0011537626,0.0000779192,0.0000012317848,0.00007386915,0.00033681904,0.000019815663,0.00018330835,0.000119211654,0.99800867,0.0000050798894],"about_ca_topic_score_codex":0.015662994,"about_ca_topic_score_gemma":0.058587447,"teacher_disagreement_score":0.5600572,"about_ca_system_score_codex":0.0010759968,"about_ca_system_score_gemma":0.0007607985,"threshold_uncertainty_score":0.79885364},"labels":[],"label_agreement":null},{"id":"W6893887891","doi":"10.5281/zenodo.4490987","title":"【Joker (2019)】 ©Online~Videa Teljes Filmek (Magyarul) Ingyen [SUB Magyar] 2019 oar","year":2021,"lang":"hu","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Online learning; Online participation; Character (mathematics)","score_opus":0.04301451734494391,"score_gpt":0.2291644800156303,"score_spread":0.1861499626706864,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893887891","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00067706127,0.000388292,0.00028515363,0.0008238876,0.002174441,0.000087187,0.0020658036,0.0024766861,0.99102145],"genre_scores_gemma":[0.0014976829,0.00023729361,0.00017782015,0.0002509166,0.00016810677,0.000027625643,0.0010146217,0.0008834606,0.9957425],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998005,0.000014858054,0.0000069188354,0.000031513566,0.000093120114,0.00005311135],"domain_scores_gemma":[0.9992723,0.000047752845,0.000017538363,0.000059270893,0.00027345467,0.0003296386],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00033757498,0.00056020624,0.00037357153,0.00076317444,0.0020012162,0.005164239,0.000739857,0.0011386898,0.8991467],"category_scores_gemma":[0.0012402199,0.00042190598,0.00044721313,0.00066368753,0.00027669556,0.0031732349,0.0024704624,0.0015143119,0.83653826],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001852881,0.000014619216,0.000044520428,0.000043454325,0.0000011750293,0.000026046984,0.000051330146,0.000007690286,0.00018749609,0.00048714507,0.9840884,0.015029514],"study_design_scores_gemma":[0.0000046547716,0.000008082947,0.00041358251,0.00002868623,0.0000012050731,0.000029785893,0.0001007515,0.000014553719,0.00010196149,0.000100023615,0.9991924,0.000004304114],"about_ca_topic_score_codex":0.0040281406,"about_ca_topic_score_gemma":0.017900713,"teacher_disagreement_score":0.100853324,"about_ca_system_score_codex":0.0006709619,"about_ca_system_score_gemma":0.00052373327,"threshold_uncertainty_score":0.14385498},"labels":[],"label_agreement":null},{"id":"W6893898567","doi":"10.5281/zenodo.4510014","title":"123.MOZI~ \"Anything for Jackson (2021)\" FILMEK VIDEA-ONLINE MAGYAR ioh","year":2021,"lang":"hu","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Online presence management; Power (physics); Phone","score_opus":0.05723186346126319,"score_gpt":0.2464872631422578,"score_spread":0.1892553996809946,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6893898567","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003792574,0.00026007404,0.0003039536,0.0009632841,0.0012637931,0.000059916547,0.0017958429,0.0017209579,0.99325293],"genre_scores_gemma":[0.0013050138,0.00016491816,0.00017024948,0.0002677652,0.00010719421,0.000020184996,0.0007501658,0.00057830027,0.9966363],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998461,0.000012612379,0.0000044194644,0.000024175073,0.00007178867,0.0000409148],"domain_scores_gemma":[0.99956197,0.00003298928,0.000011528009,0.000025795389,0.00020302246,0.00016465911],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023667993,0.0006826877,0.0002585807,0.000651833,0.00178966,0.003373302,0.0006320107,0.0011885398,0.8722612],"category_scores_gemma":[0.0011069719,0.00038504784,0.00032465276,0.000537922,0.00028089117,0.003022416,0.0017630829,0.0015400611,0.747311],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008857258,0.000005855362,0.000028369997,0.000027475518,5.084794e-7,0.000021202439,0.00004438959,0.0000059471286,0.00011067631,0.00082931033,0.98806816,0.010849186],"study_design_scores_gemma":[0.0000024730216,0.000004907097,0.00031658285,0.000026869331,9.5352755e-7,0.000033846147,0.00009714547,0.00001546737,0.00007103871,0.00010598172,0.99932194,0.0000029007451],"about_ca_topic_score_codex":0.008761602,"about_ca_topic_score_gemma":0.028960334,"teacher_disagreement_score":0.12773877,"about_ca_system_score_codex":0.0009054797,"about_ca_system_score_gemma":0.0004983589,"threshold_uncertainty_score":0.18220389},"labels":[],"label_agreement":null},{"id":"W6902882781","doi":"10.7916/d8-kwyr-0y66","title":"Ray Lewis","year":2016,"lang":"en","type":"article","venue":"Columbia Academic Commons (Columbia University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Variety (cybernetics); Mount","score_opus":0.031099760168987852,"score_gpt":0.1937118840491928,"score_spread":0.16261212388020493,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6902882781","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016851887,0.030180145,0.002347498,0.12640418,0.018735906,0.000049501934,0.00067550066,0.0006326517,0.81928945],"genre_scores_gemma":[0.00886444,0.008867104,0.0007408067,0.0127798,0.0012249696,0.000016233333,0.00012719019,0.0001548639,0.96722454],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99892443,0.00014212722,0.000026755055,0.00024699903,0.000519623,0.00013992708],"domain_scores_gemma":[0.9976495,0.0002955514,0.00006908024,0.00011002604,0.0011616674,0.00071414124],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000904917,0.00053978333,0.00036149027,0.0015595506,0.004895328,0.0046783797,0.00082807755,0.0018528688,0.17503592],"category_scores_gemma":[0.0045611295,0.00030475215,0.00021175368,0.00084927847,0.0014063028,0.0025684163,0.0017063885,0.0034722069,0.06981115],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014073978,0.000008460028,0.00016908701,0.000024981111,0.000001651953,0.00007900673,0.0002145079,0.000029346313,0.00014153506,0.015471541,0.9518097,0.032036092],"study_design_scores_gemma":[0.000001417883,0.000002685921,0.00010550618,0.00004366627,8.1011274e-7,0.00008167454,0.00020360679,0.000018931987,0.00007501356,0.0009699827,0.99849164,0.0000049905148],"about_ca_topic_score_codex":0.060848646,"about_ca_topic_score_gemma":0.12156532,"teacher_disagreement_score":0.17503592,"about_ca_system_score_codex":0.0048007295,"about_ca_system_score_gemma":0.005186607,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W6904726182","doi":"10.1371/journal.pone.0285826.g005","title":"Total Hg concentration (μg/g dw) in wolverine (&lt;i&gt;Gulo gulo&lt;/i&gt;) muscle (n = 419) across boreal and Arctic biomes in western Canada.","year":2023,"lang":"en","type":"other","venue":"Figshare","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Biome; Taiga; Arctic; Boreal; Thermokarst; Permafrost","score_opus":0.026676997384703513,"score_gpt":0.23026635867838724,"score_spread":0.2035893612936837,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6904726182","genre_codex":"empirical","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.7149729,0.0021976386,0.00050017284,0.00035702324,0.0000568295,0.000057337358,0.26216516,0.00009441584,0.019598467],"genre_scores_gemma":[0.83131707,0.0023093857,0.0015024485,0.00033628353,0.00002304298,0.00009584774,0.10257023,0.00006732177,0.061778314],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9998474,0.0000072450657,0.000010264744,0.000048664297,0.000049047,0.00003738259],"domain_scores_gemma":[0.99937505,0.000034522753,0.000120726516,0.000020764093,0.0003386227,0.000110488494],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00018438151,0.00026000766,0.00019597064,0.0009985485,0.0007855147,0.0005189365,0.00051430665,0.00021164428,0.0050920965],"category_scores_gemma":[0.000418966,0.0001641983,0.0002232275,0.0025609354,0.00030531164,0.00022507421,0.00027977183,0.00019529818,0.0008705209],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00036855138,0.00003622627,0.8754624,0.0003920615,0.00031973765,0.0003124984,0.0019083243,0.00033402705,0.0033008815,0.00035653004,0.073699124,0.043509707],"study_design_scores_gemma":[0.0000030086514,0.000008644129,0.9920574,0.000028396526,0.00002302021,0.000026776948,0.0010778783,0.000048680275,0.00019345319,0.000022700564,0.0065048854,0.00000515295],"about_ca_topic_score_codex":0.97739863,"about_ca_topic_score_gemma":0.9926099,"teacher_disagreement_score":0.022601366,"about_ca_system_score_codex":0.0031895451,"about_ca_system_score_gemma":0.0029597455,"threshold_uncertainty_score":0.045468867},"labels":[],"label_agreement":null},{"id":"W6906439704","doi":"10.17613/evnww-6m591","title":"Mi Casa, Su Casa","year":2004,"lang":"en","type":"article","venue":"Knowledge Commons (Lakehead University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Feeling; Ambivalence; Subject (documents); Context (archaeology)","score_opus":0.04382630201132486,"score_gpt":0.21912817312026295,"score_spread":0.17530187110893808,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6906439704","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011470406,0.0060215974,0.0024835737,0.28200814,0.009960199,0.000032635224,0.00013282063,0.0002040369,0.6876865],"genre_scores_gemma":[0.2607935,0.004231156,0.001865063,0.0783463,0.007915888,0.00010108477,0.0001282824,0.0002698584,0.6463488],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991561,0.00025680507,0.000013776921,0.00018353768,0.00018360699,0.0002060946],"domain_scores_gemma":[0.99817634,0.00066326145,0.00017639123,0.0001715769,0.0004144297,0.0003980398],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010990571,0.00040526094,0.00030039632,0.0008855011,0.008494709,0.007851182,0.0008171023,0.0034499608,0.018516028],"category_scores_gemma":[0.005717454,0.00020428006,0.00029636794,0.0006822857,0.005460505,0.0054028346,0.0028642768,0.00630242,0.003733561],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026395812,0.000042717093,0.0018173595,0.000045682307,0.0000064633923,0.00057291077,0.009090283,0.000035445613,0.00018222943,0.5077331,0.46397504,0.016472371],"study_design_scores_gemma":[0.0000040506925,0.000007922775,0.0008446918,0.000058454734,0.0000048411043,0.00038290297,0.0054259207,0.000096063755,0.00010750722,0.014017796,0.9790411,0.000008845466],"about_ca_topic_score_codex":0.018772239,"about_ca_topic_score_gemma":0.055051133,"teacher_disagreement_score":0.018772239,"about_ca_system_score_codex":0.0032198709,"about_ca_system_score_gemma":0.0021754121,"threshold_uncertainty_score":0.06194228},"labels":[],"label_agreement":null},{"id":"W6908216502","doi":"10.25620/e141108-1","title":"Obliteration","year":2014,"lang":"en","type":"other","venue":"ICI Berlin","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sensibility; Spectacle; Nothing; Movie theater; Object (grammar); Fantasy; Presentation (obstetrics); Reinterpretation; Projection (relational algebra)","score_opus":0.022849307637605787,"score_gpt":0.21826527588618683,"score_spread":0.19541596824858104,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6908216502","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0053022834,0.0025176993,0.022673152,0.009094607,0.0035270834,0.00021074025,0.000396098,0.0018262503,0.9544521],"genre_scores_gemma":[0.112114504,0.0034304613,0.011007265,0.011117616,0.0017128411,0.00043832714,0.00093229604,0.0032494557,0.85599726],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9938234,0.0015418074,0.0002868412,0.0009695453,0.0024552527,0.0009231988],"domain_scores_gemma":[0.9961469,0.00087227055,0.00028869798,0.0010053993,0.001339867,0.0003468538],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026754923,0.0017845852,0.00062055804,0.0013919107,0.003645474,0.0071519087,0.0024619107,0.0017501968,0.094481386],"category_scores_gemma":[0.009755598,0.00051171886,0.00088706386,0.000800362,0.0067801345,0.007880135,0.010724776,0.004539203,0.04774838],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013024935,0.000050697658,0.000471316,0.00040359897,0.000011132911,0.0004208167,0.015469457,0.00018494802,0.0028128766,0.48870638,0.3525573,0.13878126],"study_design_scores_gemma":[0.000007257607,0.000026106676,0.00015504535,0.0001555492,0.0000057429543,0.00027459717,0.0010738823,0.00009302202,0.0009833332,0.017092906,0.98011655,0.000016063594],"about_ca_topic_score_codex":0.005154637,"about_ca_topic_score_gemma":0.005353608,"teacher_disagreement_score":0.094481386,"about_ca_system_score_codex":0.0033381712,"about_ca_system_score_gemma":0.0046475623,"threshold_uncertainty_score":0.3160717},"labels":[],"label_agreement":null},{"id":"W6911502398","doi":"10.5281/zenodo.1211519","title":"Docuverse: Approaches To Expanding Documentary","year":2018,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Metropolitan University; Université du Québec","funders":"","keywords":"Field (mathematics); Intersection (aeronautics); Documentary film; Documentary evidence; Photojournalism","score_opus":0.1516085224720768,"score_gpt":0.24763294486729964,"score_spread":0.09602442239522285,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6911502398","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012901356,0.013583453,0.11106878,0.036274116,0.00276286,0.0003661898,0.00029890935,0.0015426411,0.8212017],"genre_scores_gemma":[0.30649793,0.010536377,0.14698255,0.0066150147,0.002051878,0.001310807,0.0008541228,0.0041162535,0.521035],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9873224,0.008768672,0.0004478958,0.0012075308,0.0015807373,0.00067292195],"domain_scores_gemma":[0.97393155,0.018627863,0.00068393565,0.0032994067,0.0017619842,0.0016952482],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01488847,0.00081267674,0.00050413335,0.0049470984,0.010840724,0.02170329,0.0035466584,0.0054622786,0.04459914],"category_scores_gemma":[0.022589905,0.00063625426,0.00084421143,0.0032303496,0.02059313,0.021441067,0.01329003,0.005819888,0.005667462],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045456636,0.000037635997,0.00019210353,0.00040605728,0.000007652132,0.00026652895,0.07705636,0.00027312455,0.00060294254,0.76470095,0.0759672,0.08044397],"study_design_scores_gemma":[0.000010251984,0.000012762122,0.00014473156,0.00042596433,0.0000032193132,0.00024398483,0.009925313,0.00017889815,0.0002583115,0.027098894,0.961684,0.000013608861],"about_ca_topic_score_codex":0.00535124,"about_ca_topic_score_gemma":0.008828729,"teacher_disagreement_score":0.04459914,"about_ca_system_score_codex":0.010508182,"about_ca_system_score_gemma":0.005066477,"threshold_uncertainty_score":0.14919901},"labels":[],"label_agreement":null},{"id":"W6912232085","doi":"10.5281/zenodo.4093068","title":"{streaming Vf} Lost Girls &amp; Love Hotels (2020) Streaming vF Film Complet en Ligne qfy","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Love story; Film festival; Family life; Private life","score_opus":0.04741763575840606,"score_gpt":0.2367002036922009,"score_spread":0.18928256793379483,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912232085","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00047679298,0.00023442389,0.00055561395,0.00039363248,0.00097260147,0.00016929113,0.020648543,0.0065402356,0.9700089],"genre_scores_gemma":[0.003070739,0.00040318802,0.00087011117,0.00046004282,0.00038976918,0.00012741468,0.01715261,0.0065353196,0.9709909],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99981874,0.000011251617,0.0000053070216,0.000027102657,0.000076389675,0.000061121704],"domain_scores_gemma":[0.9992174,0.000063996384,0.00002058386,0.000072972645,0.00022578325,0.00039932455],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002263912,0.0012379356,0.0005233859,0.0011415461,0.001676153,0.004657362,0.001051438,0.0011221541,0.9310304],"category_scores_gemma":[0.0013976031,0.0005527404,0.0007065295,0.0011312383,0.00022605363,0.0036725474,0.0032841489,0.0014628085,0.8563129],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023230981,0.000007837133,0.000051923813,0.000056448727,0.0000010890857,0.000021576581,0.000036845388,0.000014703624,0.00012409266,0.0003834313,0.98642135,0.012857527],"study_design_scores_gemma":[0.00001574077,0.000009879478,0.00053543324,0.00006690054,0.0000019259885,0.000047350997,0.00008725841,0.000041546304,0.00015109187,0.00024915187,0.9987851,0.000008720779],"about_ca_topic_score_codex":0.008187136,"about_ca_topic_score_gemma":0.02636436,"teacher_disagreement_score":0.06896961,"about_ca_system_score_codex":0.0007657387,"about_ca_system_score_gemma":0.00054307975,"threshold_uncertainty_score":0.09837669},"labels":[],"label_agreement":null},{"id":"W6912234741","doi":"10.5281/zenodo.4077097","title":"Guarda Falling (2020) Film Completo Streaming Italiano HD Gratis nap","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Dysgeusia; Diafiltration; Liquation; Hyporeflexia; Fusible alloy; Triacetin","score_opus":0.06348789606110866,"score_gpt":0.22432230980915177,"score_spread":0.1608344137480431,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912234741","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00056348054,0.0004946049,0.00032741434,0.0008524916,0.0018431721,0.00014230635,0.0072851367,0.002203212,0.98628795],"genre_scores_gemma":[0.0025715292,0.00048991,0.00048143644,0.00043495046,0.0003898845,0.00006700453,0.0051994394,0.001534406,0.9888314],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99978346,0.000012102426,0.000005478734,0.000037140308,0.00010646251,0.000055454646],"domain_scores_gemma":[0.9996087,0.000026801406,0.000011543301,0.000043301814,0.0001425642,0.0001671716],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00028611033,0.0008713532,0.00032111278,0.0010623747,0.0015200154,0.0038169788,0.00078846834,0.00088073255,0.8620909],"category_scores_gemma":[0.00086179853,0.00041924606,0.00052577123,0.0008896709,0.000238463,0.0022786593,0.0022431305,0.0014327358,0.65050626],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000224031,0.000008865919,0.00003842287,0.000046019584,0.0000010610746,0.000026056643,0.000038272927,0.000008578732,0.00019118642,0.00055711594,0.98468715,0.014374849],"study_design_scores_gemma":[0.0000072196417,0.000007713758,0.00048731887,0.000039416835,0.000001480687,0.000036936002,0.000051604547,0.000016516722,0.000091066126,0.00013088196,0.99912673,0.0000030125177],"about_ca_topic_score_codex":0.008050994,"about_ca_topic_score_gemma":0.03201627,"teacher_disagreement_score":0.13790911,"about_ca_system_score_codex":0.0009044472,"about_ca_system_score_gemma":0.0005920536,"threshold_uncertainty_score":0.19671065},"labels":[],"label_agreement":null},{"id":"W6912240693","doi":"10.5281/zenodo.4254347","title":"-[REGARDER@!! La Fille au ventre rond (2019) Film Complet Qualité HD STREAMING (VOSTFR) En Francais zgn","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Period (music); Data verification; Power (physics)","score_opus":0.04727438984813954,"score_gpt":0.23310535837512172,"score_spread":0.1858309685269822,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912240693","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017596871,0.00049455767,0.0014238297,0.0016160592,0.0019538791,0.0002045999,0.008911447,0.010218353,0.9734177],"genre_scores_gemma":[0.0046774843,0.0004526,0.0011861734,0.0004828592,0.00020769853,0.00005620563,0.004853201,0.003782924,0.9843009],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997329,0.000015763404,0.0000075803914,0.00005195664,0.00011833156,0.00007343403],"domain_scores_gemma":[0.9992005,0.000036166213,0.0000196121,0.00008163919,0.00039121654,0.0002708679],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003320245,0.00082304724,0.0003563438,0.0009152779,0.002554358,0.00435602,0.0008886428,0.0013385065,0.8397507],"category_scores_gemma":[0.0013331122,0.0005187416,0.0004622082,0.0009111905,0.00036790175,0.0032840022,0.0024926993,0.0013903109,0.64596534],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024960516,0.0000104960445,0.00012558053,0.00005226206,0.0000020117207,0.00004093526,0.0001561856,0.000017795724,0.0006384562,0.00092578214,0.976453,0.021552477],"study_design_scores_gemma":[0.0000063896373,0.000007551614,0.0006263868,0.000039659313,0.0000018810167,0.00005475178,0.00016952876,0.0000391595,0.00031925665,0.00011885507,0.9986083,0.000008335105],"about_ca_topic_score_codex":0.047551304,"about_ca_topic_score_gemma":0.11968715,"teacher_disagreement_score":0.1602493,"about_ca_system_score_codex":0.0016454675,"about_ca_system_score_gemma":0.0010738336,"threshold_uncertainty_score":0.22857618},"labels":[],"label_agreement":null},{"id":"W6912264350","doi":"10.5281/zenodo.4111632","title":"Streaming vF~ Ça (2) : Chapitre 2 (2019) streaming vf et vostfr en Ligne Complet uux","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Club; Line drawings; Deaf community","score_opus":0.048472054609383614,"score_gpt":0.2376023741719273,"score_spread":0.1891303195625437,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912264350","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004534307,0.0011417873,0.002664706,0.0014491369,0.0061170342,0.00028103933,0.01588619,0.014398376,0.95760834],"genre_scores_gemma":[0.0020047482,0.000993636,0.0020961082,0.0007130159,0.00087768055,0.00016067654,0.010687107,0.00874949,0.9737176],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996643,0.000023724366,0.000012810523,0.000053225293,0.00017616025,0.000069875176],"domain_scores_gemma":[0.9985671,0.00013709426,0.000035670186,0.00016102265,0.0006134735,0.00048547436],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003614479,0.0011229326,0.00056723185,0.0012883634,0.0016129783,0.0060454467,0.001164306,0.0013428688,0.8987292],"category_scores_gemma":[0.002609559,0.00053271424,0.00062736444,0.0012327594,0.00031416467,0.0039909948,0.0032836886,0.0021126403,0.82848454],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012218013,0.000005276294,0.000019718376,0.00007996604,7.0925546e-7,0.000016387456,0.000032745465,0.000023546414,0.00025356797,0.0009379265,0.9859359,0.012681991],"study_design_scores_gemma":[0.000005200077,0.000005713793,0.00015165118,0.00006651428,0.0000010004868,0.000024901405,0.00005468603,0.000034616747,0.00018087457,0.00039136125,0.9990779,0.0000055534574],"about_ca_topic_score_codex":0.0054682475,"about_ca_topic_score_gemma":0.014401194,"teacher_disagreement_score":0.101270795,"about_ca_system_score_codex":0.0013545597,"about_ca_system_score_gemma":0.001084498,"threshold_uncertainty_score":0.14445043},"labels":[],"label_agreement":null},{"id":"W6912293920","doi":"10.5281/zenodo.4482446","title":"Kijk Little Fish 2021 Gratis Streaming Online Nederlandse Films HD fay","year":2021,"lang":"nl","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Fish <Actinopterygii>; Download; Range (aeronautics); Coronavirus disease 2019 (COVID-19)","score_opus":0.04406065545246874,"score_gpt":0.23217560329978862,"score_spread":0.18811494784731989,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912293920","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00087044464,0.00125135,0.0007532553,0.0010238107,0.0008137602,0.00004255931,0.014632478,0.0012648393,0.9793475],"genre_scores_gemma":[0.0031365573,0.00089904503,0.00063648506,0.00017036172,0.000113524984,0.00003437755,0.0050295857,0.0013334787,0.98864657],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998294,0.00001651967,0.000005727598,0.00003215977,0.00008562977,0.000030598985],"domain_scores_gemma":[0.9996971,0.0000612025,0.0000182804,0.000037569593,0.00007953384,0.00010640439],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00031888147,0.00058232166,0.00042862355,0.0010743907,0.0008744873,0.004581808,0.0006626624,0.00085141754,0.82924736],"category_scores_gemma":[0.0011590078,0.00042341085,0.00030212192,0.0013060252,0.00029671824,0.002068028,0.0016118138,0.001045353,0.56602025],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039478724,0.000011307069,0.000070364076,0.00010584559,0.0000030813587,0.00003885825,0.000083799765,0.000037614856,0.0002330068,0.0035984684,0.9625118,0.0332664],"study_design_scores_gemma":[0.000004640131,0.0000023290115,0.00024768,0.00003571999,0.0000010676056,0.000015123065,0.000049720726,0.00002020454,0.000063059604,0.00029456464,0.9992636,0.0000023495045],"about_ca_topic_score_codex":0.00984602,"about_ca_topic_score_gemma":0.030719332,"teacher_disagreement_score":0.17075264,"about_ca_system_score_codex":0.0007479182,"about_ca_system_score_gemma":0.0007268719,"threshold_uncertainty_score":0.24355787},"labels":[],"label_agreement":null},{"id":"W6912295789","doi":"10.5281/zenodo.4523782","title":"(ReGarder) Aiguille sous roche (2021) FILM Streaming VF Complet [HD] français ddg","year":2021,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Qualitative analysis; Error analysis; Historical heritage","score_opus":0.038164071766685376,"score_gpt":0.22187449322533892,"score_spread":0.18371042145865354,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912295789","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00056998676,0.00052338606,0.0015040928,0.00082693243,0.0015017823,0.00015751929,0.009329702,0.008617487,0.97696906],"genre_scores_gemma":[0.0023899495,0.00048424545,0.0013001378,0.00035738337,0.00017322032,0.000065891145,0.004794908,0.0054026796,0.9850316],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996019,0.000023741308,0.000014314748,0.000080687685,0.000196492,0.00008294271],"domain_scores_gemma":[0.9987937,0.00009377859,0.00003422728,0.00018241888,0.0005682805,0.00032758454],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00041789995,0.0011753427,0.0005896768,0.0012777457,0.0018524536,0.005450453,0.001239041,0.0016407407,0.9112288],"category_scores_gemma":[0.0017264937,0.0006531246,0.00070319866,0.0012725161,0.00037434764,0.0038381529,0.0020862115,0.0015803687,0.8449717],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003616996,0.000011083761,0.000065162516,0.0000901704,0.0000018056338,0.000046929523,0.00006931654,0.000027482038,0.00087040354,0.0011065396,0.97425246,0.023422558],"study_design_scores_gemma":[0.000007221921,0.0000070929086,0.00028206434,0.000049417253,0.0000018506116,0.00006933919,0.00007953532,0.00003583266,0.00041637573,0.0001757486,0.99886847,0.0000070773744],"about_ca_topic_score_codex":0.017997423,"about_ca_topic_score_gemma":0.045508634,"teacher_disagreement_score":0.088771224,"about_ca_system_score_codex":0.0015934751,"about_ca_system_score_gemma":0.001142634,"threshold_uncertainty_score":0.1266213},"labels":[],"label_agreement":null},{"id":"W6912317633","doi":"10.5281/zenodo.4142571","title":"ReGaRder Sonic le hérisson (2020) Streaming VF Film Complet Gratuit en Vostfr wnn","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filter (signal processing); Context (archaeology); Head (geology)","score_opus":0.04352831763150658,"score_gpt":0.22431810998292803,"score_spread":0.18078979235142145,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912317633","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00057599996,0.00043417703,0.002806418,0.0006811721,0.0018582914,0.00014896283,0.0038173944,0.008876563,0.98080105],"genre_scores_gemma":[0.0024921894,0.0003746891,0.0014994721,0.00027748913,0.00024760122,0.000056927813,0.0023708898,0.003681412,0.9889993],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972194,0.000013995394,0.000008852885,0.00004992394,0.00015782597,0.000047556823],"domain_scores_gemma":[0.999395,0.000053020744,0.000014825778,0.00007979672,0.00027907413,0.00017833782],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003362858,0.0009359417,0.00042366076,0.0009834124,0.001304949,0.004447831,0.0010934263,0.0012654599,0.8693431],"category_scores_gemma":[0.0013502783,0.00056920975,0.00053111895,0.0006836877,0.00028281545,0.00269691,0.0019336315,0.001626869,0.726049],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003852233,0.000012034967,0.000048228783,0.00010862463,0.0000020423406,0.000059843373,0.000087935536,0.000038691836,0.0021215728,0.0016952582,0.961828,0.033959165],"study_design_scores_gemma":[0.000008873302,0.0000102506165,0.00020651528,0.000042498566,0.0000023485154,0.00009195892,0.00008406479,0.00006521038,0.00072152447,0.00026237988,0.9984981,0.0000063264583],"about_ca_topic_score_codex":0.0041586463,"about_ca_topic_score_gemma":0.013055963,"teacher_disagreement_score":0.1306569,"about_ca_system_score_codex":0.0008371506,"about_ca_system_score_gemma":0.00065002963,"threshold_uncertainty_score":0.1863662},"labels":[],"label_agreement":null},{"id":"W6912321583","doi":"10.5281/zenodo.4151314","title":"!Regarder*HD`! Antrum (2020) [HD] FILM complet STREAMING VF Cinéma 4k ejd","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cineradiography; Filter (signal processing); Nucleofection","score_opus":0.04918837753351988,"score_gpt":0.22376021519063474,"score_spread":0.17457183765711487,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912321583","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005407306,0.00023366102,0.001529923,0.0006191944,0.0011747472,0.00015452242,0.0052777533,0.010704941,0.9797646],"genre_scores_gemma":[0.002678925,0.0002522628,0.001253816,0.0003833688,0.00026880062,0.00006233399,0.003625256,0.006018035,0.98545724],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997708,0.000015128058,0.0000067767287,0.000042709347,0.00010651834,0.00005795589],"domain_scores_gemma":[0.9990959,0.00007288992,0.000024213374,0.00012317,0.00039550327,0.00028830857],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00030215303,0.0008943992,0.00039775402,0.0009438036,0.0013874295,0.0039542485,0.001085268,0.0013012282,0.9134122],"category_scores_gemma":[0.0016259033,0.0005698381,0.0005066893,0.0007663257,0.000286824,0.0033633136,0.0022448162,0.0014007477,0.8274567],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029675302,0.000009091148,0.000042719683,0.000059665428,0.0000012851293,0.000025647763,0.00005651332,0.0000151075665,0.00047171657,0.0006740252,0.9776163,0.020998253],"study_design_scores_gemma":[0.000010681599,0.000009013424,0.00034009482,0.000036606587,0.0000022013608,0.00006113722,0.00007391151,0.000055651686,0.00036799783,0.00017439976,0.9988611,0.0000071746854],"about_ca_topic_score_codex":0.006129072,"about_ca_topic_score_gemma":0.0143812,"teacher_disagreement_score":0.08658779,"about_ca_system_score_codex":0.00064401206,"about_ca_system_score_gemma":0.00040586406,"threshold_uncertainty_score":0.1235069},"labels":[],"label_agreement":null},{"id":"W6912327217","doi":"10.5281/zenodo.4097879","title":"Streaming vF~ Chef en pandémie (2020) streaming vf et vostfr en Ligne Complet kyb","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Tourist destinations; Virtual world; Live streaming","score_opus":0.04363413411592438,"score_gpt":0.23928398977699955,"score_spread":0.19564985566107518,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912327217","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010624096,0.00060098467,0.0016265165,0.0021594602,0.0034284722,0.00029307508,0.030381586,0.008972687,0.9514748],"genre_scores_gemma":[0.0043604113,0.00079282094,0.001751199,0.00076996523,0.00045115495,0.00012111908,0.020441452,0.0038587213,0.96745324],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972445,0.000016761776,0.000007667692,0.00003323789,0.00014154983,0.00007627015],"domain_scores_gemma":[0.99889636,0.00008436566,0.000022045615,0.000096719246,0.0005677306,0.00033267814],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00043183606,0.00073470303,0.00034354455,0.0010737036,0.0022195945,0.004490021,0.00088156044,0.0012453859,0.8230543],"category_scores_gemma":[0.0021550541,0.00034349022,0.00048602506,0.0011821064,0.00029509157,0.003311283,0.0021087856,0.0015479664,0.59233665],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018662173,0.000006007101,0.00007138131,0.000039210165,8.716586e-7,0.000022719325,0.000043095,0.000017696748,0.0001729504,0.00057319837,0.9834525,0.015581622],"study_design_scores_gemma":[0.0000072719686,0.0000051580096,0.0005171437,0.000045350007,0.0000012466073,0.00003227404,0.00009350978,0.000038384424,0.00012887697,0.00015969628,0.9989643,0.000006703463],"about_ca_topic_score_codex":0.05027273,"about_ca_topic_score_gemma":0.12878264,"teacher_disagreement_score":0.17694569,"about_ca_system_score_codex":0.0017583242,"about_ca_system_score_gemma":0.0016546572,"threshold_uncertainty_score":0.25239146},"labels":[],"label_agreement":null},{"id":"W6912334852","doi":"10.5281/zenodo.4050934","title":"Regarder » Kajillionaire-film complet 2020 en Streaming VF","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"sort; Discussion board; Live streaming","score_opus":0.05049684668268819,"score_gpt":0.228405711038733,"score_spread":0.1779088643560448,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912334852","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00077922136,0.00062364107,0.000357534,0.0023203318,0.003611773,0.00008323036,0.0012410677,0.00074776646,0.9902354],"genre_scores_gemma":[0.0040638843,0.00062534225,0.00041754224,0.0007063676,0.0005818817,0.0000482751,0.0011304101,0.0008475765,0.9915787],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99928325,0.000074854834,0.000018460532,0.00007201452,0.00036577537,0.00018560438],"domain_scores_gemma":[0.99882835,0.0000993743,0.000036738107,0.00008850511,0.00043386102,0.00051309296],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00063127326,0.00053406175,0.00024569067,0.0008561376,0.0031334308,0.0071274596,0.0006936071,0.0012942798,0.66967803],"category_scores_gemma":[0.0024973894,0.0002867674,0.00034120443,0.0008153364,0.00057938637,0.004842026,0.0033484336,0.0023395226,0.43267447],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014081543,0.000010407982,0.000080710524,0.000047897127,7.270902e-7,0.000043187472,0.00048140637,0.000012212993,0.00025354547,0.0042276005,0.9751532,0.019675132],"study_design_scores_gemma":[0.0000010989726,0.0000028595193,0.00022610609,0.00003161596,3.1250062e-7,0.00001772306,0.00031413854,0.0000059712706,0.00006604071,0.00016559103,0.99916625,0.0000023826738],"about_ca_topic_score_codex":0.015242745,"about_ca_topic_score_gemma":0.05198891,"teacher_disagreement_score":0.33032197,"about_ca_system_score_codex":0.0020981948,"about_ca_system_score_gemma":0.001747667,"threshold_uncertainty_score":0.47116417},"labels":[],"label_agreement":null},{"id":"W6912344581","doi":"10.5281/zenodo.4132629","title":"[FILMS VOIR] La détresse au bout du rang (2020) FILMS STREAMING VF EN GRATUIT ET VOSTFR cmq","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Relation (database); Noise (video); Staring","score_opus":0.030658364012325627,"score_gpt":0.2274899281875692,"score_spread":0.19683156417524356,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912344581","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010367815,0.0006542873,0.00067335146,0.0018688855,0.0037997023,0.00013268676,0.007801329,0.0028401029,0.98119295],"genre_scores_gemma":[0.0046469015,0.00066015025,0.0009111537,0.00071940257,0.0006674231,0.00007003508,0.005252446,0.0018764735,0.985196],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997975,0.000015291704,0.000005816106,0.000028988436,0.000100968195,0.00005137605],"domain_scores_gemma":[0.9993338,0.000056721783,0.00002103752,0.000058495152,0.00029676274,0.00023315154],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00030119356,0.00060336915,0.0002363685,0.0006099014,0.0018043906,0.0041004843,0.00072014425,0.00097006065,0.77694345],"category_scores_gemma":[0.0015427279,0.00031060725,0.0003990335,0.0007185911,0.00023681289,0.0028027697,0.0016260891,0.0017017929,0.5012883],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017641809,0.0000059038352,0.000050954535,0.000044955344,9.83087e-7,0.00004095085,0.00006880768,0.00001296545,0.00023025049,0.0007314067,0.9850535,0.013741702],"study_design_scores_gemma":[0.0000061172595,0.000006398177,0.00045241593,0.000047565925,0.0000011614459,0.000052554064,0.00011235166,0.000020564063,0.000100375684,0.00016100772,0.9990355,0.0000040881378],"about_ca_topic_score_codex":0.008741198,"about_ca_topic_score_gemma":0.028196929,"teacher_disagreement_score":0.22305655,"about_ca_system_score_codex":0.00078999734,"about_ca_system_score_gemma":0.00061181013,"threshold_uncertainty_score":0.3181631},"labels":[],"label_agreement":null},{"id":"W6912348440","doi":"10.5281/zenodo.4142952","title":"[!REGARDER!]~VF 1917 (2019) Film Complet Streaming VF En Francais ncc","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film festival; Documentary film; Video recording; French","score_opus":0.0479028733486535,"score_gpt":0.22639738335902418,"score_spread":0.17849451001037067,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912348440","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013618689,0.00039522283,0.00040690732,0.0015730535,0.0026621695,0.00015823264,0.014595806,0.003396181,0.9754505],"genre_scores_gemma":[0.0042910576,0.0003093403,0.0004133283,0.00039593762,0.00019126984,0.000047595484,0.0060469857,0.0017784607,0.9865261],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999736,0.000017400926,0.000008323487,0.000034541612,0.000115747855,0.000087976245],"domain_scores_gemma":[0.99905604,0.000037049453,0.000023307417,0.000075272364,0.00046874557,0.0003395797],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00036054107,0.0007261086,0.00026793152,0.00093837525,0.0028069695,0.0035534732,0.00077952835,0.0009844665,0.88753736],"category_scores_gemma":[0.0014644823,0.0003974047,0.00039451133,0.0008916355,0.0002665427,0.0027178351,0.0020400719,0.0013614006,0.6870401],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014355743,0.0000064032256,0.000085849235,0.000029951596,9.14032e-7,0.00002771732,0.00007894906,0.000007513644,0.0001751214,0.00047318303,0.98743117,0.011668872],"study_design_scores_gemma":[0.0000051311895,0.0000062415343,0.00071021495,0.000042525855,9.255209e-7,0.000036172165,0.00018376924,0.000014833988,0.000110269066,0.00005922204,0.9988248,0.000005899512],"about_ca_topic_score_codex":0.061616164,"about_ca_topic_score_gemma":0.16095921,"teacher_disagreement_score":0.11246264,"about_ca_system_score_codex":0.0016780859,"about_ca_system_score_gemma":0.0010066493,"threshold_uncertainty_score":0.16041422},"labels":[],"label_agreement":null},{"id":"W6912372823","doi":"10.5281/zenodo.4041522","title":"FilM~complet@!]]]~AFTER CHAPITRE 2 Streaming vF (2020-HD)","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Paraphernalia; Laziness; Feature (linguistics)","score_opus":0.04533735898115616,"score_gpt":0.21882096193763445,"score_spread":0.1734836029564783,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912372823","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00040923807,0.0005538945,0.0010960749,0.0025387267,0.0069163665,0.00017161878,0.008329787,0.0064973864,0.97348696],"genre_scores_gemma":[0.0019129558,0.00035206004,0.000653395,0.00072348,0.000764718,0.0000622617,0.003484878,0.0033881494,0.988658],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996125,0.000027341173,0.000011697039,0.000065229455,0.00018370575,0.00009953088],"domain_scores_gemma":[0.99860233,0.00007312928,0.000031177016,0.00019179862,0.00053107255,0.0005705039],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000358231,0.00079050905,0.0004815887,0.0010990807,0.0022038752,0.005744519,0.0011749448,0.0014855192,0.91065234],"category_scores_gemma":[0.0020545823,0.00046955177,0.0006966604,0.001171487,0.0005289972,0.0031734174,0.0034286296,0.0028605666,0.825029],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011903253,0.0000044446087,0.000020529587,0.00004794007,9.0710625e-7,0.000018985154,0.000025033007,0.000018224999,0.00024778256,0.0012765591,0.98939425,0.008933505],"study_design_scores_gemma":[0.000005113739,0.0000046337336,0.00015309706,0.00003680021,8.601655e-7,0.000021677615,0.00006520328,0.00001986332,0.00018073838,0.00037080122,0.9991371,0.0000041963062],"about_ca_topic_score_codex":0.008480323,"about_ca_topic_score_gemma":0.02790155,"teacher_disagreement_score":0.08934766,"about_ca_system_score_codex":0.0019013842,"about_ca_system_score_gemma":0.0014611385,"threshold_uncertainty_score":0.12744361},"labels":[],"label_agreement":null},{"id":"W6912384132","doi":"10.5281/zenodo.4492608","title":"TÉLÉCHARGER { Snowkissed (2021) } FILM COMPLET Regarder film en ligne sqd","year":2021,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dream; Tourist destinations; Violin; Reel","score_opus":0.036812519319839025,"score_gpt":0.2304076772066794,"score_spread":0.19359515788684037,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912384132","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005672583,0.00021787289,0.00088683114,0.00044546596,0.0010112236,0.00014937173,0.009819584,0.0067088236,0.98019356],"genre_scores_gemma":[0.0028773828,0.00039271195,0.00080857467,0.00033221484,0.00025632407,0.000085847416,0.0075468244,0.0051980256,0.9825022],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997795,0.00001937804,0.000009532435,0.000038234244,0.000105543775,0.0000476996],"domain_scores_gemma":[0.9991265,0.0000799985,0.000026875814,0.00013050663,0.00035599084,0.00028006415],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027591683,0.0008177162,0.0004195481,0.0010241937,0.0014962201,0.0041190716,0.0008252953,0.00085548,0.9147241],"category_scores_gemma":[0.0016097104,0.0004553285,0.000514102,0.0010347314,0.00021768842,0.0036413304,0.0019378316,0.0012583529,0.84618574],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027321956,0.000009288923,0.00005438171,0.00006594649,0.000001087424,0.000027166738,0.000050394345,0.00001553737,0.00028827356,0.0005561559,0.9799723,0.018932164],"study_design_scores_gemma":[0.000007901916,0.0000061908972,0.00033162878,0.000036466627,0.0000014146011,0.000038013935,0.00006037416,0.000036954127,0.00020862931,0.00013187746,0.9991357,0.0000048881548],"about_ca_topic_score_codex":0.007641421,"about_ca_topic_score_gemma":0.017839687,"teacher_disagreement_score":0.08527589,"about_ca_system_score_codex":0.00082795287,"about_ca_system_score_gemma":0.0005300087,"threshold_uncertainty_score":0.121635616},"labels":[],"label_agreement":null},{"id":"W6912398725","doi":"10.5281/zenodo.4150189","title":"RegardeR*]] Spontaneous (2020) — Film Complet Streaming VF til","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Oscillograph; Field (mathematics); Fusible alloy","score_opus":0.047273567495929494,"score_gpt":0.22033104316396077,"score_spread":0.17305747566803126,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912398725","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007280169,0.00023297218,0.0008362279,0.0008461372,0.0023335943,0.00020578396,0.008982563,0.006290453,0.9795442],"genre_scores_gemma":[0.004031366,0.00027269954,0.0008968914,0.00046612858,0.00048620952,0.00010230047,0.0063608103,0.004443535,0.9829402],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997782,0.00001734632,0.0000075455937,0.000036327852,0.000101666854,0.000058927024],"domain_scores_gemma":[0.9991041,0.000077112636,0.000025506357,0.00011775757,0.00032772322,0.00034775873],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002980414,0.00075731997,0.00032453856,0.0008302602,0.0014781372,0.0037343507,0.00087160774,0.0010407061,0.8861329],"category_scores_gemma":[0.0017502218,0.0003948074,0.0004925336,0.00069557934,0.00023052254,0.003173618,0.002359195,0.0012732362,0.7423101],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002567169,0.00000811231,0.000048367532,0.000048684356,9.511039e-7,0.000029011986,0.000054557906,0.000009869946,0.00027203537,0.00061288185,0.9827199,0.016170023],"study_design_scores_gemma":[0.000010238798,0.000010952242,0.00041575535,0.000037242506,0.0000011634647,0.00005335368,0.000095170566,0.000030191668,0.00024933988,0.00018683031,0.9989041,0.0000057042407],"about_ca_topic_score_codex":0.0043422296,"about_ca_topic_score_gemma":0.014834881,"teacher_disagreement_score":0.113867104,"about_ca_system_score_codex":0.0006469631,"about_ca_system_score_gemma":0.00044310925,"threshold_uncertainty_score":0.16241759},"labels":[],"label_agreement":null},{"id":"W6912400488","doi":"10.5281/zenodo.4170219","title":"Se Monster Hunter (2020) film med full Gratis tyo","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Dysgeusia; Diafiltration; Liquation; Fusible alloy; Triacetin; Proteogenomics","score_opus":0.05838527151532689,"score_gpt":0.22407180378719796,"score_spread":0.16568653227187108,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912400488","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004852001,0.00083048287,0.00030215064,0.001078859,0.0013383485,0.000056947567,0.0035434982,0.0011691247,0.99119544],"genre_scores_gemma":[0.0010376612,0.00036403196,0.000111850124,0.00015227059,0.00012089893,0.000016614087,0.00086167397,0.00033569333,0.9969994],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99984825,0.000011270883,0.000004528345,0.000031118365,0.00007047891,0.000034363286],"domain_scores_gemma":[0.9996201,0.000036599162,0.0000169886,0.000043361564,0.00011858876,0.00016427028],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002501281,0.00075388857,0.00035131685,0.0010732061,0.00097272743,0.0039517586,0.0006366358,0.00092350127,0.8995433],"category_scores_gemma":[0.0008993723,0.0004114425,0.00032930492,0.0009444363,0.00028257235,0.0020980712,0.0020334725,0.0012089895,0.7934382],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002145375,0.00000674043,0.00003634603,0.000039369803,0.0000010766086,0.000028865157,0.000028587887,0.000010040549,0.00014721966,0.0010145194,0.9763283,0.022337502],"study_design_scores_gemma":[0.0000044680482,0.0000038130634,0.00027737507,0.000028875484,7.241498e-7,0.000034759734,0.000046310946,0.000014105989,0.000058092755,0.00012062966,0.99940884,0.0000020629184],"about_ca_topic_score_codex":0.0054293787,"about_ca_topic_score_gemma":0.01604309,"teacher_disagreement_score":0.100456715,"about_ca_system_score_codex":0.0007126484,"about_ca_system_score_gemma":0.0006423799,"threshold_uncertainty_score":0.14328921},"labels":[],"label_agreement":null},{"id":"W6912401631","doi":"10.5281/zenodo.4157426","title":"PutlockerS!![HD]-WaTcH Le club Vinland (2020) Online Full For Free at 123Movie'S olu","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Club; The Internet; Sign (mathematics); Download; Online chat","score_opus":0.05387060624315721,"score_gpt":0.2206068911541312,"score_spread":0.166736284910974,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912401631","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00043559456,0.0001862718,0.0004712389,0.0003469711,0.0007913944,0.00011103996,0.004018854,0.0035256,0.9901129],"genre_scores_gemma":[0.0016454697,0.00020484951,0.00035077936,0.00020875418,0.00010487604,0.000051694384,0.0026423451,0.0022981735,0.9924931],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998405,0.000010547821,0.0000046674445,0.000030693845,0.00006999127,0.00004368012],"domain_scores_gemma":[0.99943167,0.000035222398,0.000013815829,0.00006405652,0.00020609383,0.00024907073],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00022766551,0.0008362027,0.0004190277,0.0007846757,0.0016849859,0.003810879,0.0009050373,0.0009313408,0.9293341],"category_scores_gemma":[0.0010528433,0.00046131003,0.00050321827,0.0007348796,0.00025665847,0.0030156446,0.002891593,0.0015007977,0.8390763],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021800928,0.000014015099,0.00006153555,0.000055741646,0.0000014011576,0.000021685511,0.00004507011,0.000012479834,0.00020802046,0.0005567758,0.98137,0.017631559],"study_design_scores_gemma":[0.000007616347,0.000007916758,0.0003418073,0.00003385655,0.000001280641,0.000026549078,0.00008392476,0.000028021926,0.00013841895,0.000098184435,0.99922764,0.0000046149244],"about_ca_topic_score_codex":0.008604998,"about_ca_topic_score_gemma":0.029034754,"teacher_disagreement_score":0.070665896,"about_ca_system_score_codex":0.0006305454,"about_ca_system_score_gemma":0.00045662507,"threshold_uncertainty_score":0.10079634},"labels":[],"label_agreement":null},{"id":"W6912420495","doi":"10.5281/zenodo.4044639","title":"REGARDER «After Chapitre 2» Streaming VF en VOSTFR Gratuit","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Portrait; Live streaming; Phoenix; Adversary","score_opus":0.03970068684075629,"score_gpt":0.2129485175846282,"score_spread":0.17324783074387193,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912420495","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009864422,0.00047773303,0.0006354781,0.0025861864,0.00485132,0.000138976,0.0028450885,0.003279673,0.98419905],"genre_scores_gemma":[0.0034770502,0.00024189432,0.0003928909,0.0006270965,0.00052763504,0.00004089561,0.0013341199,0.0017746033,0.9915838],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995105,0.000040169078,0.000011623411,0.00008128092,0.00021854788,0.00013782328],"domain_scores_gemma":[0.9989612,0.00006461487,0.000028924578,0.000097045966,0.00043095872,0.00041718237],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003738822,0.0006128889,0.00030505419,0.000852349,0.0029404855,0.0048868363,0.0007702972,0.0012128686,0.81170774],"category_scores_gemma":[0.0021644074,0.0003509352,0.00035719652,0.0006287699,0.00035006946,0.0029866304,0.0028474133,0.0025507656,0.5930697],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016460497,0.0000063715447,0.000058253994,0.000027364878,6.663285e-7,0.00004578797,0.000130809,0.000007595373,0.00028917287,0.0014097656,0.9837478,0.014259952],"study_design_scores_gemma":[0.0000023060234,0.0000040540735,0.00026015347,0.000026680978,3.54036e-7,0.000027704064,0.00012811463,0.000013790246,0.00012351546,0.000096181735,0.99931395,0.0000032435248],"about_ca_topic_score_codex":0.014455045,"about_ca_topic_score_gemma":0.036980856,"teacher_disagreement_score":0.18829226,"about_ca_system_score_codex":0.001467263,"about_ca_system_score_gemma":0.0009234925,"threshold_uncertainty_score":0.26857597},"labels":[],"label_agreement":null},{"id":"W6912435003","doi":"10.5281/zenodo.4465941","title":"VOIR!! Little Fish (2021) Streaming VF COmplet en Ligne VOSTFR aea","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Fish <Actinopterygii>; Happening; Rhyme; Alien; Ligne","score_opus":0.0377192587636711,"score_gpt":0.2250529114963248,"score_spread":0.1873336527326537,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912435003","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007654332,0.00029327348,0.0014603031,0.0007421479,0.0014581078,0.00023111599,0.011836214,0.012854511,0.970359],"genre_scores_gemma":[0.0028181463,0.000293201,0.0010843525,0.00043903192,0.00025641656,0.00013956665,0.007821972,0.0071734376,0.97997403],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997751,0.000014901483,0.0000067786386,0.000034917128,0.00009820611,0.00007009798],"domain_scores_gemma":[0.9990885,0.00007321388,0.000022103291,0.00010348037,0.00029923656,0.00041345553],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027659268,0.0010721959,0.0005037059,0.0011226716,0.001728491,0.0041472972,0.0012961124,0.0014126793,0.92704076],"category_scores_gemma":[0.0017981405,0.0005609409,0.00074130134,0.0008522597,0.00028953466,0.0042982674,0.0036816576,0.0014875089,0.85457295],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034879362,0.000011117961,0.000058828762,0.00005881861,0.0000013107563,0.00002647264,0.00005807655,0.000015415208,0.0002124583,0.00043966097,0.98133135,0.017751735],"study_design_scores_gemma":[0.0000127699295,0.000010344225,0.00040855477,0.000060461207,0.0000021968538,0.00004819501,0.0001266731,0.000054086373,0.0001771426,0.00026015463,0.99882966,0.000009872384],"about_ca_topic_score_codex":0.009035799,"about_ca_topic_score_gemma":0.025392218,"teacher_disagreement_score":0.072959244,"about_ca_system_score_codex":0.0008327981,"about_ca_system_score_gemma":0.00059303374,"threshold_uncertainty_score":0.104067504},"labels":[],"label_agreement":null},{"id":"W6912435713","doi":"10.5281/zenodo.4128304","title":"1080p@full#HD Watch CINEMAX online Oka: 30 ans après (2020) coh","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Download; Action (physics); Sign (mathematics); Coronavirus disease 2019 (COVID-19); Online video; Text messaging","score_opus":0.07456295283047289,"score_gpt":0.23303074242633562,"score_spread":0.15846778959586272,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912435713","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005098823,0.00020516096,0.00071320334,0.0003034874,0.00093892857,0.00014190756,0.007138018,0.004301798,0.98574764],"genre_scores_gemma":[0.0021426848,0.00021971315,0.0005945222,0.00020306547,0.00016272045,0.0000620109,0.0037166202,0.0025567631,0.990342],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99985516,0.000009419216,0.000004514345,0.000029450315,0.00006377614,0.00003765237],"domain_scores_gemma":[0.99941504,0.000045003013,0.000011940805,0.00006552573,0.00023830376,0.00022422933],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002507207,0.0008359095,0.00042942376,0.000745933,0.0015385653,0.003459119,0.0007815229,0.0010564171,0.94453937],"category_scores_gemma":[0.0010208738,0.0005333829,0.0005354423,0.000506889,0.0002599142,0.0022624442,0.0024669103,0.0012371872,0.8788051],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038599243,0.000015240181,0.00006254351,0.00007578238,0.0000019812678,0.000024130293,0.0000501642,0.00002315088,0.0005043029,0.0005783836,0.9800884,0.018537348],"study_design_scores_gemma":[0.000014524785,0.000014460793,0.0007059329,0.00005796372,0.0000031297468,0.00004740815,0.000081441984,0.000051770683,0.0003025013,0.00017945307,0.99853456,0.000006925209],"about_ca_topic_score_codex":0.005876799,"about_ca_topic_score_gemma":0.01933633,"teacher_disagreement_score":0.05546063,"about_ca_system_score_codex":0.0006598982,"about_ca_system_score_gemma":0.00042617822,"threshold_uncertainty_score":0.07910788},"labels":[],"label_agreement":null},{"id":"W6912452130","doi":"10.5281/zenodo.4443016","title":"#Film Complet Demon Slayer : Le train de l'infini Streaming VF — Film Complet en Francais 2020","year":2021,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gloom; Ridiculous; Product (mathematics)","score_opus":0.04183512099504224,"score_gpt":0.23399966128101313,"score_spread":0.19216454028597088,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912452130","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0033737181,0.0013869856,0.00095828914,0.004974462,0.004932273,0.00015960263,0.026136415,0.0028852716,0.955193],"genre_scores_gemma":[0.010795849,0.0006687837,0.0007221878,0.0006282547,0.00038561062,0.000042022002,0.011160637,0.0013228864,0.97427386],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995809,0.00003117755,0.000011681395,0.00006759458,0.00018617297,0.0001224845],"domain_scores_gemma":[0.99902487,0.000055263696,0.000027726306,0.00007200565,0.0004107325,0.00040933883],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0006431858,0.0006907044,0.00021767264,0.0008302891,0.0021354742,0.0045776023,0.00065871817,0.0011890812,0.6277607],"category_scores_gemma":[0.0016154237,0.000292189,0.00037870865,0.0008388319,0.0004340161,0.0026559758,0.0017493872,0.0014991937,0.28897995],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034845172,0.000008243204,0.00014155563,0.00004721251,0.000002170419,0.000048715658,0.00011050869,0.000027462547,0.00043139764,0.0020120603,0.98350185,0.013633945],"study_design_scores_gemma":[0.000006477728,0.000009403365,0.0010054016,0.000034420496,0.000001159582,0.000024963687,0.00015349755,0.00002995411,0.00016764727,0.00012417894,0.9984382,0.0000046462837],"about_ca_topic_score_codex":0.100713074,"about_ca_topic_score_gemma":0.18661164,"teacher_disagreement_score":0.3722393,"about_ca_system_score_codex":0.0027552445,"about_ca_system_score_gemma":0.0018968144,"threshold_uncertainty_score":0.5309541},"labels":[],"label_agreement":null},{"id":"W6912468796","doi":"10.5281/zenodo.4079580","title":"123Movies~Watch-}} Ghostbusters: Afterlife (2021) Full Online Free [DvdRip] Streaming kga","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Afterlife; Download; Damnation; Sign (mathematics); Period (music); Ridiculous","score_opus":0.06014369404973915,"score_gpt":0.22286357499392198,"score_spread":0.16271988094418283,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912468796","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006571401,0.00023230139,0.0007251351,0.00046613594,0.0010590033,0.00013574996,0.009424974,0.007076365,0.9802232],"genre_scores_gemma":[0.0029376908,0.00029289362,0.0008158474,0.00041412338,0.00023416834,0.000074300006,0.0076254276,0.004969829,0.9826356],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998833,0.000008529446,0.0000040453383,0.000020105992,0.00005102132,0.000032978056],"domain_scores_gemma":[0.9993849,0.000046918947,0.000013449005,0.000078045035,0.00022201327,0.0002545844],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001838545,0.00086486567,0.00041018697,0.0008091921,0.0015153259,0.00286845,0.000799946,0.0009204636,0.93500084],"category_scores_gemma":[0.0010361248,0.0004560039,0.00051266525,0.0007325096,0.00024374452,0.0026683602,0.0026983286,0.0012686695,0.84563553],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021320786,0.000009472815,0.00004566519,0.000051594656,0.000001114842,0.000021132202,0.000037925747,0.0000123210975,0.00020985004,0.000458669,0.9851077,0.01402317],"study_design_scores_gemma":[0.000009938463,0.000008516844,0.00047793446,0.000040918647,0.0000017859888,0.00004667057,0.0000680853,0.000043609296,0.00019350708,0.00016685712,0.9989355,0.000006727234],"about_ca_topic_score_codex":0.0059050196,"about_ca_topic_score_gemma":0.017107707,"teacher_disagreement_score":0.06499916,"about_ca_system_score_codex":0.00060810085,"about_ca_system_score_gemma":0.00037229026,"threshold_uncertainty_score":0.092713416},"labels":[],"label_agreement":null},{"id":"W6912480103","doi":"10.5281/zenodo.4108789","title":"ReGaRder Antrum (2020) Streaming VF Film Complet Gratuit en Vostfr slz","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Entertainment; Keratocyst; Cineradiography; Antrum","score_opus":0.043406911607675014,"score_gpt":0.22399236810434303,"score_spread":0.18058545649666802,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912480103","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009044045,0.00034378725,0.002277704,0.00078761263,0.0015428304,0.00026596113,0.009895339,0.016456481,0.9675259],"genre_scores_gemma":[0.0034369885,0.00034631722,0.0018889876,0.00043973146,0.0003147769,0.0001090837,0.006501959,0.008154821,0.97880733],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997212,0.00001681892,0.000009893237,0.000044654127,0.00013568238,0.00007161172],"domain_scores_gemma":[0.9989844,0.00008354503,0.000029691273,0.00011401013,0.00042784945,0.0003604634],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00034841325,0.0010735671,0.00044343402,0.0011160313,0.001368826,0.0043987134,0.0011290766,0.0014013008,0.9034092],"category_scores_gemma":[0.0021068186,0.0005681282,0.00062268943,0.00083276007,0.0002612511,0.0034388145,0.002558262,0.001278053,0.8065339],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040366296,0.000011677317,0.000059189704,0.000080731545,0.0000014215577,0.000043491927,0.000065125314,0.000020300817,0.0005335305,0.00066333154,0.9765419,0.021939049],"study_design_scores_gemma":[0.000016426873,0.0000148096515,0.0004816882,0.000057060664,0.0000027506596,0.00009092833,0.000099065976,0.0000850572,0.00048636584,0.00026399107,0.99839264,0.000009189726],"about_ca_topic_score_codex":0.0059771677,"about_ca_topic_score_gemma":0.016847165,"teacher_disagreement_score":0.09659082,"about_ca_system_score_codex":0.0007533194,"about_ca_system_score_gemma":0.0006045022,"threshold_uncertainty_score":0.13777506},"labels":[],"label_agreement":null},{"id":"W6912483551","doi":"10.5281/zenodo.4136381","title":"Vederlo Streaming Spontaneous (2020) Online Film Completo Italiano Gratuito yao","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Live streaming; The Internet; Online video; Streaming current","score_opus":0.05855596117229049,"score_gpt":0.2259610323235377,"score_spread":0.1674050711512472,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912483551","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001256681,0.0007288752,0.0010985764,0.0022016896,0.0024505658,0.00023379471,0.0361866,0.0043365066,0.9515066],"genre_scores_gemma":[0.008860539,0.0008577284,0.0015430138,0.00075953134,0.0016492329,0.00022453374,0.024731353,0.0037953649,0.9575787],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997464,0.000028579303,0.000007679247,0.000050848706,0.000103074985,0.00006352374],"domain_scores_gemma":[0.99916005,0.00011691861,0.000037712874,0.00012485521,0.00023058533,0.00032978517],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00048341986,0.0007792193,0.0003488571,0.001464672,0.0010425687,0.004150075,0.00081232167,0.0008610709,0.7838296],"category_scores_gemma":[0.001944472,0.0004081357,0.00043457706,0.0012643557,0.00025458567,0.002107294,0.0021010232,0.0011652845,0.5152258],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031792013,0.000008219201,0.000053745178,0.000052454274,0.0000017979704,0.000019943147,0.0000391357,0.000014227045,0.00016285531,0.0008130815,0.98692673,0.0118759405],"study_design_scores_gemma":[0.000016837657,0.000010617139,0.0011356638,0.00006463366,0.0000024695137,0.00003944377,0.0000581543,0.000057366105,0.00013502246,0.00035120966,0.9981232,0.0000052444493],"about_ca_topic_score_codex":0.005612442,"about_ca_topic_score_gemma":0.020347176,"teacher_disagreement_score":0.21617037,"about_ca_system_score_codex":0.00085464725,"about_ca_system_score_gemma":0.00057940953,"threshold_uncertainty_score":0.3083408},"labels":[],"label_agreement":null},{"id":"W6912485518","doi":"10.5281/zenodo.4442916","title":"Streaming VF Soul Streaming VF — Film Complet en Français 2020","year":2021,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Soul; Jazz; Video game; Entertainment industry","score_opus":0.0361036123952252,"score_gpt":0.22853392200975303,"score_spread":0.19243030961452784,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912485518","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0030474982,0.0016095088,0.0020743827,0.004561725,0.00462363,0.0002091798,0.030684872,0.011553868,0.9416352],"genre_scores_gemma":[0.0064340206,0.0009165554,0.0012528789,0.000636781,0.0004874646,0.00005815098,0.0152338,0.0022947597,0.97268564],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949944,0.000034185738,0.000014715476,0.00007760034,0.00024332541,0.00013066882],"domain_scores_gemma":[0.99812573,0.00006602532,0.000035236342,0.00014257156,0.00081725896,0.000813177],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00087874633,0.00083076913,0.0003018887,0.0009635537,0.0021977853,0.0051122764,0.00085463753,0.0012156125,0.7219593],"category_scores_gemma":[0.0019398624,0.0003038105,0.00043158545,0.00097401364,0.00047066016,0.0038509709,0.0024269752,0.0011529691,0.5089581],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031537664,0.000009770407,0.00010290167,0.000043516993,0.0000013249087,0.00003452311,0.0000451196,0.000025331945,0.00062146457,0.0014177596,0.974001,0.023665722],"study_design_scores_gemma":[0.0000069830435,0.000012423053,0.00051498285,0.000032369397,8.3024173e-7,0.000023933846,0.00007096601,0.000054300748,0.00021600303,0.00021637455,0.99884474,0.000006035885],"about_ca_topic_score_codex":0.042160675,"about_ca_topic_score_gemma":0.07980815,"teacher_disagreement_score":0.2780407,"about_ca_system_score_codex":0.002235315,"about_ca_system_score_gemma":0.0020115047,"threshold_uncertainty_score":0.3965913},"labels":[],"label_agreement":null},{"id":"W6912485739","doi":"10.5281/zenodo.4251678","title":"Guarda Spontaneous (2020) Film Completo Streaming Italiano HD Gratis wnx","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Dysgeusia; Diafiltration; Liquation; Emperipolesis; Triacetin; Fusible alloy","score_opus":0.04940136775509514,"score_gpt":0.21525485636627834,"score_spread":0.1658534886111832,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912485739","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008588344,0.0005753514,0.0010099108,0.0010022031,0.0024204666,0.00024397006,0.016214052,0.0051223296,0.9725529],"genre_scores_gemma":[0.0048909127,0.0005848692,0.0009680965,0.00045350622,0.00075327005,0.00013895359,0.012237436,0.0041079544,0.9758649],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997253,0.000021203605,0.00000779799,0.000050262046,0.00013054289,0.00006498812],"domain_scores_gemma":[0.9994229,0.000056526707,0.000020725638,0.00009727182,0.00018214305,0.00022039817],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004309938,0.00096312235,0.00037872093,0.0011115518,0.0012683354,0.0045363815,0.000948071,0.0010145999,0.82372034],"category_scores_gemma":[0.0011908126,0.0005421896,0.0006053754,0.0009144438,0.00029900027,0.0024029228,0.0023441648,0.0015336075,0.59399074],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052278214,0.000010026462,0.00003999325,0.00007174777,0.0000021532428,0.000041572443,0.000044924516,0.000018838256,0.0004780252,0.00087045564,0.9845977,0.013772227],"study_design_scores_gemma":[0.0000164699,0.000011651563,0.00057860406,0.000047457543,0.0000022836825,0.00006841176,0.000052270352,0.000041133524,0.00022159389,0.00024332963,0.9987116,0.0000051668944],"about_ca_topic_score_codex":0.004268739,"about_ca_topic_score_gemma":0.014041898,"teacher_disagreement_score":0.17627966,"about_ca_system_score_codex":0.00088390446,"about_ca_system_score_gemma":0.00054556486,"threshold_uncertainty_score":0.25144148},"labels":[],"label_agreement":null},{"id":"W6912495676","doi":"10.5281/zenodo.4259530","title":"Regarder Capone (2020) Streaming VF Film Complet ssl","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"French; Qualitative analysis; Video recording","score_opus":0.05701321728737004,"score_gpt":0.2276827477085473,"score_spread":0.17066953042117725,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912495676","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003364547,0.00028521064,0.0007066696,0.0007486639,0.0016692935,0.00018076469,0.009649274,0.0072816196,0.979142],"genre_scores_gemma":[0.0021393544,0.00033829527,0.00069509074,0.0005404997,0.00050547323,0.000107034466,0.006893534,0.0046250727,0.9841558],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99964607,0.00002413488,0.000011537899,0.000055235017,0.0001788035,0.000084252264],"domain_scores_gemma":[0.9985607,0.00012158839,0.00003678035,0.00017368034,0.0006420568,0.00046516207],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000389845,0.0010135961,0.00045236177,0.0014883816,0.0017505869,0.005746287,0.0011924936,0.001396276,0.9159747],"category_scores_gemma":[0.00241937,0.00058362295,0.00058792025,0.0012833268,0.0003028169,0.00494261,0.002637642,0.0016697985,0.81229013],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019083212,0.0000058297055,0.00003169198,0.00004551258,6.74674e-7,0.00002253247,0.000031663403,0.000008825213,0.00014242208,0.000505549,0.9868368,0.01234946],"study_design_scores_gemma":[0.000007713884,0.000006468368,0.00025427114,0.000041283554,0.0000013752986,0.00004130746,0.000058021655,0.000029865223,0.00016003114,0.00015363093,0.99924004,0.0000060002317],"about_ca_topic_score_codex":0.008405009,"about_ca_topic_score_gemma":0.02009087,"teacher_disagreement_score":0.08402532,"about_ca_system_score_codex":0.0010119843,"about_ca_system_score_gemma":0.0008479265,"threshold_uncertainty_score":0.11985195},"labels":[],"label_agreement":null},{"id":"W6912503656","doi":"10.5281/zenodo.4462189","title":"[FILMS VOIR] Les Hardings (2021) FILMS STREAMING VF EN GRATUIT ET VOSTFR utx","year":2021,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Extraterritoriality; Glide plane; Historical heritage","score_opus":0.039859702792758335,"score_gpt":0.2358992669538244,"score_spread":0.19603956416106608,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912503656","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000481472,0.00039777224,0.0006593136,0.0011663536,0.002199106,0.0001282378,0.008012078,0.0040278747,0.98292786],"genre_scores_gemma":[0.0024448212,0.00040884916,0.00073837314,0.0005163623,0.00032795357,0.00006127134,0.0050408533,0.0028646989,0.9875967],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997191,0.000017395852,0.000008121594,0.00003999991,0.00014954053,0.00006586731],"domain_scores_gemma":[0.99918693,0.000063188825,0.000023494824,0.00009156225,0.00038489967,0.00024996337],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00033485304,0.00078981026,0.00033681132,0.00087753934,0.0022583103,0.0056430083,0.00090657093,0.0012045268,0.86691344],"category_scores_gemma":[0.0017430403,0.00050515914,0.0004742764,0.0009965152,0.00029626652,0.0036418596,0.0021832876,0.0019880712,0.7161106],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013256676,0.000004999309,0.000029210323,0.000033855657,7.0656193e-7,0.000018676537,0.00004584739,0.000007915969,0.00015758155,0.00056728284,0.9869625,0.012158087],"study_design_scores_gemma":[0.0000057170305,0.0000043831733,0.0002847193,0.00003913422,0.0000010656802,0.000030785835,0.000090430076,0.000017548602,0.0001378932,0.00015566703,0.99922836,0.000004276561],"about_ca_topic_score_codex":0.013883396,"about_ca_topic_score_gemma":0.036707316,"teacher_disagreement_score":0.13308656,"about_ca_system_score_codex":0.0010498526,"about_ca_system_score_gemma":0.0007560185,"threshold_uncertainty_score":0.18983173},"labels":[],"label_agreement":null},{"id":"W6912520260","doi":"10.5281/zenodo.4141500","title":"Guarda Spontaneous (2020) Film Completo Streaming Italiano HD Gratis hfc","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Live streaming; The Internet; Mobile device; Hypertext","score_opus":0.04940136775509514,"score_gpt":0.21525485636627834,"score_spread":0.1658534886111832,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912520260","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00050986477,0.0003275181,0.00037805756,0.00078705756,0.0015054657,0.00013097032,0.0075863376,0.0024301144,0.9863446],"genre_scores_gemma":[0.003026239,0.00034057576,0.00046364087,0.00038287873,0.000415134,0.00006423185,0.004994973,0.001909988,0.9884024],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997397,0.000015408235,0.0000060594916,0.00004106281,0.00013535249,0.000062292995],"domain_scores_gemma":[0.99937135,0.0000468853,0.00001808398,0.00007938488,0.00023857212,0.00024569212],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032239716,0.00070233305,0.00031287043,0.0010591611,0.0015416369,0.0044238814,0.000726697,0.00093033875,0.8450252],"category_scores_gemma":[0.0010883046,0.0003846401,0.00045196802,0.00093756657,0.00030299305,0.002218391,0.0020226068,0.0013638331,0.64270633],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002147855,0.000007708129,0.00003429599,0.00004252603,9.784993e-7,0.000025256248,0.000037421945,0.0000093794815,0.00022924592,0.00073436846,0.98738146,0.011476041],"study_design_scores_gemma":[0.00000787828,0.0000064012033,0.00047298335,0.00003388698,0.0000012815917,0.000039688646,0.000055258577,0.000021103182,0.00014992146,0.00014812253,0.9990601,0.000003374819],"about_ca_topic_score_codex":0.008750375,"about_ca_topic_score_gemma":0.031591408,"teacher_disagreement_score":0.15497482,"about_ca_system_score_codex":0.0012006521,"about_ca_system_score_gemma":0.0007443598,"threshold_uncertainty_score":0.2210527},"labels":[],"label_agreement":null},{"id":"W6912522921","doi":"10.5281/zenodo.4246663","title":"123Movies~Watch-}} Antrum (2020) Full Online Free [DvdRip] Streaming hkz","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Antrum; Entertainment; Sign (mathematics); Dimmer; Prayer; Girl; Repetition (rhetorical device)","score_opus":0.052189813739831614,"score_gpt":0.22066472000017,"score_spread":0.1684749062603384,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912522921","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00043998103,0.00017619418,0.0010962303,0.000257652,0.0006194451,0.000115281844,0.0064356597,0.008598971,0.98226064],"genre_scores_gemma":[0.0017863165,0.0002178781,0.0007754038,0.00022217832,0.00014127685,0.00006174878,0.0053350218,0.005343581,0.98611647],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99980074,0.000013127868,0.0000066828557,0.000037552923,0.00009590015,0.000045934037],"domain_scores_gemma":[0.99918085,0.00005891923,0.000018091883,0.00010631993,0.00034945778,0.0002862863],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00022540794,0.0011181505,0.00060316705,0.0011070742,0.0013248887,0.0038254124,0.0011952679,0.0011053961,0.94615346],"category_scores_gemma":[0.001234822,0.0005459904,0.0007231654,0.0009079129,0.0002619482,0.0026436863,0.0028080707,0.0013566763,0.905739],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036683818,0.00001532985,0.000043688968,0.000094022405,0.0000018734268,0.000026828628,0.000032318047,0.000029093053,0.000588906,0.00068733766,0.97273266,0.02571117],"study_design_scores_gemma":[0.000011151833,0.000012666024,0.00038431102,0.000045930454,0.000002533676,0.000054448086,0.000046835725,0.000083544764,0.00041515785,0.00022310346,0.9987117,0.0000086441205],"about_ca_topic_score_codex":0.004731094,"about_ca_topic_score_gemma":0.011189975,"teacher_disagreement_score":0.053846538,"about_ca_system_score_codex":0.00076165964,"about_ca_system_score_gemma":0.0004592908,"threshold_uncertainty_score":0.07680553},"labels":[],"label_agreement":null},{"id":"W6912523802","doi":"10.5281/zenodo.4100264","title":"-[REGARDER@!! Sonic le hérisson (2020) Film Complet Qualité HD STREAMING (VOSTFR) En Francais jmb","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Event (particle physics); Context (archaeology); Filter (signal processing)","score_opus":0.04911402576366194,"score_gpt":0.23422014068147679,"score_spread":0.18510611491781484,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912523802","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010577491,0.00042243418,0.0013453858,0.0014771179,0.0019154513,0.00015394099,0.005648176,0.00554759,0.9824322],"genre_scores_gemma":[0.0036236267,0.00033176196,0.0009716458,0.00039567242,0.00021070504,0.00004700367,0.0025123153,0.0025490462,0.9893582],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999718,0.000021560949,0.000008336986,0.000050217073,0.00014254743,0.00005930497],"domain_scores_gemma":[0.9992926,0.000039858693,0.000017179787,0.00007592232,0.00036244217,0.00021191711],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00040514872,0.0008667364,0.00030343648,0.0008400425,0.0022863986,0.0045022788,0.00084338576,0.0012945216,0.8423196],"category_scores_gemma":[0.0014377821,0.00047496022,0.0004162256,0.00082137337,0.00038772053,0.0028479062,0.002185385,0.0012980013,0.6283549],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022236549,0.000009925972,0.00006761942,0.000052661246,0.0000016324127,0.00003847785,0.00017255814,0.000017122826,0.0006047377,0.0011717977,0.97492856,0.022912545],"study_design_scores_gemma":[0.000005534787,0.0000065780964,0.00033778523,0.000031680735,0.0000012556922,0.00004408029,0.00017151695,0.000028724984,0.0001980669,0.00012194754,0.9990472,0.000005699175],"about_ca_topic_score_codex":0.031956445,"about_ca_topic_score_gemma":0.06752462,"teacher_disagreement_score":0.15768039,"about_ca_system_score_codex":0.0016327811,"about_ca_system_score_gemma":0.00095223304,"threshold_uncertainty_score":0.22491187},"labels":[],"label_agreement":null},{"id":"W6912541057","doi":"10.5281/zenodo.4259996","title":"[WATCH ONLINE]The Grudge (2020) F U L L Movie English Subtitle Streaming .ONLINE F R E E Download nce","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Download; Subtitle; Box office; Sign (mathematics); The Internet; Order (exchange); Action (physics)","score_opus":0.05265553337756946,"score_gpt":0.22512274532581,"score_spread":0.17246721194824055,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912541057","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00048901106,0.00023797815,0.0011805539,0.0006056593,0.0013992602,0.00018541148,0.005983087,0.007504902,0.98241407],"genre_scores_gemma":[0.0023495916,0.00023406176,0.001072307,0.0004588904,0.00022356023,0.000077259094,0.0039702523,0.004180387,0.98743373],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998097,0.000011877113,0.0000052391715,0.000025424157,0.000103608,0.000044260625],"domain_scores_gemma":[0.9991671,0.00005502385,0.000019101231,0.00009386564,0.00040702647,0.00025804204],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023121107,0.00094432884,0.00043390336,0.0010756114,0.0019051081,0.0032481132,0.0011398037,0.0011311177,0.899253],"category_scores_gemma":[0.0017681043,0.00047119928,0.0005264324,0.00089302094,0.000329062,0.0028298078,0.002452985,0.0015301359,0.7986441],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001549652,0.000006234711,0.000025302432,0.00003947597,7.503728e-7,0.000025005023,0.000030772546,0.000012164982,0.00017190792,0.00034224003,0.98596966,0.013360997],"study_design_scores_gemma":[0.0000082626475,0.000009944629,0.0004587835,0.000043618962,0.0000016793954,0.00006802008,0.00007680427,0.000055722343,0.00019417614,0.00021692882,0.9988568,0.000009317059],"about_ca_topic_score_codex":0.013131563,"about_ca_topic_score_gemma":0.032804687,"teacher_disagreement_score":0.10074699,"about_ca_system_score_codex":0.0007470438,"about_ca_system_score_gemma":0.000647245,"threshold_uncertainty_score":0.14370328},"labels":[],"label_agreement":null},{"id":"W6912555338","doi":"10.5281/zenodo.4140264","title":"{streaming Vf} Mort Subite 2 (2020) Streaming vF Film Complet en Ligne dlm","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sudden death; Event (particle physics); Face (sociological concept); Feature (linguistics)","score_opus":0.038970474060272695,"score_gpt":0.2352305219302368,"score_spread":0.1962600478699641,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912555338","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00081733597,0.000370556,0.0034167508,0.00077849557,0.0018499331,0.0004666013,0.033683073,0.024580093,0.93403715],"genre_scores_gemma":[0.005502382,0.0007210908,0.003997502,0.00086833787,0.0007964746,0.00034134727,0.035950202,0.017010717,0.93481195],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99964905,0.00002134237,0.0000148390955,0.00004383382,0.00018622703,0.00008466306],"domain_scores_gemma":[0.9988098,0.0001211254,0.00003192284,0.00019169126,0.00052796834,0.0003175246],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004520215,0.0012517119,0.00055665494,0.0016912364,0.0015621218,0.0044008065,0.0014002535,0.0012576699,0.8741823],"category_scores_gemma":[0.0023437142,0.0006724909,0.0007701144,0.0012904991,0.00028994045,0.0038694756,0.0026480816,0.0017626825,0.75581414],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053624342,0.000014519813,0.00007787369,0.00010826033,0.0000016052337,0.000040148912,0.000047206933,0.000037329228,0.00065619603,0.0008350561,0.9761796,0.021948596],"study_design_scores_gemma":[0.000017534992,0.000012357875,0.0005279309,0.000076006945,0.0000021097678,0.00006487425,0.00005549137,0.00007973575,0.0005770715,0.00036606358,0.9982097,0.000011031226],"about_ca_topic_score_codex":0.007897564,"about_ca_topic_score_gemma":0.018142128,"teacher_disagreement_score":0.12581772,"about_ca_system_score_codex":0.0010748514,"about_ca_system_score_gemma":0.00078874564,"threshold_uncertainty_score":0.17946368},"labels":[],"label_agreement":null},{"id":"W6912576219","doi":"10.5281/zenodo.4175343","title":"VOIR!! Y'a pas d'heure pour les femmes (2020) Streaming VF COmplet en Ligne VOSTFR mlb","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cote d ivoire; Video recording; Cytomegalovirus infections","score_opus":0.07320931587428146,"score_gpt":0.2396766548635641,"score_spread":0.16646733898928262,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912576219","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010886826,0.0005384731,0.00089602865,0.0036290304,0.0035830124,0.00019630001,0.018172113,0.0042725313,0.9676239],"genre_scores_gemma":[0.0027967938,0.0004695611,0.00084290985,0.00087810727,0.00030004772,0.000066742825,0.006771321,0.0015609956,0.98631346],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99976116,0.000014780153,0.0000057138577,0.000027571543,0.000112428876,0.00007833112],"domain_scores_gemma":[0.9990722,0.000050655475,0.000016785558,0.00006399929,0.00042090172,0.0003753929],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00037634806,0.0005285134,0.00031830042,0.0006008627,0.0025747984,0.0038270806,0.00070277794,0.0013841355,0.82976246],"category_scores_gemma":[0.001497269,0.00030317393,0.00048557128,0.00058862026,0.00029217175,0.002290624,0.002064515,0.0017206061,0.66979444],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015117957,0.0000056724307,0.00006804863,0.000032645505,5.6517786e-7,0.000017884167,0.000058599348,0.000008834523,0.00018707171,0.000474089,0.98348886,0.0156427],"study_design_scores_gemma":[0.0000062140543,0.0000065808426,0.00066673406,0.000048904556,0.0000010841622,0.000034493678,0.00016245757,0.0000135183445,0.00015202093,0.00014531816,0.99875736,0.000005372792],"about_ca_topic_score_codex":0.04256511,"about_ca_topic_score_gemma":0.1250222,"teacher_disagreement_score":0.17023754,"about_ca_system_score_codex":0.0013904301,"about_ca_system_score_gemma":0.0015637922,"threshold_uncertainty_score":0.24282312},"labels":[],"label_agreement":null},{"id":"W6912580076","doi":"10.5281/zenodo.4175076","title":"VOIR!! Guerrières (2020) Streaming VF COmplet en Ligne VOSTFR xri","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Fusible alloy; Field (mathematics); Nucleofection; Oscillograph","score_opus":0.04168553623219455,"score_gpt":0.2279204323351281,"score_spread":0.18623489610293353,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912580076","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008859815,0.0005596503,0.0028364998,0.0010349011,0.0022654817,0.00034587373,0.029948346,0.0223313,0.93979204],"genre_scores_gemma":[0.0036318456,0.00056307286,0.002783755,0.0005922987,0.00035150212,0.00018587042,0.01831133,0.012772331,0.96080786],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99971217,0.000020139296,0.000010319513,0.000042473945,0.00013665302,0.00007811155],"domain_scores_gemma":[0.9988575,0.000104538776,0.000029308407,0.00017054382,0.00050696125,0.0003310922],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00041810144,0.0010170194,0.00049109745,0.0013064265,0.002082073,0.004423873,0.0013217945,0.001427916,0.88272846],"category_scores_gemma":[0.002279979,0.00057930686,0.00073532475,0.0011205155,0.00034019948,0.003438313,0.0030348268,0.0015132423,0.7657884],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003593862,0.000008360878,0.00008038864,0.000085198764,0.0000013936285,0.000035523346,0.00008216169,0.000019974243,0.0003035364,0.0005711837,0.9764969,0.022279395],"study_design_scores_gemma":[0.000009883686,0.000007084581,0.0004799163,0.00007283275,0.0000020043728,0.000055524604,0.000121511555,0.000042325133,0.0002822541,0.00024228735,0.9986743,0.000010083865],"about_ca_topic_score_codex":0.025211157,"about_ca_topic_score_gemma":0.058529828,"teacher_disagreement_score":0.11727154,"about_ca_system_score_codex":0.0013162355,"about_ca_system_score_gemma":0.0010189542,"threshold_uncertainty_score":0.16727352},"labels":[],"label_agreement":null},{"id":"W6912585161","doi":"10.5281/zenodo.4260126","title":"Regarder A Christmas Tree Grows in Colorado (2020) streaming vf Film complet Gratuit Voir tcr","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Christmas tree; Tree (set theory); Population; Aerial photos","score_opus":0.049700541017732115,"score_gpt":0.22681203076035159,"score_spread":0.17711148974261948,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912585161","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008288234,0.000223978,0.00034706405,0.0008471669,0.0012596973,0.00010084779,0.0034775056,0.0020695564,0.9908454],"genre_scores_gemma":[0.00317285,0.00027708185,0.00049426465,0.00031589827,0.00017724767,0.000038288323,0.002142574,0.0014619036,0.99191976],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99981505,0.000008122745,0.0000040199848,0.000027372334,0.000085547166,0.000059904192],"domain_scores_gemma":[0.99936074,0.000029947923,0.000015331741,0.000044503282,0.0002755741,0.0002738774],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00017741631,0.0005063803,0.00026214184,0.0006022852,0.002493788,0.0032017194,0.0005671654,0.00093563896,0.8649377],"category_scores_gemma":[0.0009844445,0.0003651191,0.00030698383,0.00058702636,0.00023254132,0.0020305407,0.0016975559,0.001266544,0.68326086],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000107135675,0.0000056377444,0.000066642606,0.00002497823,5.6876297e-7,0.000025604953,0.000065187916,0.000009090805,0.00021140192,0.0003421386,0.98843515,0.010802833],"study_design_scores_gemma":[0.0000042079278,0.0000059262798,0.00056245027,0.000030259083,0.0000013083901,0.00004035012,0.00018719854,0.00002320425,0.00015048496,0.00005626147,0.9989343,0.000004052178],"about_ca_topic_score_codex":0.0358023,"about_ca_topic_score_gemma":0.15956344,"teacher_disagreement_score":0.13506228,"about_ca_system_score_codex":0.0012016349,"about_ca_system_score_gemma":0.0008375144,"threshold_uncertainty_score":0.19264996},"labels":[],"label_agreement":null},{"id":"W6912591475","doi":"10.5281/zenodo.4253280","title":"STREAMING VF~ O5 : 5 continents à la nage (2019) streaming vF VOSTFR en Ligne Film FR shi","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Feature (linguistics); Long-term prediction; Population","score_opus":0.03227070678458402,"score_gpt":0.22422495735772513,"score_spread":0.1919542505731411,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912591475","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00090150925,0.00049670826,0.0010082246,0.0015801307,0.0035277393,0.0002257444,0.023657039,0.0071986914,0.96140414],"genre_scores_gemma":[0.0042634197,0.0006046653,0.0010694431,0.00061750226,0.0005913039,0.00010719779,0.016518988,0.004354589,0.971873],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997887,0.000013878696,0.0000059606996,0.000026036358,0.00009876554,0.00006662771],"domain_scores_gemma":[0.9992174,0.00006115016,0.000020294792,0.00007864981,0.00028023258,0.00034230418],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00030699378,0.0007484751,0.00033940468,0.0008406526,0.001723746,0.004651969,0.00085584354,0.0012208459,0.8751158],"category_scores_gemma":[0.0017128119,0.00031540712,0.0005323396,0.000951121,0.0002415405,0.0031903805,0.002833967,0.0014800514,0.7348046],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019388917,0.000006232477,0.00004969734,0.000044772227,9.506633e-7,0.000026121013,0.00003997504,0.000016875449,0.00015732147,0.00039623518,0.9878749,0.011367485],"study_design_scores_gemma":[0.000009640511,0.000008195954,0.0004830693,0.000047503647,0.0000014737536,0.00003510588,0.000106269414,0.000028963832,0.00011813665,0.00021884691,0.9989366,0.000006231265],"about_ca_topic_score_codex":0.01193779,"about_ca_topic_score_gemma":0.036256284,"teacher_disagreement_score":0.12488419,"about_ca_system_score_codex":0.00092967314,"about_ca_system_score_gemma":0.00073624327,"threshold_uncertainty_score":0.17813212},"labels":[],"label_agreement":null},{"id":"W6912618092","doi":"10.5281/zenodo.4510378","title":"Kijk Crisis 2021 Gratis Streaming Online Nederlandse Films HD nxx","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Hyporeflexia; Fusible alloy; Diafiltration; Demotion; Dysgeusia","score_opus":0.046947803959952385,"score_gpt":0.23446143731888347,"score_spread":0.1875136333589311,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912618092","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00045294475,0.0006549902,0.00017020745,0.00114973,0.0015450402,0.000048625236,0.0033182974,0.0005035782,0.9921565],"genre_scores_gemma":[0.0020875242,0.0005921475,0.00021219019,0.00038029405,0.00015740149,0.000037448866,0.0019976376,0.0006890696,0.99384624],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99980503,0.000017028731,0.000005750786,0.000023054929,0.000097215605,0.000051954245],"domain_scores_gemma":[0.9997665,0.000032435688,0.00001193314,0.000018786988,0.00007646951,0.000093852024],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002057632,0.00072135444,0.00031343588,0.0006854724,0.0016775756,0.0054078973,0.00059921824,0.0011135627,0.85045516],"category_scores_gemma":[0.00086312986,0.00046713074,0.00032777234,0.0006858315,0.00027180195,0.0028008672,0.0024231214,0.0019218115,0.5387398],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016677357,0.000007755366,0.00001893075,0.00004709386,6.418938e-7,0.000027824013,0.00007404517,0.000011197416,0.000112707676,0.0013863057,0.98548895,0.0128079355],"study_design_scores_gemma":[0.0000039672727,0.000002093964,0.00011844434,0.00003350675,4.2210803e-7,0.000015348101,0.00010646655,0.0000098194505,0.000042229247,0.00013614773,0.9995297,0.0000018661295],"about_ca_topic_score_codex":0.0060515646,"about_ca_topic_score_gemma":0.022772104,"teacher_disagreement_score":0.14954484,"about_ca_system_score_codex":0.000872496,"about_ca_system_score_gemma":0.000713541,"threshold_uncertainty_score":0.2133075},"labels":[],"label_agreement":null},{"id":"W6912619337","doi":"10.5281/zenodo.4140469","title":"123movies!! watch Spontaneous (2020) full movie online free zyu","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Action (physics); Download; Spontaneous order; Online video; Text messaging","score_opus":0.04958914792654098,"score_gpt":0.21716477216599497,"score_spread":0.167575624239454,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912619337","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00052429194,0.00021097645,0.0010464035,0.00044373737,0.0012486863,0.0001490051,0.006633169,0.006968554,0.9827753],"genre_scores_gemma":[0.0021438291,0.00026419386,0.0007423632,0.00034691812,0.00023496903,0.00008561821,0.0047580577,0.004402975,0.987021],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998178,0.00001170175,0.0000064507194,0.000030467598,0.0000930705,0.000040502942],"domain_scores_gemma":[0.99922323,0.000064113316,0.000017011082,0.00011321482,0.00030122197,0.00028117115],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023886602,0.00088717375,0.0004707109,0.0010555097,0.0014594815,0.0038301377,0.0009158838,0.00101933,0.9286242],"category_scores_gemma":[0.0013704272,0.0005000984,0.0006691429,0.0008561067,0.00030683193,0.0034942764,0.0030130893,0.0014573414,0.86031085],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020105497,0.000011612624,0.000040590334,0.000062516105,0.000001266163,0.00002290567,0.00003796382,0.000013456589,0.0003604508,0.0006219544,0.98057026,0.018236918],"study_design_scores_gemma":[0.000007811706,0.000008949984,0.00034789593,0.00003811414,0.0000017904338,0.00004948341,0.00007565342,0.000045453373,0.00026954836,0.0002180753,0.9989312,0.000006079094],"about_ca_topic_score_codex":0.0032539323,"about_ca_topic_score_gemma":0.00974799,"teacher_disagreement_score":0.07137579,"about_ca_system_score_codex":0.0006194781,"about_ca_system_score_gemma":0.0004166301,"threshold_uncertainty_score":0.101808906},"labels":[],"label_agreement":null},{"id":"W6912622849","doi":"10.5281/zenodo.4168615","title":"REGARDER[[Mort Subite 2 (2020)]EN STREAMING FILM FR COMPLET msr","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sudden death; Web site; Sudden infant death syndrome; Electrodiagnosis","score_opus":0.046261804681227564,"score_gpt":0.2327580413094301,"score_spread":0.18649623662820253,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912622849","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006648097,0.00023706509,0.0017125208,0.00072275574,0.0014563676,0.0002324845,0.010752421,0.014471599,0.96975],"genre_scores_gemma":[0.002792839,0.00024865346,0.0012904617,0.00042459345,0.00030787557,0.00008672906,0.006041825,0.008356696,0.9804504],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99970406,0.000016926502,0.0000111623285,0.000042377465,0.00015445253,0.000070968425],"domain_scores_gemma":[0.9989716,0.00009197901,0.000034115586,0.00012150369,0.00053128414,0.00024962702],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00035593065,0.0009924098,0.00045998392,0.0010449941,0.0015019443,0.003349728,0.0010301449,0.0013954352,0.91868246],"category_scores_gemma":[0.002104473,0.0006158078,0.0005642489,0.0007464467,0.00025443596,0.003379695,0.0020667089,0.0013359351,0.84331197],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003130459,0.000010658338,0.00005883515,0.000056171953,0.0000011571806,0.000031600885,0.00006123351,0.000017609538,0.0003259019,0.0005903502,0.9816757,0.017139552],"study_design_scores_gemma":[0.0000127493795,0.000010386001,0.00042783402,0.000040816303,0.0000017395095,0.000054779495,0.00006828558,0.000045865978,0.00035871775,0.00016168198,0.99880886,0.000008354145],"about_ca_topic_score_codex":0.009981228,"about_ca_topic_score_gemma":0.023701213,"teacher_disagreement_score":0.081317544,"about_ca_system_score_codex":0.0009285233,"about_ca_system_score_gemma":0.0006201716,"threshold_uncertainty_score":0.115989506},"labels":[],"label_agreement":null},{"id":"W6912631700","doi":"10.5281/zenodo.4465432","title":"123movies!! watch Crash (1996) full movie online free phe","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Crash; Paraphernalia; Staring; Headline; Casual; Gloom","score_opus":0.057076658028288485,"score_gpt":0.2325628092630023,"score_spread":0.1754861512347138,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912631700","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00063025596,0.000429183,0.00056706433,0.00080196286,0.0012316797,0.00014027636,0.0074236733,0.003895598,0.9848803],"genre_scores_gemma":[0.0014975738,0.00037325599,0.00027163627,0.00021983957,0.00013305692,0.000041656494,0.003876822,0.0013126226,0.9922735],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998311,0.000009422629,0.0000067223455,0.000024484718,0.00008985773,0.00003844445],"domain_scores_gemma":[0.99936527,0.000046159144,0.000015383543,0.00006513357,0.00032725662,0.00018087364],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001944179,0.0009299656,0.00040753308,0.0009956491,0.0017682323,0.0034023216,0.0010515553,0.0010138965,0.91236997],"category_scores_gemma":[0.0012310311,0.00052258285,0.0004725935,0.0008527214,0.00025599348,0.0028505358,0.0019312688,0.0015908639,0.7961877],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016925096,0.0000069974344,0.000037578196,0.000044380584,8.576596e-7,0.000020159001,0.00002881201,0.000008732932,0.0001625337,0.00035655717,0.98840386,0.010912673],"study_design_scores_gemma":[0.0000067052206,0.000008622377,0.0004693018,0.000034927125,0.0000017916256,0.00004453911,0.00010851359,0.000028139477,0.00018598129,0.00008725467,0.99901855,0.0000056842086],"about_ca_topic_score_codex":0.012082808,"about_ca_topic_score_gemma":0.035519697,"teacher_disagreement_score":0.08763003,"about_ca_system_score_codex":0.0008300348,"about_ca_system_score_gemma":0.000476507,"threshold_uncertainty_score":0.1249935},"labels":[],"label_agreement":null},{"id":"W6912632574","doi":"10.5281/zenodo.4254584","title":"[!REGARDER!]~VF La nuit des rois (2020) Film Complet Streaming VF En Francais url","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Live streaming; Streaming data; Aerial photos","score_opus":0.043702925312651394,"score_gpt":0.22642325723278053,"score_spread":0.18272033192012915,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912632574","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001961818,0.00096249435,0.0018372496,0.0018876571,0.0030887134,0.00038157293,0.024855824,0.009414929,0.95560974],"genre_scores_gemma":[0.008390061,0.0012419323,0.002212851,0.0007413102,0.00044929088,0.0001914882,0.015244876,0.005042748,0.9664854],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99970347,0.000020376943,0.000011301398,0.000044098226,0.00014013972,0.00008056333],"domain_scores_gemma":[0.9988582,0.00007296881,0.000026335094,0.0001146278,0.00059955666,0.00032834575],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00045154276,0.0007951088,0.00029059607,0.0010394146,0.0018515042,0.0039172024,0.0008590733,0.00082467543,0.7545581],"category_scores_gemma":[0.0016813764,0.0004141483,0.00043845456,0.0010416638,0.0002851518,0.0033101062,0.0016573463,0.0013614518,0.50615346],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035309047,0.000011314544,0.00015770993,0.00010631268,0.0000017223547,0.00005054118,0.00014651699,0.000022307566,0.0008670143,0.0009341135,0.9722439,0.025423259],"study_design_scores_gemma":[0.000006080881,0.000008472859,0.0009198606,0.00007696891,0.0000019264985,0.00005538192,0.0001641502,0.000034623987,0.00039468234,0.00009326783,0.9982362,0.000008488607],"about_ca_topic_score_codex":0.044981856,"about_ca_topic_score_gemma":0.10815261,"teacher_disagreement_score":0.24544191,"about_ca_system_score_codex":0.0014484547,"about_ca_system_score_gemma":0.0011481998,"threshold_uncertainty_score":0.35009307},"labels":[],"label_agreement":null},{"id":"W6912708065","doi":"10.5281/zenodo.4465866","title":"[FILMS VOIR] Falling (2020) FILMS STREAMING VF EN GRATUIT ET VOSTFR esm","year":2021,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Nucleofection; Population","score_opus":0.03478665678350246,"score_gpt":0.23622319108719386,"score_spread":0.2014365343036914,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6912708065","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006848141,0.0004334044,0.0009847019,0.001008705,0.002394231,0.00020241801,0.010263091,0.005120534,0.9789082],"genre_scores_gemma":[0.0035977939,0.00061950984,0.0015145985,0.00066404213,0.00048718994,0.000122211,0.008315268,0.0042236005,0.98045576],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972564,0.000020011868,0.000009604932,0.000036841873,0.00014976131,0.00005799651],"domain_scores_gemma":[0.99925727,0.000055163484,0.000021195214,0.00008878266,0.00035262885,0.00022495424],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00034720477,0.00075066654,0.00031912114,0.0010045255,0.0018468492,0.004411793,0.00090077234,0.00090469024,0.8361947],"category_scores_gemma":[0.0016343918,0.00044136358,0.00046776616,0.0012323351,0.00023409966,0.0029636687,0.0019521446,0.001564712,0.6080641],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001979515,0.0000071314485,0.000048220696,0.000052453357,8.7109214e-7,0.000027801794,0.000062204184,0.0000074170184,0.0002712095,0.00063633604,0.9785599,0.020306775],"study_design_scores_gemma":[0.0000064879264,0.0000058207224,0.00044484597,0.000045772875,0.0000011724987,0.00004447787,0.000079245474,0.000018190565,0.00014862922,0.00013057746,0.9990702,0.0000046192076],"about_ca_topic_score_codex":0.010149651,"about_ca_topic_score_gemma":0.030620279,"teacher_disagreement_score":0.1638053,"about_ca_system_score_codex":0.0007828596,"about_ca_system_score_gemma":0.0007123302,"threshold_uncertainty_score":0.23364842},"labels":[],"label_agreement":null},{"id":"W6917459042","doi":"10.57912/23879619","title":"The mirror of simulation in Denys Arcand's \"Jesus of Montreal\"","year":2023,"lang":"en","type":"dissertation","venue":"American University Research Archive","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mirroring; Passion; QUIET; Emphasis (telecommunications); Control (management)","score_opus":0.05020231757120241,"score_gpt":0.308894686894373,"score_spread":0.2586923693231706,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6917459042","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4857145,0.001840231,0.012339213,0.030752135,0.00051977055,0.000057822217,0.00094079965,0.00026631777,0.4675691],"genre_scores_gemma":[0.97256845,0.00026906302,0.0014951119,0.00031237406,0.000023271912,0.000010296647,0.00007171707,0.00003735565,0.025212409],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996892,0.00016789511,0.0000028872194,0.000038365786,0.00005874795,0.00004293135],"domain_scores_gemma":[0.9995092,0.0002486287,0.000044934088,0.00004415981,0.00009151233,0.00006157614],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004614904,0.00014909444,0.00008229005,0.00020743681,0.001952693,0.0024424747,0.00061138166,0.00067111856,0.009352837],"category_scores_gemma":[0.0027866357,0.00009342169,0.00008381713,0.00041428214,0.002642118,0.0009515202,0.00070523215,0.00065822614,0.00031099335],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018231178,0.000048470847,0.009651248,0.00009727014,0.00002019506,0.0010533284,0.067074545,0.006497933,0.0023823539,0.822149,0.057069976,0.033773396],"study_design_scores_gemma":[0.000051036197,0.000077766745,0.043485884,0.0002483126,0.000035752088,0.00037367144,0.07162678,0.02278864,0.002757932,0.055730283,0.8027024,0.00012147335],"about_ca_topic_score_codex":0.63058776,"about_ca_topic_score_gemma":0.7163635,"teacher_disagreement_score":0.63058776,"about_ca_system_score_codex":0.008230254,"about_ca_system_score_gemma":0.0028189404,"threshold_uncertainty_score":0.74317557},"labels":[],"label_agreement":null},{"id":"W6917814759","doi":"10.58079/u7qw","title":"Le \"Off\" du Festival de Cannes à Paris et en région parisienne - Venez découvrir INI AVAN, la prochaine sortie d'Héliotrope Films, en avant-première","year":2012,"lang":"fr","type":"article","venue":"OpenEdition (OpenEdition)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Period (music); Work (physics)","score_opus":0.014382535870322405,"score_gpt":0.22899633317936596,"score_spread":0.21461379730904356,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6917814759","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11636185,0.010262448,0.0018970282,0.01966379,0.0047325045,0.00013941455,0.002063518,0.00061506697,0.8442643],"genre_scores_gemma":[0.31207052,0.0026897413,0.00097319775,0.0016745392,0.00031447745,0.00005108907,0.00059723965,0.00034822494,0.681281],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995845,0.000056370238,0.000005734097,0.00007937963,0.000096700445,0.00017724975],"domain_scores_gemma":[0.99957865,0.0000437614,0.000035961526,0.00003305039,0.00009387932,0.0002147055],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005007646,0.0006747497,0.00025220885,0.0011190963,0.01082073,0.006503906,0.00063183333,0.0011500902,0.056697063],"category_scores_gemma":[0.0010311371,0.00039086386,0.00031649935,0.0011224835,0.0032905608,0.0016649328,0.002867209,0.0031571847,0.0068266992],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00054188713,0.00006769991,0.01507523,0.0008290323,0.00008464089,0.0028785174,0.1074538,0.0004142662,0.007295363,0.1605381,0.6049687,0.09985271],"study_design_scores_gemma":[0.0000071057184,0.00002253303,0.015704118,0.00012527527,0.0000084750645,0.0001809633,0.015157269,0.000030023517,0.0004120157,0.0003260239,0.9680091,0.000017287979],"about_ca_topic_score_codex":0.24968767,"about_ca_topic_score_gemma":0.59069604,"teacher_disagreement_score":0.24968767,"about_ca_system_score_codex":0.011043595,"about_ca_system_score_gemma":0.00578613,"threshold_uncertainty_score":0.49646866},"labels":[],"label_agreement":null},{"id":"W6918064180","doi":"10.58079/mtc9","title":"Le cinéma de Frederick Wiseman","year":2021,"lang":"fr","type":"article","venue":"Industrias Culturais (Universidade de Coimbra)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Relation (database); Context (archaeology); Perspective (graphical); Subject (documents); Natural (archaeology)","score_opus":0.034705049875159995,"score_gpt":0.22300858370590335,"score_spread":0.18830353383074336,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6918064180","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.024554532,0.07409187,0.008052859,0.24738044,0.012960464,0.000094310424,0.00058049243,0.00019113212,0.632094],"genre_scores_gemma":[0.20935576,0.04230301,0.0041729305,0.01610517,0.004520794,0.000081992956,0.00015141266,0.00022292651,0.723086],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993573,0.00028196588,0.0000145491795,0.000121723795,0.000155737,0.000068764704],"domain_scores_gemma":[0.9986634,0.000658367,0.00013625267,0.00006788957,0.00031028103,0.0001638616],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011172898,0.00046831468,0.00016897405,0.0009798654,0.00283442,0.0038638134,0.00040316972,0.0011783711,0.017521694],"category_scores_gemma":[0.0045285565,0.0002895799,0.00016718326,0.0007784609,0.0024295002,0.0034141887,0.0010183108,0.0024028737,0.0032847999],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054570057,0.00002249663,0.00075062347,0.00017180132,0.000007360061,0.00030893597,0.012945064,0.00012620457,0.0010336637,0.25398844,0.6683055,0.062285386],"study_design_scores_gemma":[0.0000018025149,0.000006097882,0.0009696355,0.00013154911,0.0000024293547,0.00015667977,0.0015819811,0.000072037066,0.00026189996,0.0036004279,0.9932066,0.000008800465],"about_ca_topic_score_codex":0.02696658,"about_ca_topic_score_gemma":0.03955019,"teacher_disagreement_score":0.02696658,"about_ca_system_score_codex":0.0032326258,"about_ca_system_score_gemma":0.002186731,"threshold_uncertainty_score":0.058615983},"labels":[],"label_agreement":null},{"id":"W6921709820","doi":"10.7916/d8-awcv-3e60","title":"Marie de Kerstrat","year":2015,"lang":"en","type":"article","venue":"Columbia Academic Commons (Columbia University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Compromise; Negotiation; Movie theater; Field (mathematics)","score_opus":0.05644159720562175,"score_gpt":0.21239191472982283,"score_spread":0.15595031752420108,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6921709820","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01872305,0.049005333,0.0023276014,0.15008993,0.013052821,0.00008958982,0.0009290161,0.000422305,0.76536036],"genre_scores_gemma":[0.08307123,0.012616251,0.0008599655,0.012431675,0.0011149102,0.000042534895,0.0001521401,0.0002480323,0.88946325],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986571,0.00024006414,0.000032426,0.00034858764,0.00053299224,0.00018883488],"domain_scores_gemma":[0.99786526,0.00041296682,0.00016697777,0.000087866654,0.00084364467,0.00062328216],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008683164,0.0004249723,0.00022810049,0.00079293875,0.003061268,0.004727126,0.00059581717,0.0015468575,0.08366538],"category_scores_gemma":[0.0056894505,0.00033484888,0.0001459121,0.00050991634,0.0011714709,0.002362037,0.0016583478,0.0017028432,0.023953818],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000053800966,0.00003068798,0.0015351009,0.00018572727,0.000006818377,0.00046730274,0.0044944356,0.000082436025,0.0012854444,0.0383118,0.8856926,0.067853816],"study_design_scores_gemma":[0.0000013727866,0.00000425621,0.0004931258,0.00007256575,0.000001094745,0.00022748855,0.0008248354,0.000022810495,0.00014296861,0.00041055566,0.9977927,0.000006085401],"about_ca_topic_score_codex":0.05145603,"about_ca_topic_score_gemma":0.09704361,"teacher_disagreement_score":0.08366538,"about_ca_system_score_codex":0.0039667967,"about_ca_system_score_gemma":0.0040914393,"threshold_uncertainty_score":0.27988857},"labels":[],"label_agreement":null},{"id":"W6921752492","doi":"10.7916/d8-zhz6-k505","title":"Marie Dressler","year":2013,"lang":"en","type":"article","venue":"Columbia Academic Commons (Columbia University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); World War II; Blacklisting; Hollywood; Spanish Civil War; Face (sociological concept); Trilogy; Poetry","score_opus":0.027577893624270183,"score_gpt":0.18825356117470024,"score_spread":0.16067566755043006,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6921752492","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016280059,0.035811212,0.0023010809,0.21754467,0.022385161,0.00007143022,0.0012903967,0.00038332364,0.7039327],"genre_scores_gemma":[0.044796087,0.010104777,0.000652692,0.01486941,0.0020786144,0.000039148297,0.00024791423,0.00023021088,0.9269811],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990056,0.00016000016,0.000031465876,0.00029953461,0.00038152726,0.00012190292],"domain_scores_gemma":[0.9983833,0.0003261494,0.0001280644,0.000061788094,0.00059336744,0.0005072589],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00064971554,0.00049810956,0.00032300787,0.00096113875,0.0028763535,0.0040202057,0.00040377415,0.0012512321,0.08794867],"category_scores_gemma":[0.0054639108,0.00025337827,0.00017784735,0.0004996234,0.00079975586,0.0018109418,0.0013401028,0.002047556,0.04017536],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036627363,0.000020368552,0.0007483259,0.000096153824,0.000004400238,0.00039896293,0.0012263238,0.00004866049,0.0004177377,0.016821375,0.94252074,0.03766029],"study_design_scores_gemma":[0.0000013490219,0.0000067730653,0.00068637164,0.00009774366,0.0000014347368,0.00039879465,0.0007527894,0.000035519206,0.0001056488,0.0007032612,0.9972018,0.00000854029],"about_ca_topic_score_codex":0.010150236,"about_ca_topic_score_gemma":0.023075754,"teacher_disagreement_score":0.08794867,"about_ca_system_score_codex":0.0024914085,"about_ca_system_score_gemma":0.001953469,"threshold_uncertainty_score":0.29421765},"labels":[],"label_agreement":null},{"id":"W6924429448","doi":"10.15468/dl.mptjbe","title":"Occurrence Download","year":2022,"lang":"en","type":"dataset","venue":"Global Biodiversity Information Facility","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Download; Matching (statistics); Range (aeronautics); The Internet; Set (abstract data type)","score_opus":0.02547343145285676,"score_gpt":0.2036152065218196,"score_spread":0.17814177506896284,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6924429448","genre_codex":"dataset","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":"dataset","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00004253432,0.000026576183,0.00004248778,0.000040949468,0.00001055996,0.000004879787,0.9989141,0.0003175626,0.00060035434],"genre_scores_gemma":[0.00016601887,0.000033174085,0.00018094818,0.000043355638,0.000003874245,0.0000397911,0.9988926,0.000120065815,0.0005201223],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99889416,0.0001721507,0.00013792416,0.0003611916,0.0002627136,0.00017196873],"domain_scores_gemma":[0.99723935,0.00082121254,0.00026241547,0.00069215114,0.00069009874,0.0002948144],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010803378,0.0018197041,0.0014557733,0.004919554,0.000980061,0.0027323996,0.0027771073,0.0021554201,0.14370191],"category_scores_gemma":[0.006679917,0.000813596,0.0011025134,0.009658583,0.0004476509,0.002073057,0.0022868826,0.0020585868,0.21285355],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024319055,0.000010836532,0.00037304408,0.00037175062,0.000011527136,0.0000133096255,0.00001869933,0.000120887315,0.00006400237,0.0003711029,0.9974124,0.0012081615],"study_design_scores_gemma":[0.000079964164,0.00000814543,0.0020466833,0.00018542398,0.000012638397,0.000035406913,0.00007130993,0.0002045896,0.00014911203,0.0009193634,0.9962709,0.000016579954],"about_ca_topic_score_codex":0.023292745,"about_ca_topic_score_gemma":0.039129227,"teacher_disagreement_score":0.8562981,"about_ca_system_score_codex":0.0016675052,"about_ca_system_score_gemma":0.0023233271,"threshold_uncertainty_score":0.48073077},"labels":[],"label_agreement":null},{"id":"W6930993293","doi":"10.5281/zenodo.4252984","title":"regarder||||||||&gt;&gt; Guerrières (2020) streaming vf en film complet 'HD\" pkd","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Aerial photos; Order (exchange); Video recording","score_opus":0.04268766296403372,"score_gpt":0.22500105499549097,"score_spread":0.18231339203145724,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6930993293","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010978044,0.0005089837,0.0014745245,0.0019810142,0.0031758402,0.00023468229,0.018007157,0.006099472,0.9674205],"genre_scores_gemma":[0.003988243,0.0005797547,0.0015424478,0.00048367516,0.00028193888,0.000087502405,0.007237879,0.003748481,0.9820502],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997156,0.000021420668,0.000007223793,0.00004014756,0.00013409936,0.00008139349],"domain_scores_gemma":[0.99917775,0.00006708058,0.000017163631,0.00009369287,0.00035943594,0.00028484286],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00043752103,0.0006662205,0.00031026776,0.00083026534,0.0023626282,0.0038159022,0.00079476595,0.0009970232,0.79725313],"category_scores_gemma":[0.001469671,0.00034759127,0.0004213965,0.0008279896,0.00046403828,0.0020876185,0.0021600854,0.0014691071,0.5835901],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016600554,0.000004610097,0.00006162345,0.000044038734,7.0488215e-7,0.000030709587,0.00010264577,0.000010964053,0.00026059846,0.0005591277,0.9847147,0.0141937705],"study_design_scores_gemma":[0.000004855795,0.000003813866,0.0005135501,0.000042947056,0.000001088353,0.000041966712,0.0001752386,0.000018749764,0.00022176583,0.000106850515,0.9988644,0.0000047532094],"about_ca_topic_score_codex":0.055532493,"about_ca_topic_score_gemma":0.17343841,"teacher_disagreement_score":0.20274687,"about_ca_system_score_codex":0.0019578163,"about_ca_system_score_gemma":0.0015279978,"threshold_uncertainty_score":0.28919375},"labels":[],"label_agreement":null},{"id":"W6931055340","doi":"10.5281/zenodo.4077710","title":"Nulle trace (2020) Film Complet Streaming VF jgs","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"TRACE (psycholinguistics); Video recording; Hum","score_opus":0.05662545601535686,"score_gpt":0.2282363630026231,"score_spread":0.17161090698726622,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6931055340","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011709764,0.00033248833,0.0031105648,0.0012373189,0.0018970123,0.000289255,0.0372671,0.035523765,0.9191714],"genre_scores_gemma":[0.0060374723,0.00045780558,0.0024598811,0.0008542223,0.000443256,0.0001848478,0.0302743,0.02358205,0.9357061],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996575,0.000016889517,0.0000134434395,0.00004598974,0.00017228472,0.00009379043],"domain_scores_gemma":[0.9987047,0.0001285808,0.00003445001,0.00022834947,0.0005717735,0.00033215404],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00035731605,0.0011605605,0.00046290908,0.0013838394,0.0014651115,0.0042638998,0.001356615,0.001538109,0.88926405],"category_scores_gemma":[0.0027495003,0.0006529145,0.0006670032,0.0010457808,0.00026683,0.0041415505,0.0027989498,0.0013710669,0.75323737],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004385258,0.000013518698,0.000093470386,0.00007640502,0.0000016831376,0.000038685186,0.000053653934,0.000022299451,0.0004281466,0.0007569109,0.9789507,0.019520609],"study_design_scores_gemma":[0.000020180645,0.000012237331,0.0006168285,0.000061762665,0.0000029270414,0.000078259975,0.00008301672,0.000080105856,0.00078343233,0.00041486198,0.9978344,0.00001200396],"about_ca_topic_score_codex":0.009844179,"about_ca_topic_score_gemma":0.018688831,"teacher_disagreement_score":0.11073595,"about_ca_system_score_codex":0.0010870569,"about_ca_system_score_gemma":0.0008018406,"threshold_uncertainty_score":0.15795141},"labels":[],"label_agreement":null},{"id":"W6931096374","doi":"10.5281/zenodo.4156484","title":"((REGARDER)) Fatman (2020) Film Streaming VF Complet Voir HD sip","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Aerial photos; Steganalysis","score_opus":0.0583142568307361,"score_gpt":0.22870058820494313,"score_spread":0.17038633137420703,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6931096374","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007892621,0.00033442207,0.0023553679,0.00069963135,0.0014841673,0.00021610392,0.013788448,0.020498736,0.95983386],"genre_scores_gemma":[0.0040974854,0.00041160968,0.0021367832,0.0006206266,0.0004067623,0.000137104,0.011993436,0.010183484,0.9700127],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99974245,0.000017613009,0.000010270559,0.00004808408,0.00011655334,0.00006502327],"domain_scores_gemma":[0.99931216,0.0000578769,0.000021743035,0.000109487824,0.00027284946,0.00022586819],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00039106773,0.0011462556,0.00041778965,0.0011845767,0.0013453925,0.003714412,0.0010914047,0.0014594767,0.89765984],"category_scores_gemma":[0.0015682889,0.000604925,0.0006439946,0.00080555683,0.00022682115,0.0043851295,0.0027128987,0.0013847953,0.8171234],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036217785,0.000010314963,0.000058368343,0.00006066668,0.0000015541589,0.000035250352,0.000053258937,0.000014339905,0.00041217223,0.0006174355,0.9765869,0.022113625],"study_design_scores_gemma":[0.000012269172,0.000010031478,0.00033754902,0.000049631326,0.0000029616651,0.00007977062,0.00007588544,0.000056136458,0.00037760747,0.00020332023,0.99878615,0.000008805126],"about_ca_topic_score_codex":0.0055939234,"about_ca_topic_score_gemma":0.010627579,"teacher_disagreement_score":0.10234016,"about_ca_system_score_codex":0.00063399854,"about_ca_system_score_gemma":0.0004878671,"threshold_uncertainty_score":0.14597583},"labels":[],"label_agreement":null},{"id":"W6931126866","doi":"10.5281/zenodo.4214156","title":"Streaming vF~ Le club Vinland (2020) streaming vf et vostfr en Ligne Complet jor","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Club; Web site; Ligne","score_opus":0.040790550581514866,"score_gpt":0.23442133348652408,"score_spread":0.1936307829050092,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6931126866","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006093446,0.0003152342,0.0015413633,0.00067198544,0.0016247804,0.00020925597,0.022085266,0.0126990145,0.96024376],"genre_scores_gemma":[0.0031902825,0.0003809593,0.0013115167,0.0003783773,0.000430319,0.00012388897,0.017991034,0.0070458697,0.9691478],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996984,0.000021973925,0.000009127925,0.000048465357,0.00014727833,0.00007477047],"domain_scores_gemma":[0.99890363,0.00008087538,0.000028096263,0.00013815111,0.00041675233,0.00043249878],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003496922,0.00094467436,0.00043141143,0.0011456939,0.0016230474,0.004442654,0.0011122233,0.0010873331,0.90371674],"category_scores_gemma":[0.001989562,0.0004443219,0.0005224494,0.0011394118,0.00025712335,0.0035872464,0.0032955941,0.001381272,0.78490037],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002159447,0.000006582187,0.000052537285,0.000051300245,0.0000010197894,0.000020692709,0.00004061215,0.000021033109,0.00024937082,0.00059000455,0.983036,0.015909206],"study_design_scores_gemma":[0.000008639633,0.0000068629893,0.0003449992,0.00004549145,0.0000012524574,0.000033250595,0.00007361968,0.00005359651,0.00017778718,0.00022811633,0.99901986,0.000006480865],"about_ca_topic_score_codex":0.010280099,"about_ca_topic_score_gemma":0.03337167,"teacher_disagreement_score":0.09628326,"about_ca_system_score_codex":0.00096929196,"about_ca_system_score_gemma":0.00073398615,"threshold_uncertainty_score":0.13733637},"labels":[],"label_agreement":null},{"id":"W6931225492","doi":"10.5281/zenodo.4119636","title":"HD WATCH The Invisible Man (2020) ONLINE FULL FOR FREE dda","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"nobody; Government (linguistics); Action (physics); Sign (mathematics); Invisible hand; Box office; Free speech; Hacker; Online presence management","score_opus":0.0714903585010433,"score_gpt":0.2313569142442456,"score_spread":0.1598665557432023,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6931225492","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005664499,0.00022045121,0.0015405592,0.00037622722,0.00094008644,0.00014056203,0.004401733,0.007745285,0.98406845],"genre_scores_gemma":[0.0027758954,0.00024186184,0.0011230722,0.0003269318,0.00018311162,0.000072208284,0.0029666529,0.0047088885,0.98760134],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998543,0.00000996613,0.0000040388572,0.000024513325,0.00007416614,0.00003295157],"domain_scores_gemma":[0.99942786,0.0000611224,0.000011993927,0.0000904716,0.00019934498,0.00020912384],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023018583,0.00081512285,0.00035814306,0.00076473824,0.0013478204,0.0029611855,0.00090560486,0.00096691365,0.91459674],"category_scores_gemma":[0.001208155,0.0004580323,0.00052864186,0.0005013231,0.00029741722,0.002693225,0.0028501982,0.0013131766,0.7729042],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003174886,0.000014908674,0.00004550309,0.00007400454,0.0000015620498,0.00002736962,0.00006285232,0.00002295632,0.0005323652,0.00097495253,0.974996,0.023215817],"study_design_scores_gemma":[0.000011461219,0.0000117517375,0.00036824137,0.00004055373,0.0000024851242,0.000056108856,0.0000671669,0.00006280802,0.00038657922,0.00030373118,0.9986827,0.000006436388],"about_ca_topic_score_codex":0.0037594978,"about_ca_topic_score_gemma":0.011279408,"teacher_disagreement_score":0.08540326,"about_ca_system_score_codex":0.0005669481,"about_ca_system_score_gemma":0.0004182816,"threshold_uncertainty_score":0.12181741},"labels":[],"label_agreement":null},{"id":"W6931286617","doi":"10.5281/zenodo.4093082","title":"[HD]~ Streaming vf Antrum (2020) Film COmplet VOSTFR En Gratuit qsg","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cineradiography; Pretext; Filter (signal processing)","score_opus":0.0455357696518164,"score_gpt":0.22431891191379766,"score_spread":0.17878314226198125,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6931286617","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00053289684,0.00038026622,0.0030401372,0.00084911037,0.0015358937,0.00021604542,0.018468805,0.025604809,0.949372],"genre_scores_gemma":[0.004226566,0.0005153015,0.002630549,0.0006665569,0.00042867364,0.00013410917,0.017346604,0.011569692,0.962482],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997907,0.000014887568,0.0000067021983,0.00003584465,0.00009846958,0.000053465752],"domain_scores_gemma":[0.9992055,0.000059741687,0.000019308434,0.000120172284,0.00037290298,0.00022234651],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027375482,0.0012233707,0.00039086462,0.0010881014,0.001463301,0.0038906196,0.0014264717,0.0013122695,0.89204687],"category_scores_gemma":[0.0015348933,0.00059934956,0.00048499074,0.0011399206,0.00028173442,0.0036418529,0.0024270548,0.0013114205,0.77571577],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022920438,0.000004752834,0.000034573895,0.0000484127,0.0000013086395,0.00002189799,0.000032124844,0.000018992561,0.00026763647,0.00065865443,0.98281705,0.016071742],"study_design_scores_gemma":[0.000011414353,0.00000692949,0.00027102628,0.000039576935,0.0000020771765,0.000063678664,0.00005929247,0.0000899399,0.00029948962,0.0003038006,0.9988432,0.000009462136],"about_ca_topic_score_codex":0.012151456,"about_ca_topic_score_gemma":0.02441608,"teacher_disagreement_score":0.10795313,"about_ca_system_score_codex":0.000810524,"about_ca_system_score_gemma":0.00053560844,"threshold_uncertainty_score":0.15398204},"labels":[],"label_agreement":null},{"id":"W6931288459","doi":"10.5281/zenodo.4139943","title":"VOIR!! Monster Hunter (2020) Streaming VF COmplet en Ligne VOSTFR rlt","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Monster; Web site; Hum","score_opus":0.04152447319822689,"score_gpt":0.22555668320299116,"score_spread":0.18403221000476427,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6931288459","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00068159506,0.00034781374,0.0014199261,0.0005382764,0.001266071,0.000216931,0.012709717,0.01706401,0.9657557],"genre_scores_gemma":[0.0026038424,0.00033342023,0.0011651207,0.00039565342,0.00027760945,0.00011812699,0.010232818,0.009070462,0.97580296],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99976426,0.000015705105,0.0000073780675,0.000039282448,0.000097080636,0.00007623726],"domain_scores_gemma":[0.999143,0.00006624923,0.000024834651,0.00012291834,0.0003003396,0.00034250485],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00029389467,0.0012021702,0.0005374464,0.0011892879,0.0016754073,0.004185111,0.0014219934,0.001433855,0.92394465],"category_scores_gemma":[0.0018942875,0.000645704,0.00070929516,0.0009828326,0.00030043814,0.0041874223,0.0038756523,0.0013619758,0.8679416],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003589431,0.000008628571,0.00005439473,0.000068269495,0.0000014474915,0.00003046482,0.00006557179,0.000015246877,0.00017772251,0.0004818902,0.9820839,0.016976504],"study_design_scores_gemma":[0.000011653293,0.000008305494,0.0002957743,0.000050822124,0.0000021416247,0.00005914194,0.000103716004,0.000046972404,0.00019056055,0.00021652853,0.99900466,0.000009660357],"about_ca_topic_score_codex":0.009325458,"about_ca_topic_score_gemma":0.022905199,"teacher_disagreement_score":0.07605535,"about_ca_system_score_codex":0.00084085774,"about_ca_system_score_gemma":0.00055435015,"threshold_uncertainty_score":0.10848373},"labels":[],"label_agreement":null},{"id":"W6931322474","doi":"10.5281/zenodo.4262182","title":"!Regarder*HD`! Alive (2020) [HD] FILM complet STREAMING VF Cinéma 4k xgn","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Live streaming; Video recording; Film festival","score_opus":0.05304526011345217,"score_gpt":0.22667827210924807,"score_spread":0.1736330119957959,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6931322474","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00061289425,0.0002893167,0.0010287595,0.0008589696,0.0016709281,0.00015184122,0.0064414213,0.0053120777,0.9836338],"genre_scores_gemma":[0.0037891103,0.00040371643,0.0011912781,0.00055949215,0.00038060796,0.000075672615,0.0049660997,0.0033686813,0.9852653],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998086,0.000014376804,0.0000053266667,0.000029673685,0.00008630501,0.000055710483],"domain_scores_gemma":[0.99933535,0.000052667085,0.00001724507,0.000080946535,0.00029477352,0.00021906981],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00029611544,0.00060897256,0.00026847824,0.000758145,0.0017786896,0.0035002455,0.000770542,0.0009477324,0.8433352],"category_scores_gemma":[0.0012204569,0.00041544644,0.0003893384,0.0006761421,0.00025270157,0.0031306066,0.0018896599,0.0013937935,0.6530898],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019409403,0.000006417888,0.000052001134,0.000045423938,9.4872183e-7,0.0000215148,0.00007200719,0.000009743851,0.00031282587,0.00071076653,0.9823089,0.01644002],"study_design_scores_gemma":[0.0000060471634,0.000005113708,0.00036663754,0.000031064,0.0000014092285,0.000038603404,0.00008895958,0.000024349692,0.00019681589,0.000113638656,0.99912244,0.000004941598],"about_ca_topic_score_codex":0.010352307,"about_ca_topic_score_gemma":0.031211387,"teacher_disagreement_score":0.15666479,"about_ca_system_score_codex":0.00072813546,"about_ca_system_score_gemma":0.00049326324,"threshold_uncertainty_score":0.2234633},"labels":[],"label_agreement":null},{"id":"W6931335228","doi":"10.5281/zenodo.4175238","title":"[FILMS VOIR] Nulle trace (2020) FILMS STREAMING VF EN GRATUIT ET VOSTFR wtx","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"TRACE (psycholinguistics); Qualitative analysis; Channel (broadcasting)","score_opus":0.03989440359298151,"score_gpt":0.23143226167082806,"score_spread":0.19153785807784654,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6931335228","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015451924,0.00050598447,0.0044313613,0.0015704428,0.002455794,0.00038505642,0.03567509,0.030526744,0.92290425],"genre_scores_gemma":[0.008417847,0.00077323295,0.0043192008,0.0011686698,0.00052936736,0.00025239185,0.03043549,0.024179196,0.9299247],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999726,0.000016422307,0.000011246529,0.000037757818,0.00013179854,0.00007680662],"domain_scores_gemma":[0.99889046,0.00010339751,0.000029078847,0.00018964773,0.0005485125,0.00023896749],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032804153,0.00101174,0.00039107725,0.001018,0.0016877314,0.004192251,0.001237605,0.0011767487,0.8185],"category_scores_gemma":[0.002322305,0.0006804295,0.00054907525,0.00092637335,0.0002600565,0.004137507,0.002223445,0.0017418177,0.6146622],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000044437274,0.000012260569,0.0001049527,0.000082514736,0.0000017614494,0.00003737204,0.00008182421,0.000024554802,0.00052741787,0.0009516151,0.97736245,0.020768903],"study_design_scores_gemma":[0.000015802036,0.000009639088,0.00062154984,0.00006579807,0.0000025919564,0.00006900163,0.00008681164,0.00008565318,0.0006872424,0.0003118935,0.9980323,0.000011673892],"about_ca_topic_score_codex":0.013053431,"about_ca_topic_score_gemma":0.025559133,"teacher_disagreement_score":0.18150002,"about_ca_system_score_codex":0.00085868535,"about_ca_system_score_gemma":0.0007299293,"threshold_uncertainty_score":0.25888777},"labels":[],"label_agreement":null},{"id":"W6931356594","doi":"10.5281/zenodo.4254146","title":"WATCH Falling (2020) FULL MOVIE ONLINE FREE 123MOVIES zna","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Download; Sign (mathematics); The Internet; Action (physics)","score_opus":0.06539722121438998,"score_gpt":0.22588249594251453,"score_spread":0.16048527472812454,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6931356594","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00052953325,0.0002249925,0.0014189862,0.0003545029,0.00095737976,0.00015674939,0.007829051,0.010618928,0.9779099],"genre_scores_gemma":[0.0021872781,0.00027912005,0.0013112547,0.00038481227,0.00019785424,0.000095592426,0.006213556,0.0069077546,0.9824227],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99981326,0.000009502921,0.000006626975,0.00003416681,0.00009441111,0.000042082884],"domain_scores_gemma":[0.9992884,0.00005429534,0.00001639142,0.00008815046,0.00030722676,0.00024558223],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002206217,0.0009989281,0.00049662567,0.0010907935,0.0015475154,0.0033182462,0.0010099462,0.0010117915,0.9349301],"category_scores_gemma":[0.0014520538,0.00048416184,0.0006990083,0.00085209357,0.0002547073,0.0029704054,0.0028699355,0.0013600147,0.8457459],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024066081,0.000011737331,0.000043241558,0.000072634335,0.0000013578708,0.00002274482,0.000039121114,0.000015077442,0.00042106962,0.00051974657,0.97719043,0.021638783],"study_design_scores_gemma":[0.000010869645,0.000011365551,0.0003917411,0.00004546632,0.0000027665317,0.000053927033,0.000056440713,0.000051560346,0.00032054677,0.00024676285,0.99880135,0.0000071593086],"about_ca_topic_score_codex":0.0042665484,"about_ca_topic_score_gemma":0.015258326,"teacher_disagreement_score":0.065069914,"about_ca_system_score_codex":0.000645417,"about_ca_system_score_gemma":0.0004659795,"threshold_uncertainty_score":0.09281427},"labels":[],"label_agreement":null},{"id":"W6931391842","doi":"10.5281/zenodo.4155002","title":"Assistir The Craft: Legacy (2020) Dublado Filme Online Grátis bgn","year":2020,"lang":"pt","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subject (documents); Scapegoat; Geologist; Government (linguistics); Troubleshooting; Context (archaeology)","score_opus":0.067590358878418,"score_gpt":0.23751895159283595,"score_spread":0.16992859271441796,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6931391842","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011037361,0.00039892504,0.00040226502,0.0008543746,0.0008903701,0.00007478679,0.00386272,0.0027138288,0.98969895],"genre_scores_gemma":[0.0036596023,0.00031733923,0.0003702924,0.0003008464,0.00016382885,0.000029914285,0.0019290553,0.0011503376,0.99207884],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998441,0.000013188245,0.000004461472,0.000027994542,0.00006751077,0.00004287237],"domain_scores_gemma":[0.9994783,0.000041148578,0.000015820768,0.00006151501,0.00014841379,0.00025472086],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023595555,0.00047187955,0.00019943873,0.00064488203,0.0013554159,0.0037624189,0.00057494064,0.0007907418,0.8143991],"category_scores_gemma":[0.00097357534,0.0002990054,0.00021686494,0.00057823915,0.0002715797,0.0022633958,0.0024951417,0.00086280913,0.60368854],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024197261,0.0000101051355,0.000107619046,0.00005140717,0.0000010838141,0.000052000687,0.00015268933,0.000013317527,0.00032169707,0.0008093558,0.9679451,0.030511467],"study_design_scores_gemma":[0.000004539495,0.00000535146,0.0005573114,0.000029786228,8.6978196e-7,0.000038405742,0.00018250976,0.000017052704,0.00013281578,0.00008393587,0.99894446,0.0000028663537],"about_ca_topic_score_codex":0.008463887,"about_ca_topic_score_gemma":0.04478727,"teacher_disagreement_score":0.18560088,"about_ca_system_score_codex":0.0008007963,"about_ca_system_score_gemma":0.00042513662,"threshold_uncertainty_score":0.26473707},"labels":[],"label_agreement":null},{"id":"W6931422964","doi":"10.5281/zenodo.4148345","title":"cb01-(ITA) Welcome to Sudden Death (2020) - Streaming ALTADEFINIZIONE ybf","year":2020,"lang":"es","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; Diafiltration; TSG101; Dysgeusia; Hyporeflexia","score_opus":0.06354371266256935,"score_gpt":0.23971908148595933,"score_spread":0.17617536882338997,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6931422964","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007636672,0.00056574895,0.0005789265,0.002313905,0.0065628784,0.00025327486,0.009846962,0.0025783482,0.97653633],"genre_scores_gemma":[0.0027702348,0.0004360704,0.00044125319,0.00074079324,0.000895236,0.000121887766,0.0049147536,0.0010949655,0.9885848],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99972945,0.000017723969,0.000006297728,0.000032655003,0.000110500274,0.00010341234],"domain_scores_gemma":[0.99896896,0.000066198605,0.000020313482,0.00005893022,0.00033471108,0.0005507887],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00063290464,0.0007528522,0.00033701077,0.0009189134,0.0018292606,0.0041630506,0.0007302594,0.0017491217,0.867943],"category_scores_gemma":[0.0016211569,0.0002952182,0.0005235526,0.00052773266,0.0002842414,0.0021834746,0.0034852275,0.001793249,0.71963626],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002648346,0.000009061912,0.000035841826,0.000036331683,6.1910924e-7,0.000019312454,0.00002751059,0.000007357397,0.00012832649,0.00049291376,0.98817897,0.011037297],"study_design_scores_gemma":[0.00001179266,0.000012523699,0.00043969785,0.000042216605,0.0000010417895,0.000023734661,0.00006034431,0.000016962736,0.00009076387,0.0001453335,0.99915147,0.000003977543],"about_ca_topic_score_codex":0.0057112933,"about_ca_topic_score_gemma":0.01513684,"teacher_disagreement_score":0.13205701,"about_ca_system_score_codex":0.00097638665,"about_ca_system_score_gemma":0.00091373135,"threshold_uncertainty_score":0.18836331},"labels":[],"label_agreement":null},{"id":"W6931445648","doi":"10.5281/zenodo.4149644","title":"VOIR!! 1917 (2019) Streaming VF COmplet en Ligne VOSTFR gyo","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film festival; Documentary film; Video recording; Video streaming","score_opus":0.04925519280990629,"score_gpt":0.22882814796606926,"score_spread":0.17957295515616298,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6931445648","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005253283,0.00023365543,0.0004584648,0.00074815244,0.0020501048,0.00013733248,0.012819248,0.0053307484,0.977697],"genre_scores_gemma":[0.0017878329,0.00021873476,0.00040163012,0.0003089474,0.00023756457,0.00005836797,0.00821318,0.0032780175,0.98549575],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997725,0.000013206015,0.000006385104,0.000028803383,0.00010242486,0.00007672145],"domain_scores_gemma":[0.99932444,0.00003963042,0.000018396475,0.00007762856,0.00026220464,0.00027775633],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00028051648,0.000750614,0.00043174654,0.0010900067,0.0024013927,0.0044394326,0.00097576965,0.0012362702,0.9201646],"category_scores_gemma":[0.0015028199,0.0004434938,0.00058451004,0.0008826955,0.00027191418,0.00360988,0.0030809653,0.0016298728,0.84328973],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018847319,0.000006884224,0.000050489685,0.00003437546,6.7696743e-7,0.000019502166,0.000047756104,0.000008340675,0.000094281,0.00044629053,0.98679763,0.012475003],"study_design_scores_gemma":[0.0000065424097,0.000006310776,0.00035142232,0.000040261188,8.844062e-7,0.000025943187,0.000110080204,0.000015312293,0.00008446937,0.0001359287,0.99921775,0.0000051274055],"about_ca_topic_score_codex":0.01259792,"about_ca_topic_score_gemma":0.038478196,"teacher_disagreement_score":0.079835415,"about_ca_system_score_codex":0.0010481187,"about_ca_system_score_gemma":0.00068675366,"threshold_uncertainty_score":0.11387545},"labels":[],"label_agreement":null},{"id":"W6931523403","doi":"10.5281/zenodo.4041531","title":"After: Chapitre 2 — Film Streaming VF (2020) En Français","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Laziness; Headline; Event (particle physics)","score_opus":0.026200355320434392,"score_gpt":0.20788323232142009,"score_spread":0.1816828770009857,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6931523403","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00055469817,0.00211862,0.00081044703,0.0050502545,0.011866007,0.0001870503,0.012144116,0.0039238436,0.96334493],"genre_scores_gemma":[0.002675497,0.00090236176,0.00069963443,0.0011963417,0.0011083817,0.00007066845,0.0052937823,0.0027752253,0.98527807],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992188,0.0000690809,0.000025145677,0.00011850307,0.00038657585,0.00018190537],"domain_scores_gemma":[0.99800545,0.00012756576,0.000048346614,0.00017513314,0.0010490807,0.00059450004],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0006184646,0.0009317225,0.0005140238,0.0016210875,0.0031912266,0.006471539,0.0011419272,0.0015021082,0.8297142],"category_scores_gemma":[0.0029473577,0.0004389219,0.00060515245,0.001840914,0.0006379043,0.0033666429,0.0024831092,0.0029654119,0.6291298],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000007901326,0.000004385144,0.000027101363,0.000042552143,7.577583e-7,0.000022894053,0.000049146078,0.000014000913,0.0001259155,0.00160024,0.9910188,0.007086416],"study_design_scores_gemma":[0.0000023183736,0.000002240638,0.0002037783,0.0000512616,4.6718435e-7,0.000014595377,0.00009971639,0.000010871902,0.00008118869,0.00018659364,0.9993432,0.0000036750926],"about_ca_topic_score_codex":0.06825551,"about_ca_topic_score_gemma":0.14179891,"teacher_disagreement_score":0.17028582,"about_ca_system_score_codex":0.0052217105,"about_ca_system_score_gemma":0.0032005475,"threshold_uncertainty_score":0.24289197},"labels":[],"label_agreement":null},{"id":"W6931679744","doi":"10.5354/rcm.v0i24.19891","title":"Film Theories in Latin America and Research Policies","year":2011,"lang":"en","type":"article","venue":"Americanae (AECID Library)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Isolation (microbiology); Latin Americans; Scholarship; Humanism; Point (geometry); Order (exchange)","score_opus":0.06497129938490326,"score_gpt":0.2558822113624479,"score_spread":0.19091091197754462,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6931679744","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":"incentives","model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":"incentives","domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10420706,0.028779505,0.007508739,0.24337126,0.0005108292,0.00012773191,0.00022319434,0.000067096305,0.6152045],"genre_scores_gemma":[0.9449426,0.01216883,0.0016671529,0.007652578,0.0006022313,0.00019358215,0.00010332852,0.000049931732,0.032619778],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9935173,0.0038419084,0.0002598891,0.00070730894,0.0006582689,0.0010153773],"domain_scores_gemma":[0.98303556,0.009942386,0.0022237045,0.001089234,0.0015907794,0.0021182706],"candidate_categories":["metaresearch"],"consensus_categories":[],"category_scores_codex":[0.011211676,0.00028795286,0.0004620302,0.003716172,0.0057274573,0.012057589,0.0010768259,0.002414671,0.022507153],"category_scores_gemma":[0.020329215,0.00027641814,0.0003083748,0.0055292044,0.016037174,0.008481617,0.0060151056,0.0029910281,0.00071473466],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012828204,0.000020008127,0.0024640358,0.000056347715,0.000007347379,0.00006463305,0.0037842917,0.00023269506,0.000058350957,0.98427504,0.002051178,0.006973194],"study_design_scores_gemma":[0.00006959522,0.000039120252,0.011503385,0.0010946192,0.000023395329,0.00009961917,0.030196324,0.0010607658,0.00022261994,0.67298514,0.28267977,0.000025680263],"about_ca_topic_score_codex":0.022478297,"about_ca_topic_score_gemma":0.01314245,"teacher_disagreement_score":0.9887883,"about_ca_system_score_codex":0.012574525,"about_ca_system_score_gemma":0.009833699,"threshold_uncertainty_score":0.09123498},"labels":[],"label_agreement":null},{"id":"W6936414261","doi":"10.58079/mt4k","title":"L’histoire aux limites du cinema (1-2) : exposer des films","year":2013,"lang":"fr","type":"article","venue":"OpenEdition (OpenEdition)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Stability (learning theory); Action (physics); Set (abstract data type); Work (physics); Relation (database)","score_opus":0.028289747040019117,"score_gpt":0.21345214861299816,"score_spread":0.18516240157297903,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6936414261","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20006855,0.0450451,0.011332809,0.044952326,0.0044835936,0.0002526322,0.0016775356,0.00025748572,0.6919299],"genre_scores_gemma":[0.70266074,0.013979414,0.003591517,0.001936498,0.0013523358,0.00012420813,0.00024379634,0.00021030691,0.27590117],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910825,0.0003134796,0.000019667674,0.00011336005,0.0002802669,0.0001650128],"domain_scores_gemma":[0.9987196,0.0005907251,0.000109440014,0.00011590453,0.00029922504,0.00016519293],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014104645,0.00041155863,0.00020094897,0.0014902835,0.004500563,0.009685832,0.00065401907,0.0010901983,0.014883288],"category_scores_gemma":[0.0040902547,0.00027818157,0.00026362258,0.0017672401,0.005159768,0.002383544,0.0018570651,0.0022056692,0.0012230031],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001808077,0.000061261584,0.005713174,0.0007620555,0.00002797595,0.0018376252,0.26102147,0.0005127049,0.007476143,0.4527118,0.16181847,0.1078765],"study_design_scores_gemma":[0.000007096263,0.000022897999,0.009100819,0.00044500656,0.000010680767,0.00048131944,0.029259294,0.00013062144,0.0017288832,0.003863131,0.9549273,0.000022781185],"about_ca_topic_score_codex":0.17417982,"about_ca_topic_score_gemma":0.2560285,"teacher_disagreement_score":0.17417982,"about_ca_system_score_codex":0.009498334,"about_ca_system_score_gemma":0.0038982283,"threshold_uncertainty_score":0.34633195},"labels":[],"label_agreement":null},{"id":"W6936502520","doi":"10.58079/ncr6","title":"Monster(s) on screen(s)","year":2022,"lang":"en","type":"article","venue":"Industrias Culturais (Universidade de Coimbra)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Identification (biology); Process (computing); Work (physics)","score_opus":0.04873210507477086,"score_gpt":0.22616278937280992,"score_spread":0.17743068429803907,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6936502520","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011042228,0.0034009703,0.001349349,0.013530455,0.042853605,0.00019699501,0.0028894905,0.0047022724,0.92997277],"genre_scores_gemma":[0.002561362,0.0005156139,0.00016936827,0.002053879,0.0017792673,0.000042673837,0.0004014799,0.00056070625,0.99191564],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99924624,0.00011375868,0.0000371126,0.00015862027,0.0002635152,0.00018079484],"domain_scores_gemma":[0.9981889,0.00021777717,0.000103715945,0.00024752432,0.00059568405,0.0006463388],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0008548334,0.001012222,0.0010636805,0.0007943367,0.001923398,0.005371682,0.0012708077,0.0026168458,0.83211964],"category_scores_gemma":[0.004493254,0.00046761968,0.00057113793,0.00079522363,0.0005852685,0.0036826285,0.003973134,0.0023488184,0.67832905],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033177206,0.0000069496064,0.00004458214,0.00004552774,0.0000012646943,0.000054552274,0.00004944469,0.000012228992,0.00018724531,0.00065566605,0.9779367,0.020972647],"study_design_scores_gemma":[0.0000018865258,0.000004021396,0.000086847125,0.000015302596,5.2195475e-7,0.000030091776,0.000038557406,0.000012042398,0.000050778737,0.00004440144,0.9997131,0.0000023866394],"about_ca_topic_score_codex":0.0050631897,"about_ca_topic_score_gemma":0.010067921,"teacher_disagreement_score":0.83211964,"about_ca_system_score_codex":0.0012762005,"about_ca_system_score_gemma":0.0013395502,"threshold_uncertainty_score":0.23946095},"labels":[],"label_agreement":null},{"id":"W6943823710","doi":"10.15468/dl.tqtbuj","title":"Occurrence Download","year":2016,"lang":"en","type":"dataset","venue":"Global Biodiversity Information Facility","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Download; Matching (statistics); Range (aeronautics); Data set","score_opus":0.024069920541514106,"score_gpt":0.20381410094617666,"score_spread":0.17974418040466256,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6943823710","genre_codex":"dataset","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":"dataset","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00006303058,0.000035109817,0.00004065995,0.00004020476,0.000011720433,0.0000053394397,0.9989103,0.0002816439,0.0006120674],"genre_scores_gemma":[0.00018572081,0.000034759592,0.00014866494,0.000036320136,0.0000041200774,0.00003588994,0.99899596,0.00007816509,0.00048043],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99898094,0.00016157188,0.00012516184,0.0003343941,0.00023665038,0.00016130875],"domain_scores_gemma":[0.99786216,0.0005326101,0.00023600871,0.0005706639,0.0005447261,0.00025392993],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0009757692,0.001851165,0.0014329643,0.0046588187,0.0008407904,0.002414819,0.002792712,0.0020047037,0.10668112],"category_scores_gemma":[0.005506422,0.0007001117,0.0010594826,0.009280079,0.00041182357,0.0021048037,0.002179121,0.001956177,0.18227577],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029789377,0.000013994632,0.00049130816,0.0003878579,0.000013404286,0.000014615063,0.000017949356,0.0001423749,0.000078973404,0.00038102028,0.9970208,0.0014078243],"study_design_scores_gemma":[0.00008638827,0.000009448305,0.0024590644,0.00017702222,0.000013033452,0.000041176118,0.00006891409,0.0002222108,0.00017164572,0.0008707421,0.9958643,0.000016151609],"about_ca_topic_score_codex":0.019341363,"about_ca_topic_score_gemma":0.033333544,"teacher_disagreement_score":0.8933189,"about_ca_system_score_codex":0.0015953546,"about_ca_system_score_gemma":0.0020433841,"threshold_uncertainty_score":0.35688388},"labels":[],"label_agreement":null},{"id":"W6948456629","doi":"10.48633/ksttx.2010.2.87830","title":"Transnational System Schlock","year":2022,"lang":"en","type":"article","venue":"Open MIND","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; German; Hollywood; Criticism; Assertion; Auteur theory; Entertainment; Feature film; Feature (linguistics)","score_opus":0.061797042219027994,"score_gpt":0.24980614670436818,"score_spread":0.1880091044853402,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6948456629","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009645493,0.0010454817,0.008228874,0.0030999812,0.00036896908,0.000044964596,0.00012517511,0.000116789124,0.9773242],"genre_scores_gemma":[0.54774976,0.0026119703,0.0055864733,0.0027919093,0.000269788,0.00015348956,0.00040565614,0.000289026,0.44014198],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99830353,0.00039256172,0.00008980125,0.00060459744,0.00030140055,0.00030804324],"domain_scores_gemma":[0.999549,0.00007969372,0.000039343187,0.00016970043,0.00011155877,0.00005075065],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00097215857,0.00045089523,0.00028485805,0.0014278984,0.0044521717,0.0081517175,0.0007738272,0.002228166,0.053887874],"category_scores_gemma":[0.0019025219,0.000305236,0.000413564,0.0015117127,0.007409166,0.008403936,0.0058726026,0.0026417498,0.007837446],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000054064,0.000004203812,0.00016779774,0.000017442571,0.000002929245,0.00009143351,0.0032305326,0.00005579531,0.00012672115,0.9828873,0.0048501566,0.008560247],"study_design_scores_gemma":[0.000008085731,0.000015266618,0.0006521623,0.00011896975,0.000010390208,0.00025010214,0.0056398353,0.0003697934,0.00031926102,0.13364893,0.8589543,0.000012896783],"about_ca_topic_score_codex":0.013894268,"about_ca_topic_score_gemma":0.012520412,"teacher_disagreement_score":0.053887874,"about_ca_system_score_codex":0.0051746536,"about_ca_system_score_gemma":0.0028794224,"threshold_uncertainty_score":0.18027288},"labels":[],"label_agreement":null},{"id":"W6949675014","doi":"10.5281/zenodo.4170834","title":"(DEUTSCH.!) — Welcome to Sudden Death (2020) Ganzer Filme Online Stream Anschauen..! uby","year":2020,"lang":"de","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sudden death; American film; Film festival; Sudden stop","score_opus":0.06262426057739766,"score_gpt":0.24210160926740404,"score_spread":0.17947734869000637,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949675014","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008657503,0.001111597,0.00047798376,0.0034623772,0.0050720596,0.0001257045,0.00875078,0.00208485,0.978049],"genre_scores_gemma":[0.004460474,0.0011421143,0.00045758393,0.0010729381,0.0006442201,0.00007364844,0.0044760043,0.0010099494,0.98666316],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998066,0.000020015357,0.00000818985,0.000026664846,0.000078927005,0.000059623042],"domain_scores_gemma":[0.9993967,0.000043375076,0.000024978526,0.000037464753,0.00019436413,0.00030313144],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032870396,0.000613745,0.00025988274,0.0008413707,0.0016177555,0.0041770046,0.0004986438,0.0010550226,0.8261464],"category_scores_gemma":[0.0014003229,0.00034323602,0.00034577085,0.0005609377,0.00024191919,0.003351013,0.003384764,0.0014612183,0.71044743],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001105455,0.0000043870887,0.000034949535,0.000029491961,6.236033e-7,0.000016965358,0.00003758821,0.0000045127736,0.00006374013,0.0005109577,0.9862941,0.012991627],"study_design_scores_gemma":[0.0000048278966,0.0000055548194,0.00032098126,0.000038940078,7.5809714e-7,0.000033999106,0.00012973751,0.00001033873,0.0000686776,0.00012222865,0.99926096,0.0000030271674],"about_ca_topic_score_codex":0.0040913345,"about_ca_topic_score_gemma":0.012225821,"teacher_disagreement_score":0.17385358,"about_ca_system_score_codex":0.0006487886,"about_ca_system_score_gemma":0.0004352344,"threshold_uncertainty_score":0.24798101},"labels":[],"label_agreement":null},{"id":"W6949786086","doi":"10.5281/zenodo.4254198","title":"Chef en pandémie (2020) Film ▶ HD !Complet En Francais ~ Streaming Vf Entier 4k. igx","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Tourist destinations; Video recording; Qualitative analysis","score_opus":0.03858063739320918,"score_gpt":0.2219880304179079,"score_spread":0.18340739302469872,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949786086","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016593946,0.00070382765,0.0011044878,0.0029391868,0.0032261307,0.00019064984,0.01685659,0.0056879977,0.96763176],"genre_scores_gemma":[0.0051866495,0.0006347272,0.0010081568,0.0006852311,0.0002592071,0.000059130896,0.006723109,0.0022694787,0.9831744],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99977857,0.00001307156,0.0000057121756,0.00002735169,0.00010210122,0.0000731572],"domain_scores_gemma":[0.9991474,0.000052177093,0.000018896802,0.00006882308,0.00042524483,0.00028744238],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00038773887,0.0006469067,0.00025089932,0.00077205617,0.0023712635,0.0037069342,0.0006824785,0.0010852711,0.7827306],"category_scores_gemma":[0.0013207494,0.00032615117,0.00040178906,0.00078523107,0.00034958287,0.0025860674,0.0018233436,0.0013875834,0.49399477],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018550842,0.000005691564,0.00007878512,0.000039545135,0.000001167866,0.000029782217,0.00007205108,0.000014019854,0.00024755503,0.0006734959,0.98581684,0.013002633],"study_design_scores_gemma":[0.0000051073694,0.0000051346155,0.00057017506,0.000037483576,0.0000013799678,0.00003613558,0.00013617853,0.000024145382,0.00016849709,0.00009177291,0.99891806,0.0000060268308],"about_ca_topic_score_codex":0.07043678,"about_ca_topic_score_gemma":0.19957638,"teacher_disagreement_score":0.21726942,"about_ca_system_score_codex":0.0018260838,"about_ca_system_score_gemma":0.0014077473,"threshold_uncertainty_score":0.30990845},"labels":[],"label_agreement":null},{"id":"W6949793771","doi":"10.5281/zenodo.4142680","title":"[HD]~ Streaming vf 1917 (2019) Film COmplet VOSTFR En Gratuit xdy","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); Field (mathematics); Subject (documents); Order (exchange)","score_opus":0.055363999681934624,"score_gpt":0.2291493097486997,"score_spread":0.1737853100667651,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949793771","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0002130174,0.00016898585,0.00040947535,0.0004693664,0.0011839521,0.0000817881,0.0057140524,0.0028305436,0.98892874],"genre_scores_gemma":[0.0014059081,0.00020987332,0.00038741794,0.00025738653,0.00020019931,0.000037772425,0.004298923,0.0015235998,0.9916789],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998068,0.000012710727,0.000005917207,0.000028598126,0.00009830648,0.00004755351],"domain_scores_gemma":[0.99932706,0.00004104954,0.000017435792,0.000078181,0.00034972045,0.00018655877],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024929075,0.0007001701,0.00032363698,0.0010159266,0.0020148158,0.004479262,0.0009838261,0.0010949377,0.9201155],"category_scores_gemma":[0.0014287062,0.00043708645,0.00039823566,0.0010786894,0.00027795622,0.0029976873,0.0020643736,0.001434077,0.8219808],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001069278,0.0000037421885,0.00002848353,0.000026752978,6.791752e-7,0.00001662265,0.00003039943,0.000008333869,0.000121073885,0.0007045709,0.98694265,0.012105969],"study_design_scores_gemma":[0.0000045503757,0.00000415284,0.00023041037,0.000030846208,7.721998e-7,0.00003296577,0.000060021302,0.000017008548,0.000078796205,0.00013153726,0.999405,0.0000038694516],"about_ca_topic_score_codex":0.015565393,"about_ca_topic_score_gemma":0.03677683,"teacher_disagreement_score":0.07988453,"about_ca_system_score_codex":0.0010414897,"about_ca_system_score_gemma":0.00054748973,"threshold_uncertainty_score":0.113945484},"labels":[],"label_agreement":null},{"id":"W6949797731","doi":"10.5281/zenodo.4099396","title":"{streaming Vf} Lost Girls &amp; Love Hotels (2020) Streaming vF Film Complet en Ligne lrr","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Love story; Film festival; Family life; Private life","score_opus":0.04702398720816866,"score_gpt":0.23606547708318779,"score_spread":0.18904148987501912,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949797731","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00045340302,0.00023648093,0.00053941796,0.00036136256,0.0009551247,0.00015605248,0.019888043,0.0068060257,0.970604],"genre_scores_gemma":[0.0029721141,0.00038974633,0.00083211635,0.000442027,0.00039824526,0.00011917271,0.016616136,0.006744438,0.9714859],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998054,0.0000126036175,0.000005874287,0.000030036375,0.00008424978,0.00006193975],"domain_scores_gemma":[0.9992053,0.00006542837,0.000022047554,0.000079373654,0.00022999992,0.00039786304],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00022852389,0.0012324495,0.0005313815,0.0011308149,0.001595009,0.0046042213,0.0010933711,0.0011264988,0.93021065],"category_scores_gemma":[0.0014141486,0.00056057743,0.0007069922,0.0011145858,0.00021695263,0.0035626208,0.003226483,0.0015080593,0.8640668],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002287515,0.000008093723,0.000048148326,0.00005500001,0.0000011287518,0.000021491634,0.000033897715,0.000014767463,0.00012365564,0.00035060116,0.9867287,0.012591765],"study_design_scores_gemma":[0.000015330465,0.000010045809,0.0005126207,0.00006554277,0.0000020431519,0.00004930777,0.0000827406,0.000041432464,0.00015516601,0.00022061907,0.99883646,0.000008739594],"about_ca_topic_score_codex":0.007715226,"about_ca_topic_score_gemma":0.025275433,"teacher_disagreement_score":0.06978935,"about_ca_system_score_codex":0.00074670505,"about_ca_system_score_gemma":0.00052133657,"threshold_uncertainty_score":0.099546015},"labels":[],"label_agreement":null},{"id":"W6949808711","doi":"10.5281/zenodo.4158577","title":"REGARDER[[Le club Vinland (2020)]EN STREAMING FILM FR COMPLET mui","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Club; Video recording; Web site","score_opus":0.043549981510339855,"score_gpt":0.21938402943523,"score_spread":0.17583404792489016,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949808711","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005515036,0.00020297975,0.00051269535,0.00089411443,0.0012810377,0.0001242454,0.0060925297,0.003715503,0.9866253],"genre_scores_gemma":[0.002521032,0.00024124305,0.00047863432,0.00037863976,0.00022375686,0.00006071982,0.0039083743,0.002179886,0.99000776],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99974126,0.000016619595,0.0000071034065,0.00004176429,0.0001242712,0.00006894586],"domain_scores_gemma":[0.99917525,0.000052365136,0.000026266263,0.000058143356,0.00030686375,0.00038108276],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00028921134,0.00065016956,0.00031763382,0.0007922764,0.0019255053,0.0038239618,0.0007985408,0.0010207414,0.89750963],"category_scores_gemma":[0.001605936,0.00036708318,0.00037354644,0.000799829,0.0002292209,0.0030397621,0.0022400261,0.0013677967,0.76159215],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014924226,0.00000775393,0.000058535512,0.000030136469,7.2094105e-7,0.000023048176,0.000058969857,0.0000077271325,0.00014016517,0.00042852477,0.9870134,0.012216252],"study_design_scores_gemma":[0.0000068366126,0.000005713135,0.00040914505,0.00002987212,9.699505e-7,0.000026085607,0.00010437596,0.000024335222,0.00012303093,0.000076388074,0.9991887,0.000004553137],"about_ca_topic_score_codex":0.018549599,"about_ca_topic_score_gemma":0.056585174,"teacher_disagreement_score":0.102490366,"about_ca_system_score_codex":0.0009795191,"about_ca_system_score_gemma":0.0006655669,"threshold_uncertainty_score":0.14619005},"labels":[],"label_agreement":null},{"id":"W6949832910","doi":"10.5281/zenodo.4264108","title":"[!REGARDER!]~VF Suspect numéro un (2020) Film Complet Streaming VF En Francais bxl","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Suspect; Event (particle physics); Filter (signal processing); Derogation","score_opus":0.03689447359856808,"score_gpt":0.22062823090404318,"score_spread":0.1837337573054751,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949832910","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012962053,0.00027955187,0.00063225254,0.0013208798,0.0018650749,0.0001972615,0.01125474,0.0057199965,0.9774341],"genre_scores_gemma":[0.0041297306,0.00029332656,0.0006965635,0.00044167353,0.00018404005,0.000061145554,0.0055225915,0.0023495806,0.9863214],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997925,0.000011537796,0.000007128813,0.000032540578,0.00009388525,0.00006234431],"domain_scores_gemma":[0.99903464,0.000046831483,0.000024715882,0.00008977913,0.0004897917,0.00031416817],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00026693888,0.0007548915,0.00029309886,0.00086398073,0.0023081792,0.0033161463,0.00075948023,0.0010737379,0.88599336],"category_scores_gemma":[0.001456606,0.00039927778,0.0003995788,0.00075498206,0.00026712855,0.0031466295,0.0018742515,0.0011092161,0.7374304],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018452958,0.000009758184,0.00010548663,0.000043005024,0.0000010744944,0.000031727188,0.00007715743,0.000009699936,0.0002758945,0.00045253188,0.98434895,0.014626093],"study_design_scores_gemma":[0.000007756173,0.000009650125,0.00083177385,0.00004126229,0.0000016936278,0.00005359553,0.00018359437,0.000035310477,0.00026414127,0.00009696219,0.99846727,0.0000069358057],"about_ca_topic_score_codex":0.031867526,"about_ca_topic_score_gemma":0.08876795,"teacher_disagreement_score":0.11400664,"about_ca_system_score_codex":0.0012530616,"about_ca_system_score_gemma":0.00065552135,"threshold_uncertainty_score":0.16261655},"labels":[],"label_agreement":null},{"id":"W6949852933","doi":"10.5281/zenodo.4254668","title":"STREAMING VF~ Nadia (2020) streaming vF VOSTFR en Ligne Film FR swq","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Alien; Live streaming; Social memory","score_opus":0.031772543991627815,"score_gpt":0.21995246672948263,"score_spread":0.1881799227378548,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949852933","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00059708784,0.00034160205,0.0020949414,0.0008662137,0.0017475035,0.00025773564,0.029630415,0.020202622,0.94426197],"genre_scores_gemma":[0.0033297192,0.00044150566,0.002107457,0.00052502344,0.0003270395,0.0001703507,0.023721471,0.009862406,0.95951504],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997055,0.000018108012,0.000010488673,0.00004984567,0.00013874848,0.0000773757],"domain_scores_gemma":[0.99891603,0.00008138154,0.00002695089,0.00015752034,0.00045820337,0.00036000792],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00035622358,0.0010083454,0.0004791465,0.0011077273,0.001601465,0.0046171197,0.0013225494,0.0012509711,0.9089153],"category_scores_gemma":[0.0023205976,0.00055379537,0.0007063958,0.001125073,0.00026454363,0.0037954217,0.0033243403,0.0014322528,0.83430195],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021285441,0.0000058969194,0.00004633821,0.000051022613,0.000001041463,0.00001853434,0.000034921886,0.000017492019,0.00023188558,0.00046872898,0.985543,0.0135598965],"study_design_scores_gemma":[0.0000097306365,0.0000064669166,0.00034112643,0.000043483396,0.0000015981726,0.000035792727,0.000074992626,0.000051485276,0.00021162882,0.0002478152,0.99896824,0.000007552679],"about_ca_topic_score_codex":0.011295719,"about_ca_topic_score_gemma":0.03148037,"teacher_disagreement_score":0.09108472,"about_ca_system_score_codex":0.001029596,"about_ca_system_score_gemma":0.0008624192,"threshold_uncertainty_score":0.1299212},"labels":[],"label_agreement":null},{"id":"W6949882912","doi":"10.5281/zenodo.4261939","title":"(ReGarder) Tales from the Hood 3 (2020) FILM Streaming VF Complet [HD] français xlx","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Oscillograph; Staring; Fusible alloy","score_opus":0.04723343208228167,"score_gpt":0.21444777031506637,"score_spread":0.1672143382327847,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949882912","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00080228184,0.00035110855,0.00086464715,0.0006841722,0.0017431856,0.0001879112,0.011402866,0.006010911,0.9779529],"genre_scores_gemma":[0.0030319826,0.00036309543,0.00082212826,0.000406924,0.0002556695,0.00007233179,0.0066770418,0.0044537005,0.98391706],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999796,0.00001170999,0.000006728311,0.000032178574,0.00009284808,0.00006060218],"domain_scores_gemma":[0.99932325,0.000045398458,0.000017028287,0.00007246066,0.00027463192,0.00026732357],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00030760813,0.00085726,0.00037010777,0.0009796139,0.001628562,0.0041191713,0.0008079235,0.001049592,0.88479584],"category_scores_gemma":[0.0012172955,0.00042879194,0.00055143406,0.0009172168,0.00021758841,0.0026453766,0.002010323,0.0014348316,0.7286187],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002210887,0.000007836828,0.000044158467,0.000043217315,0.0000010729356,0.000027850476,0.000052693893,0.000013444896,0.00027739318,0.0004368752,0.98554987,0.01352345],"study_design_scores_gemma":[0.00000976392,0.000008769634,0.00056474324,0.000046909565,0.0000015988962,0.00005731,0.000109645785,0.000028098419,0.0001927111,0.00011989831,0.99885356,0.000006870117],"about_ca_topic_score_codex":0.013743697,"about_ca_topic_score_gemma":0.040446244,"teacher_disagreement_score":0.115204155,"about_ca_system_score_codex":0.0009828119,"about_ca_system_score_gemma":0.00055047544,"threshold_uncertainty_score":0.16432476},"labels":[],"label_agreement":null},{"id":"W6949883600","doi":"10.5281/zenodo.4076202","title":"ReGaRder Antrum (2020) Streaming VF Film Complet Gratuit en Vostfr sth","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Entertainment; Keratocyst; Cineradiography; Antrum","score_opus":0.043428057464946816,"score_gpt":0.22424263320483365,"score_spread":0.18081457573988682,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949883600","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008164803,0.0003265608,0.0016275494,0.0007532117,0.0014629392,0.00021725277,0.009291135,0.013035459,0.97246945],"genre_scores_gemma":[0.0028757171,0.00031755774,0.0014162641,0.0003955599,0.00027530862,0.00008235199,0.0059626657,0.0062388433,0.9824356],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99973744,0.000014684433,0.000008744909,0.000042801454,0.00012895298,0.00006745672],"domain_scores_gemma":[0.9989918,0.00007514925,0.00002815937,0.00011277344,0.00042976523,0.00036233893],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00033305486,0.00095062493,0.0004124781,0.0010504959,0.0013497833,0.004320967,0.0010446376,0.0013541753,0.9040166],"category_scores_gemma":[0.0018895314,0.0005084487,0.00059479306,0.0008529408,0.00023611578,0.0033095998,0.002283241,0.0012335631,0.81075895],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032010914,0.000010788193,0.00005030983,0.00006461512,0.0000011743806,0.00003581068,0.000048933533,0.000016771646,0.00050707074,0.0005488771,0.9784912,0.020192415],"study_design_scores_gemma":[0.00001399585,0.000012826288,0.00044399514,0.00004365813,0.0000022913584,0.000074848016,0.000085438616,0.00006444468,0.00043723607,0.00022309356,0.9985902,0.000007938401],"about_ca_topic_score_codex":0.0064228633,"about_ca_topic_score_gemma":0.018765671,"teacher_disagreement_score":0.095983386,"about_ca_system_score_codex":0.0007693945,"about_ca_system_score_gemma":0.00060938427,"threshold_uncertainty_score":0.13690859},"labels":[],"label_agreement":null},{"id":"W6949907362","doi":"10.5281/zenodo.4254324","title":"TÉLÉCHARGER { Scoppa et moi (2020) } FILM COMPLET Regarder film en ligne xjj","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Field (mathematics); Fusible alloy; Filter (signal processing)","score_opus":0.046544898430515715,"score_gpt":0.23792510433565162,"score_spread":0.1913802059051359,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949907362","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006041607,0.00015120507,0.0011531368,0.00045557044,0.0008728744,0.00015608787,0.008398768,0.011784367,0.97642386],"genre_scores_gemma":[0.0023495378,0.00025008997,0.00083241734,0.00026627624,0.00020337562,0.000080828446,0.0050649066,0.005755485,0.98519707],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997465,0.000014499043,0.000009545729,0.00004609522,0.00012620671,0.000057099252],"domain_scores_gemma":[0.99879444,0.00009957755,0.000035413486,0.00015592147,0.0004632984,0.00045140224],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027727414,0.0009907519,0.0004877641,0.0010229562,0.0015844166,0.0047010463,0.0009262026,0.0010579554,0.94458926],"category_scores_gemma":[0.002002748,0.0005536278,0.00051734544,0.0009287117,0.00025500084,0.0034379098,0.0025066708,0.0013848243,0.8984039],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028533772,0.000014015492,0.0000626104,0.00007034362,0.0000014276427,0.00003386512,0.000048645696,0.0000207348,0.00042682575,0.00058493676,0.9772843,0.021423677],"study_design_scores_gemma":[0.000014367206,0.0000099633635,0.0005528534,0.000045509863,0.0000026801658,0.000057155747,0.00007347375,0.00007710858,0.00044423123,0.00021059306,0.99850297,0.000009180072],"about_ca_topic_score_codex":0.006941787,"about_ca_topic_score_gemma":0.017321525,"teacher_disagreement_score":0.055410743,"about_ca_system_score_codex":0.00082651665,"about_ca_system_score_gemma":0.000629824,"threshold_uncertainty_score":0.07903659},"labels":[],"label_agreement":null},{"id":"W6949912608","doi":"10.5281/zenodo.4128693","title":"!Regarder*HD`! Chef en pandémie (2020) [HD] FILM complet STREAMING VF Cinéma 4k zhm","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Limiting; Field (mathematics); Filter (signal processing)","score_opus":0.04704750900506004,"score_gpt":0.22568968545373042,"score_spread":0.17864217644867036,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949912608","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006151789,0.00021458966,0.0006243358,0.0009021303,0.001553736,0.00011425283,0.0048021083,0.0036586244,0.9875151],"genre_scores_gemma":[0.002959997,0.00023625353,0.0006692917,0.0003912616,0.00022626587,0.00004523376,0.0030247532,0.00177298,0.99067396],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998272,0.000010847406,0.0000042617944,0.000029207218,0.000076864446,0.000051597508],"domain_scores_gemma":[0.9994417,0.00003700089,0.000013188645,0.00005410145,0.0002327497,0.00022120522],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0002612481,0.0005784991,0.00026194347,0.00061695836,0.0016629337,0.0035668432,0.0006623107,0.0011153112,0.88444567],"category_scores_gemma":[0.0011727733,0.00034817896,0.00035176525,0.0005267085,0.00024648724,0.0025779514,0.0018627783,0.0012530097,0.7299982],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021677664,0.000008436821,0.000059232396,0.000036312296,9.4983864e-7,0.00002253506,0.000052363263,0.000011313404,0.00025759134,0.0007929618,0.97997606,0.01876058],"study_design_scores_gemma":[0.0000070207884,0.0000067205538,0.00041333336,0.000027205217,0.0000012480646,0.000037365462,0.00007617336,0.000025494472,0.00016423925,0.00012404831,0.9991129,0.0000042580637],"about_ca_topic_score_codex":0.010388035,"about_ca_topic_score_gemma":0.0315992,"teacher_disagreement_score":0.11555433,"about_ca_system_score_codex":0.00080200715,"about_ca_system_score_gemma":0.0004739354,"threshold_uncertainty_score":0.16482413},"labels":[],"label_agreement":null},{"id":"W6949912684","doi":"10.5281/zenodo.4077804","title":"TÉLÉCHARGER { Guerrières (2020) } FILM COMPLET Regarder film en ligne tfy","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Field (mathematics); Fusible alloy; Filter (signal processing)","score_opus":0.04057317772444234,"score_gpt":0.22630348037608627,"score_spread":0.18573030265164392,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949912684","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008579693,0.00034715576,0.0016953077,0.00086524035,0.0014452194,0.00025400953,0.02452742,0.01497492,0.9550328],"genre_scores_gemma":[0.0034591553,0.00050206034,0.0015515586,0.00039732724,0.0002743065,0.000119980665,0.012638912,0.007993548,0.97306305],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99971825,0.000017928194,0.000010703485,0.000045181223,0.00013699311,0.000070795366],"domain_scores_gemma":[0.9987196,0.00010793285,0.000034978326,0.0002023303,0.0005573178,0.0003778406],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00036197546,0.0009128276,0.00048369318,0.0011459603,0.0018129824,0.004349428,0.0009819467,0.0010206092,0.9076614],"category_scores_gemma":[0.0021319126,0.00050250243,0.00054883276,0.0011392973,0.00030432735,0.003231331,0.002342017,0.0013042488,0.8221036],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027546252,0.000008022152,0.0000606853,0.000064302774,0.0000011823864,0.000030558633,0.000052154737,0.000016384569,0.00033816713,0.00048153027,0.97813946,0.020779995],"study_design_scores_gemma":[0.000011523046,0.000006300556,0.00061093277,0.000048916398,0.000002016565,0.000047417183,0.00008141664,0.00004681446,0.00035958472,0.00018796115,0.9985896,0.0000075776597],"about_ca_topic_score_codex":0.023124835,"about_ca_topic_score_gemma":0.057734326,"teacher_disagreement_score":0.09233862,"about_ca_system_score_codex":0.0013718539,"about_ca_system_score_gemma":0.0009792676,"threshold_uncertainty_score":0.13170981},"labels":[],"label_agreement":null},{"id":"W6949914448","doi":"10.5281/zenodo.4166640","title":"Guarda Spontaneous (2020) Film Completo Streaming Italiano HD Gratis ust","year":2020,"lang":"it","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Live streaming; The Internet; Hypertext; Mobile device","score_opus":0.049629728053859866,"score_gpt":0.21898351662632456,"score_spread":0.1693537885724647,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949914448","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00089854345,0.0006931976,0.00071446004,0.0017422657,0.00210507,0.00019172391,0.027177691,0.003698267,0.9627788],"genre_scores_gemma":[0.005490815,0.0006353225,0.00076759455,0.0004968195,0.0008757957,0.00013361685,0.016055621,0.0028462035,0.9726983],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997023,0.000027189739,0.000009044825,0.00005139419,0.00014049513,0.000069592126],"domain_scores_gemma":[0.9991654,0.000101123616,0.00003773179,0.000120173536,0.00027193743,0.00030361034],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00049969647,0.0007614386,0.0003719775,0.0014725247,0.0011016583,0.0047452785,0.00084141956,0.0009482386,0.81551695],"category_scores_gemma":[0.0017544341,0.00045792598,0.0005287323,0.0012984946,0.0002741155,0.0021576828,0.0019843508,0.001287885,0.5842632],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000032520235,0.000007006944,0.000045897938,0.00004442425,0.0000014999576,0.000021947808,0.000034083674,0.0000118617445,0.00014895602,0.0007543161,0.98829657,0.010600962],"study_design_scores_gemma":[0.000013708563,0.000008867669,0.00093517767,0.00004706474,0.0000019957363,0.00003901015,0.00005262537,0.00003590488,0.00012607206,0.00026059934,0.9984743,0.000004666097],"about_ca_topic_score_codex":0.007303314,"about_ca_topic_score_gemma":0.022169461,"teacher_disagreement_score":0.18448305,"about_ca_system_score_codex":0.0010345496,"about_ca_system_score_gemma":0.0006695556,"threshold_uncertainty_score":0.2631426},"labels":[],"label_agreement":null},{"id":"W6949939058","doi":"10.5281/zenodo.4085632","title":"[HD]~ Streaming vf 1917 (2019) Film COmplet VOSTFR En Gratuit btj","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); Field (mathematics); Subject (documents); Order (exchange)","score_opus":0.055136303922032684,"score_gpt":0.22859666781417554,"score_spread":0.17346036389214287,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949939058","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0003281267,0.00021408644,0.00039107294,0.0006845139,0.0017019995,0.00009759096,0.01120164,0.00346658,0.98191446],"genre_scores_gemma":[0.002177424,0.00027951362,0.0004347458,0.0003780072,0.00030494548,0.000053490177,0.00880923,0.002072882,0.9854897],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99980885,0.000012847246,0.000005617762,0.000026172162,0.000093528964,0.00005294415],"domain_scores_gemma":[0.9994149,0.000035595458,0.000015710746,0.00006499273,0.00028116207,0.00018755207],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024094869,0.0006516873,0.00029577152,0.0009977334,0.0023345295,0.0040790793,0.00089319545,0.0010023682,0.90097666],"category_scores_gemma":[0.0012178407,0.0004357477,0.00036760987,0.0011347153,0.00024738096,0.0028356276,0.0022273923,0.0014847649,0.75175565],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012188823,0.0000038890926,0.00003307012,0.000026593123,6.887004e-7,0.0000135307755,0.000032959008,0.0000070764504,0.00010681754,0.00052638096,0.9894832,0.009753622],"study_design_scores_gemma":[0.000005820063,0.00000466866,0.00037416912,0.000033040607,8.852858e-7,0.000026867565,0.00007508481,0.000018286111,0.000080398364,0.000114415016,0.9992619,0.0000044833755],"about_ca_topic_score_codex":0.02109248,"about_ca_topic_score_gemma":0.05755958,"teacher_disagreement_score":0.09902334,"about_ca_system_score_codex":0.00112681,"about_ca_system_score_gemma":0.0005957837,"threshold_uncertainty_score":0.14124471},"labels":[],"label_agreement":null},{"id":"W6949955579","doi":"10.5281/zenodo.4112450","title":"regarder~ Anna (2019) en streaming vf et vostfr nny","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Glide plane; Social memory; Web site","score_opus":0.05233604459978173,"score_gpt":0.23709416634211924,"score_spread":0.18475812174233752,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949955579","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00058065867,0.00037269303,0.0013271207,0.0011274864,0.002787882,0.00020822097,0.012378758,0.014269988,0.96694726],"genre_scores_gemma":[0.00199096,0.0003311484,0.00090145273,0.0005082899,0.00030636444,0.00012152887,0.005559863,0.005658774,0.98462164],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997409,0.000015828698,0.000010274324,0.000041902993,0.00012431406,0.00006675988],"domain_scores_gemma":[0.99884295,0.00009815824,0.00003145259,0.00013134573,0.0004429699,0.0004531422],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003266808,0.0009870934,0.0004652195,0.0010972416,0.0018603711,0.0042556557,0.0011570883,0.0014619242,0.93479604],"category_scores_gemma":[0.0020530343,0.00049833494,0.0006649475,0.00086610933,0.00026297444,0.0043533244,0.0032631692,0.0016617269,0.8924041],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024374192,0.000008440511,0.00005389415,0.00006183557,9.872809e-7,0.000028095166,0.000047771344,0.000013346062,0.00028060825,0.0005227415,0.9818381,0.017119812],"study_design_scores_gemma":[0.0000055177547,0.000005705147,0.000231437,0.000038469643,0.0000011718515,0.000039985393,0.00006506606,0.00002906944,0.00021901925,0.00016796711,0.9991904,0.000006241247],"about_ca_topic_score_codex":0.0045800605,"about_ca_topic_score_gemma":0.015180477,"teacher_disagreement_score":0.065203965,"about_ca_system_score_codex":0.00085299043,"about_ca_system_score_gemma":0.0005968607,"threshold_uncertainty_score":0.09300554},"labels":[],"label_agreement":null},{"id":"W6949965504","doi":"10.5281/zenodo.4253504","title":"Regarder ]]\"grand-maman Piano (2020))\" FRANÇAIS FILM-STREAMING VF yiy","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Piano; Echo (communications protocol); Aerial photos","score_opus":0.03645270654630937,"score_gpt":0.21498941387350537,"score_spread":0.178536707327196,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949965504","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013537123,0.00026477227,0.00050876994,0.0012765755,0.0018694026,0.00014895586,0.008771718,0.0030116139,0.98279446],"genre_scores_gemma":[0.00438622,0.00027161645,0.0005790884,0.00042421778,0.00014618257,0.00004666131,0.0038713624,0.001395033,0.98887956],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998104,0.000012904388,0.0000052730807,0.000026273436,0.00008043306,0.00006479196],"domain_scores_gemma":[0.999501,0.000021891365,0.0000126326495,0.000043994158,0.00022834878,0.00019222332],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00030417537,0.0005293377,0.00019877542,0.0005723057,0.0019591537,0.00306044,0.00056724186,0.00073764997,0.8025065],"category_scores_gemma":[0.00090952555,0.00024063209,0.00031651507,0.00061413087,0.00022419865,0.0019981214,0.0017630802,0.0012500987,0.57247585],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002006933,0.000008309185,0.0001267323,0.00003995841,8.8579856e-7,0.000038180468,0.00011619853,0.000007972582,0.00029374333,0.0008254929,0.9806189,0.017903626],"study_design_scores_gemma":[0.000004572114,0.0000048775,0.00076438923,0.00003147369,8.900845e-7,0.000032694606,0.00014911301,0.000017138784,0.00015871119,0.00005799374,0.99877363,0.0000045642023],"about_ca_topic_score_codex":0.0514586,"about_ca_topic_score_gemma":0.16194409,"teacher_disagreement_score":0.1974935,"about_ca_system_score_codex":0.0013430697,"about_ca_system_score_gemma":0.0009409012,"threshold_uncertainty_score":0.2817005},"labels":[],"label_agreement":null},{"id":"W6949968281","doi":"10.5281/zenodo.4111868","title":"TÉLÉCHARGER { Lost Girls &amp; Love Hotels (2020) } FILM COMPLET Regarder film en ligne qls","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Love story; Film festival; Family life; Movie theater; Population","score_opus":0.04951759251745587,"score_gpt":0.23405950415199753,"score_spread":0.18454191163454164,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949968281","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00062598445,0.00018172618,0.00040893932,0.0003323074,0.00077936566,0.0001245788,0.0077546295,0.0049467525,0.98484576],"genre_scores_gemma":[0.0025151523,0.00023630384,0.00037903525,0.00026589367,0.00018626459,0.00006603398,0.0041301795,0.0033433004,0.98887795],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99985373,0.000009852853,0.0000046380346,0.000024977631,0.00005895823,0.00004779713],"domain_scores_gemma":[0.9993305,0.00004708529,0.00001982048,0.00006666657,0.00018182094,0.00035415316],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020359288,0.0009670583,0.0004630388,0.00083704846,0.0013834066,0.0035818187,0.0008268113,0.00097439974,0.94652224],"category_scores_gemma":[0.0011277415,0.00047949055,0.00053739315,0.0007486602,0.00019524846,0.0027530065,0.0026283592,0.0013375329,0.8936783],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028242575,0.0000135174805,0.000060997856,0.000057633977,0.0000012630023,0.000027669388,0.000041059135,0.000013927844,0.00016079334,0.00038453445,0.98354405,0.015666375],"study_design_scores_gemma":[0.000014893367,0.000011276153,0.00049240777,0.000041134772,0.0000022003508,0.00004483083,0.00008417141,0.000037761896,0.00019689051,0.0001314703,0.99893624,0.0000066441485],"about_ca_topic_score_codex":0.004280112,"about_ca_topic_score_gemma":0.013908002,"teacher_disagreement_score":0.053477764,"about_ca_system_score_codex":0.0005638333,"about_ca_system_score_gemma":0.0003547786,"threshold_uncertainty_score":0.07627946},"labels":[],"label_agreement":null},{"id":"W6949972682","doi":"10.5281/zenodo.4089462","title":"123MOVIES WATCH Falling (2020) FULL MOVIE ONLINE FREE ON PUTLOCKER jba","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Gloom; Pretext; Staring; Population; Feature (linguistics)","score_opus":0.06445260775580404,"score_gpt":0.2277082506646775,"score_spread":0.16325564290887346,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949972682","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004618544,0.00019538826,0.00082328945,0.00032292053,0.000970074,0.00011356948,0.005678358,0.0060336892,0.98540086],"genre_scores_gemma":[0.0015761001,0.00022134399,0.00072627375,0.0002747678,0.00015705283,0.000055958226,0.004155234,0.0032303054,0.9896031],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998254,0.00000847762,0.0000059064246,0.000031303116,0.00008914392,0.000039727198],"domain_scores_gemma":[0.99935657,0.00004472084,0.0000128466645,0.00007352289,0.00028141175,0.0002309126],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00022456041,0.0009522394,0.0005123949,0.0010316431,0.0015339026,0.0034019998,0.00091465196,0.0010216647,0.93647754],"category_scores_gemma":[0.0012079047,0.00047738972,0.0007032332,0.00085978943,0.00025494202,0.0026380096,0.002462515,0.0014251372,0.85551554],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023784605,0.000013576509,0.000044902084,0.000063598905,0.0000012504922,0.000024442612,0.000034396213,0.0000127764715,0.00045776874,0.0005904804,0.9787813,0.019951688],"study_design_scores_gemma":[0.000007967489,0.000011501108,0.0003901115,0.00004145288,0.000002237063,0.000048541733,0.000050511582,0.000041215302,0.00023953013,0.00020140396,0.9989599,0.0000056050962],"about_ca_topic_score_codex":0.0046500666,"about_ca_topic_score_gemma":0.016049067,"teacher_disagreement_score":0.06352246,"about_ca_system_score_codex":0.0006308796,"about_ca_system_score_gemma":0.0004764573,"threshold_uncertainty_score":0.09060699},"labels":[],"label_agreement":null},{"id":"W6949983337","doi":"10.5281/zenodo.4036795","title":"~[REGARDER]~(\"The Babysitter : Killer Queen\") 2020 Complet en Film FR Streaming Netflix","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queen (butterfly); Hypertext; Electronic mail; Domain (mathematical analysis)","score_opus":0.04112031982776247,"score_gpt":0.21800646679141192,"score_spread":0.17688614696364946,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949983337","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010821036,0.0003914758,0.000504923,0.0015407164,0.0024682807,0.00011171934,0.0058436324,0.0036856118,0.9843716],"genre_scores_gemma":[0.0023471764,0.00029413667,0.00033021386,0.0003969918,0.0001977456,0.000034221852,0.0027808058,0.0011650614,0.99245363],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99984753,0.00001239321,0.000004075824,0.000025840214,0.00006815993,0.000041992316],"domain_scores_gemma":[0.9995394,0.000036106645,0.000013605307,0.000033072265,0.00018209219,0.00019584384],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001841073,0.0006684061,0.00025549997,0.0006921303,0.0018414196,0.0030958448,0.0005590026,0.0009961439,0.8779396],"category_scores_gemma":[0.0010682284,0.00033313362,0.0002912745,0.0005662574,0.00026219958,0.0027765685,0.0023194873,0.0011969637,0.73047614],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015052507,0.0000050420117,0.00005896252,0.000041666994,6.6945375e-7,0.000029725112,0.000084395906,0.000007848978,0.00020167671,0.00058501086,0.9850739,0.013895966],"study_design_scores_gemma":[0.0000036956842,0.0000063060616,0.0004631401,0.000032415177,0.0000010091844,0.000036306945,0.00015564362,0.000021119004,0.00012729275,0.00008335413,0.9990657,0.0000040839864],"about_ca_topic_score_codex":0.010720522,"about_ca_topic_score_gemma":0.034914583,"teacher_disagreement_score":0.12206042,"about_ca_system_score_codex":0.0007625907,"about_ca_system_score_gemma":0.00047837317,"threshold_uncertainty_score":0.17410427},"labels":[],"label_agreement":null},{"id":"W6949987745","doi":"10.5281/zenodo.4260485","title":"regarder||||||||&gt;&gt; Disparition à Clifton Hill (2020) streaming vf en film complet 'HD\" hxx","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Feature (linguistics); Noise (video); Ideal (ethics)","score_opus":0.04287735289289171,"score_gpt":0.2254669574272815,"score_spread":0.1825896045343898,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6949987745","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007457792,0.00023442277,0.00052117574,0.0010238453,0.0018139337,0.00017796837,0.0031824599,0.0038840703,0.98841643],"genre_scores_gemma":[0.002084578,0.00019410503,0.00035467662,0.00029602618,0.0001871706,0.00004958832,0.001238211,0.001964387,0.9936312],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99975926,0.000017158609,0.0000062777735,0.000038812417,0.00010675538,0.000071675735],"domain_scores_gemma":[0.9992267,0.0000568782,0.000018598092,0.000081246915,0.00025149362,0.00036508834],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003080692,0.0006714243,0.0003758056,0.0006708912,0.0020601195,0.0038903651,0.0007738578,0.0010534357,0.8994773],"category_scores_gemma":[0.0013286303,0.00043430744,0.00044796278,0.00060170545,0.0003573733,0.0027759497,0.002582634,0.0017203424,0.74636763],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020838332,0.000007731367,0.000046500663,0.000038702616,7.9723645e-7,0.000027864167,0.00009326036,0.000007688281,0.0003076587,0.0005001355,0.986883,0.0120659],"study_design_scores_gemma":[0.000007718311,0.000008474531,0.00043097694,0.000036610163,0.000001379053,0.000041522708,0.00017478094,0.000020092342,0.00020252682,0.00008073512,0.9989901,0.0000049906876],"about_ca_topic_score_codex":0.011353618,"about_ca_topic_score_gemma":0.045117367,"teacher_disagreement_score":0.1005227,"about_ca_system_score_codex":0.0011055098,"about_ca_system_score_gemma":0.00066668866,"threshold_uncertainty_score":0.14338344},"labels":[],"label_agreement":null},{"id":"W6950018204","doi":"10.5281/zenodo.4253694","title":"[!REGARDER!]~VF La contemplation du mystère (2020) Film Complet Streaming VF En Francais url","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Contemplation; Martin luther; Hum","score_opus":0.03884288545976328,"score_gpt":0.2203885149405395,"score_spread":0.1815456294807762,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6950018204","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0024270762,0.0004491584,0.0008555338,0.002314919,0.0020217653,0.000227123,0.0105778165,0.0035965121,0.97753],"genre_scores_gemma":[0.007075456,0.0005468454,0.0011066006,0.0006019838,0.00022343078,0.00008643286,0.0047172406,0.001712931,0.98392904],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998234,0.000011354613,0.0000052582045,0.000022314007,0.000084885454,0.000052815416],"domain_scores_gemma":[0.9992229,0.000045456367,0.000021135102,0.00005505889,0.00034797625,0.00030754312],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00028262087,0.0004643874,0.000194667,0.00051392074,0.0016582286,0.0024034611,0.0005434989,0.00081468024,0.81548506],"category_scores_gemma":[0.0012061875,0.0002958482,0.00037071088,0.00044868927,0.00022900091,0.0020966658,0.0015000212,0.0012649146,0.51857424],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000019410925,0.000010063249,0.0001061619,0.0000486243,0.0000011245111,0.000037243488,0.00010514264,0.00000976431,0.00058624055,0.0006284917,0.97520417,0.023243625],"study_design_scores_gemma":[0.000009223238,0.000012808776,0.0016845685,0.0000645657,0.0000013832673,0.00007168328,0.00025085747,0.000032112785,0.00039849634,0.00013450437,0.9973314,0.000008463428],"about_ca_topic_score_codex":0.026108176,"about_ca_topic_score_gemma":0.08402566,"teacher_disagreement_score":0.18451494,"about_ca_system_score_codex":0.0009360385,"about_ca_system_score_gemma":0.0009012488,"threshold_uncertainty_score":0.26318818},"labels":[],"label_agreement":null},{"id":"W6950026903","doi":"10.5281/zenodo.4168568","title":"[HDQ]~Katsella » Monster Hunter (2020) » Katso Nyt! Koko Elokuvan Verkossa Ilmaiseksi Suomalainen Tekstityksillä iys","year":2020,"lang":"fi","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Dysgeusia; Diafiltration; Liquation; Fusible alloy; Triacetin; Emperipolesis","score_opus":0.045697327430792835,"score_gpt":0.2188860326490716,"score_spread":0.17318870521827878,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6950026903","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012022523,0.00094985386,0.000524928,0.004043549,0.0033322058,0.00008013578,0.011302509,0.002016954,0.97654766],"genre_scores_gemma":[0.00381152,0.000365558,0.00024447212,0.00037921043,0.00022543593,0.000026836758,0.002649681,0.0005013523,0.99179584],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998808,0.000011711006,0.000003188034,0.00001857105,0.00004754592,0.00003812978],"domain_scores_gemma":[0.9996321,0.000021613074,0.000012398921,0.00003175695,0.00011362899,0.00018841957],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003360885,0.00037318305,0.00021793888,0.00057321653,0.0013058505,0.0032166615,0.00045795174,0.0007562256,0.7952881],"category_scores_gemma":[0.0008650783,0.00025569613,0.00025701968,0.00070036063,0.00025808465,0.0016919457,0.0018925869,0.0011627321,0.526573],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013894276,0.0000038147764,0.00005355885,0.00001926762,6.6017697e-7,0.000011702341,0.000030209516,0.000006701088,0.00007754846,0.000977936,0.98928213,0.00952256],"study_design_scores_gemma":[0.0000027317783,0.0000026856785,0.0003605337,0.000011556927,4.0310292e-7,0.00001337006,0.000053544285,0.000010252481,0.00004089046,0.00009652652,0.9994056,0.0000018640978],"about_ca_topic_score_codex":0.011803834,"about_ca_topic_score_gemma":0.03386273,"teacher_disagreement_score":0.20471191,"about_ca_system_score_codex":0.00089442177,"about_ca_system_score_gemma":0.00058401056,"threshold_uncertainty_score":0.29199666},"labels":[],"label_agreement":null},{"id":"W6950038143","doi":"10.5281/zenodo.4253776","title":"~#ReGarDer~Lara (2020) FILM Complet HD En Francais Streaming vf hto","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Field (mathematics); Feature (linguistics); Staring","score_opus":0.045129653424244374,"score_gpt":0.22509486770145762,"score_spread":0.17996521427721324,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6950038143","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014524461,0.0005225697,0.0011519088,0.0015618453,0.0021741735,0.00024424988,0.025935216,0.009046266,0.9579114],"genre_scores_gemma":[0.005150817,0.0005670591,0.0012365385,0.00055729155,0.00025881664,0.00007481102,0.012887302,0.003850948,0.9754165],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99980897,0.000011293971,0.0000053405142,0.000030210114,0.000083421386,0.000060723352],"domain_scores_gemma":[0.9991159,0.00005179529,0.00001951771,0.00008365887,0.0003957051,0.00033342434],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003027831,0.0006435804,0.00026579862,0.0007814662,0.001707782,0.0033959814,0.0006995005,0.00088200445,0.83551323],"category_scores_gemma":[0.001173217,0.00037166328,0.0004364336,0.0009367374,0.00024177205,0.0025225072,0.0016141075,0.0011512076,0.64069307],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023465933,0.0000074838154,0.00009011709,0.000050378378,0.0000013467148,0.000030745654,0.000066500535,0.00001344416,0.00037476432,0.0005411841,0.985292,0.0135085825],"study_design_scores_gemma":[0.000006754461,0.000007152049,0.00073842786,0.000036793746,0.0000019509773,0.000039309158,0.00011891934,0.00003410747,0.00024643552,0.00008051659,0.9986834,0.000006172829],"about_ca_topic_score_codex":0.050737437,"about_ca_topic_score_gemma":0.14005049,"teacher_disagreement_score":0.16448677,"about_ca_system_score_codex":0.0013036644,"about_ca_system_score_gemma":0.0010253354,"threshold_uncertainty_score":0.23462033},"labels":[],"label_agreement":null},{"id":"W6950095855","doi":"10.5281/zenodo.4130205","title":"Comme une comète (2020) Film ▶ HD !Complet En Francais ~ Streaming Vf Entier 4k. gii","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"French; Glide plane; Universal value","score_opus":0.06308320204247385,"score_gpt":0.23634196648529776,"score_spread":0.1732587644428239,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6950095855","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00085129804,0.00031942953,0.0013603385,0.0011844841,0.0019025329,0.0002317605,0.015982,0.011677892,0.96649027],"genre_scores_gemma":[0.0027181297,0.0002661855,0.00088623597,0.0003958904,0.00016946522,0.000069760354,0.0074191666,0.004703286,0.9833718],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99969506,0.000016957696,0.000009349134,0.000049500286,0.00013369348,0.00009555726],"domain_scores_gemma":[0.9987753,0.00006234655,0.000027857504,0.00012384851,0.000541059,0.0004696003],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00042036138,0.00093606877,0.00043740132,0.0009402708,0.0020427657,0.0046112197,0.0010578547,0.0014283892,0.9149017],"category_scores_gemma":[0.0016322582,0.0005684112,0.0006064504,0.000954885,0.00031851506,0.0037289667,0.002632525,0.0015580998,0.82790273],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027081109,0.000008217365,0.00005356259,0.000043795128,0.0000015499927,0.000023364799,0.00004932883,0.000013139741,0.0003451679,0.0004716388,0.98690856,0.012054768],"study_design_scores_gemma":[0.00000942549,0.000008564608,0.0004654563,0.00003842035,0.0000022108793,0.000039916147,0.00011364828,0.000045174187,0.0003123685,0.0001427206,0.9988136,0.000008621685],"about_ca_topic_score_codex":0.023355212,"about_ca_topic_score_gemma":0.06452213,"teacher_disagreement_score":0.085098326,"about_ca_system_score_codex":0.0014020529,"about_ca_system_score_gemma":0.00092176726,"threshold_uncertainty_score":0.121382415},"labels":[],"label_agreement":null},{"id":"W6950135863","doi":"10.5281/zenodo.4104947","title":"TÉLÉCHARGER { Lost Girls &amp; Love Hotels (2020) } FILM COMPLET Regarder film en ligne nrl","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Love story; Film festival; Movie theater; Family life","score_opus":0.049134230476235115,"score_gpt":0.23357704335898885,"score_spread":0.18444281288275374,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6950135863","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005224074,0.00019444946,0.00035247777,0.00033232706,0.00079421146,0.00010080029,0.006688151,0.003955521,0.9870596],"genre_scores_gemma":[0.0021702275,0.00024710855,0.00032135667,0.0002556926,0.0001649069,0.000051620373,0.0034980897,0.002718697,0.9905723],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99985504,0.000010037159,0.0000048073007,0.000024651847,0.00006173147,0.000043704007],"domain_scores_gemma":[0.9993636,0.00004660258,0.000019194675,0.000070314796,0.00017516005,0.0003252263],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00019517829,0.00096115656,0.00044487073,0.00082327356,0.0013325276,0.003897306,0.00082638045,0.00094998756,0.94601953],"category_scores_gemma":[0.0011765407,0.00045368558,0.0005195854,0.0007775805,0.0002063845,0.0030032205,0.0025940533,0.001393422,0.90016633],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022849017,0.000012017264,0.000049611066,0.000056592762,0.0000011283357,0.000027480784,0.000035018642,0.0000136629515,0.00015337233,0.0004272074,0.98437655,0.014824525],"study_design_scores_gemma":[0.000012116262,0.000009578327,0.00039015472,0.000038338752,0.0000019206082,0.00004630044,0.000079880745,0.00003433627,0.0001787217,0.00013681392,0.9990658,0.000006115981],"about_ca_topic_score_codex":0.004179139,"about_ca_topic_score_gemma":0.012529152,"teacher_disagreement_score":0.05398047,"about_ca_system_score_codex":0.00056751445,"about_ca_system_score_gemma":0.00035054065,"threshold_uncertainty_score":0.076996505},"labels":[],"label_agreement":null},{"id":"W6950146080","doi":"10.5281/zenodo.4258405","title":"!Regarder*HD`! Antrum (2020) [HD] FILM complet STREAMING VF Cinéma 4k fjk","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cineradiography; Filter (signal processing); Nucleofection","score_opus":0.04928241117026149,"score_gpt":0.22374569226373003,"score_spread":0.17446328109346854,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6950146080","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006858308,0.0003437831,0.00073196035,0.0009434545,0.0013832254,0.00011292048,0.0035676148,0.0032399073,0.9889914],"genre_scores_gemma":[0.0034507967,0.00041979377,0.00087224104,0.0003936263,0.00029414968,0.000044845478,0.0024981762,0.0020980653,0.9899282],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99980253,0.000016338454,0.0000052302976,0.000031511885,0.00009199909,0.000052369734],"domain_scores_gemma":[0.9994325,0.00004505499,0.000015847645,0.000063974025,0.00025254634,0.00019002626],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027130978,0.0005631115,0.00024637752,0.0007667384,0.0015787166,0.0036592325,0.0007322497,0.00089385436,0.80280393],"category_scores_gemma":[0.0011068275,0.00038579575,0.00034724746,0.00082539086,0.0002731739,0.0028279875,0.001604652,0.0014562551,0.6109618],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002257695,0.000007780429,0.00005355962,0.00005412336,0.0000010199086,0.000029307304,0.000099294455,0.000010103637,0.00048179415,0.0010680577,0.97539014,0.022782216],"study_design_scores_gemma":[0.0000042940846,0.000004825304,0.00038979773,0.000028676348,0.0000011220308,0.000039604998,0.00010185086,0.000020846337,0.00019662471,0.00009465122,0.999114,0.0000037496882],"about_ca_topic_score_codex":0.011184527,"about_ca_topic_score_gemma":0.035431232,"teacher_disagreement_score":0.19719607,"about_ca_system_score_codex":0.00078250945,"about_ca_system_score_gemma":0.0005168299,"threshold_uncertainty_score":0.2812763},"labels":[],"label_agreement":null},{"id":"W6950170022","doi":"10.5281/zenodo.4110091","title":"【Falling (2020)】 ©Online~Videa Teljes Filmek (Magyarul) Ingyen [SUB Magyar] 2019 kig","year":2020,"lang":"hu","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Falling in love; Fear of falling; Online learning; Online video","score_opus":0.055161032270521944,"score_gpt":0.22621156433533773,"score_spread":0.1710505320648158,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6950170022","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006502614,0.00029658843,0.0002844608,0.00093195454,0.0017202727,0.000081154874,0.0032053997,0.0020406155,0.99078935],"genre_scores_gemma":[0.0017741467,0.00020401955,0.00024053437,0.0002514905,0.00013474637,0.00002744908,0.0016022814,0.0007379026,0.99502736],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998282,0.000011056933,0.000004896705,0.000028421113,0.00008029256,0.000047078873],"domain_scores_gemma":[0.9994936,0.000023772536,0.000011502556,0.00003424401,0.0001677688,0.0002690735],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00026425195,0.0005533601,0.00027955775,0.00061128027,0.0018652829,0.0037742264,0.00060428306,0.0009924783,0.8947215],"category_scores_gemma":[0.0009045527,0.0003233403,0.0003524082,0.0006084852,0.00024385493,0.0024205106,0.0021919436,0.0012494714,0.8002393],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015694943,0.0000105990175,0.000058488222,0.00003167531,6.6553764e-7,0.000025256817,0.00004239991,0.0000072212324,0.00016445343,0.0005546776,0.97877365,0.020315263],"study_design_scores_gemma":[0.0000034514421,0.000006045143,0.00041712922,0.000021221369,6.7456165e-7,0.000022817241,0.00006914903,0.0000118404105,0.000074628304,0.00009781129,0.99927264,0.0000025991753],"about_ca_topic_score_codex":0.0071818745,"about_ca_topic_score_gemma":0.029726008,"teacher_disagreement_score":0.10527849,"about_ca_system_score_codex":0.0008255693,"about_ca_system_score_gemma":0.000528657,"threshold_uncertainty_score":0.15016693},"labels":[],"label_agreement":null},{"id":"W6950174235","doi":"10.5281/zenodo.4170800","title":"Monster Hunter (2020) Hela Filmen Svensk Hd 1080p xhg","year":2020,"lang":"sv","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Monster; Codec; Television series","score_opus":0.04987554142400662,"score_gpt":0.22093912861553922,"score_spread":0.17106358719153258,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6950174235","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005854401,0.000516668,0.000564656,0.00044345873,0.0013553406,0.00011312474,0.007084775,0.0038720313,0.9854645],"genre_scores_gemma":[0.0016110506,0.00037957216,0.00036390702,0.00019370107,0.00013917864,0.00004073731,0.0032887254,0.0017935953,0.9921895],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998035,0.000013593297,0.0000066075236,0.000038324382,0.00009233072,0.000045639248],"domain_scores_gemma":[0.9995497,0.00004606602,0.000013255695,0.00005854513,0.00014484435,0.00018759184],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00033017507,0.00091182196,0.0004436917,0.00097498624,0.0011901786,0.0040038857,0.00082376786,0.0010184748,0.9031564],"category_scores_gemma":[0.0010011108,0.00057185645,0.0005430984,0.00089483004,0.00029104855,0.0029221615,0.0028029135,0.0012743918,0.81121016],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036338584,0.000010671232,0.00004568236,0.0000796808,0.0000018627304,0.000037381025,0.000069255024,0.000015845928,0.00030483663,0.0007552402,0.97817284,0.020470323],"study_design_scores_gemma":[0.000007693754,0.000008041544,0.00036429457,0.000044273314,0.0000017196285,0.000048579623,0.00008003661,0.0000181025,0.00018298946,0.000119595876,0.9991202,0.0000044898975],"about_ca_topic_score_codex":0.005276799,"about_ca_topic_score_gemma":0.015523413,"teacher_disagreement_score":0.0968436,"about_ca_system_score_codex":0.0006746732,"about_ca_system_score_gemma":0.0004994705,"threshold_uncertainty_score":0.13813555},"labels":[],"label_agreement":null},{"id":"W6950206474","doi":"10.5281/zenodo.4111668","title":"123MOVIES WATCH Ça - Chapitre 2 (2019) FULL MOVIE ONLINE FREE ON PUTLOCKER ibn","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Phone; Text messaging; Action (physics); Sign (mathematics)","score_opus":0.06376898025102791,"score_gpt":0.22420967495161354,"score_spread":0.16044069470058564,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6950206474","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00028322297,0.00044192438,0.00079504034,0.0005191062,0.0027124735,0.0001089385,0.002875997,0.0035645918,0.98869866],"genre_scores_gemma":[0.0007979357,0.0003486987,0.00043219648,0.00025534004,0.00023214942,0.000036577563,0.0015324245,0.0015501238,0.9948146],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99980706,0.000010675514,0.0000072596845,0.00003280988,0.000102495345,0.000039677776],"domain_scores_gemma":[0.99922705,0.00006337471,0.000018433035,0.000084775944,0.00032925862,0.0002770386],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023609033,0.0010090378,0.00055569096,0.0010772414,0.0014897742,0.0046703643,0.001060113,0.0011680211,0.9414438],"category_scores_gemma":[0.0013419106,0.0004941504,0.0006934118,0.00083273463,0.0003227382,0.002888775,0.0022260193,0.0020895696,0.88547534],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017940662,0.000012248979,0.000024081666,0.000078754994,0.0000011739024,0.000024764726,0.00002604028,0.000021047295,0.0004603634,0.00089936214,0.9822863,0.016147893],"study_design_scores_gemma":[0.0000042727925,0.000008627888,0.00016676214,0.000046992813,0.0000013650729,0.000034621786,0.000048633872,0.00003074246,0.00019973764,0.00018963334,0.9992643,0.000004354341],"about_ca_topic_score_codex":0.0040341904,"about_ca_topic_score_gemma":0.012087266,"teacher_disagreement_score":0.0585562,"about_ca_system_score_codex":0.00089808786,"about_ca_system_score_gemma":0.0006502034,"threshold_uncertainty_score":0.083523214},"labels":[],"label_agreement":null},{"id":"W6950285748","doi":"10.5281/zenodo.4096115","title":"VOIR!! Falling (2020) Streaming VF COmplet en Ligne VOSTFR tke","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Nucleofection; Field (mathematics); Feature (linguistics)","score_opus":0.04973297144542676,"score_gpt":0.2256339386851771,"score_spread":0.17590096723975032,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6950285748","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006674311,0.00027324524,0.001130628,0.0007430147,0.0016891917,0.00021591023,0.012307757,0.0098363785,0.9731365],"genre_scores_gemma":[0.0029206565,0.00033682145,0.0011400967,0.0004760728,0.00029914407,0.00011134926,0.009133944,0.006228598,0.97935337],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99977523,0.000014742801,0.000007372212,0.000029993851,0.00010738681,0.00006525426],"domain_scores_gemma":[0.9992384,0.000058954152,0.000019706813,0.00009964462,0.00029279443,0.00029064642],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00028927613,0.0008195696,0.00037604573,0.0010276801,0.0016785254,0.0038012299,0.0010581802,0.0011665323,0.91286224],"category_scores_gemma":[0.0018262698,0.000430233,0.0005975802,0.00092264905,0.0002405995,0.003395226,0.0027441685,0.0013349823,0.8049949],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021932803,0.000008146388,0.00004721681,0.000046797166,7.877476e-7,0.000024439012,0.000047997702,0.000008980909,0.00018465919,0.0004116794,0.9807159,0.018481411],"study_design_scores_gemma":[0.000008336178,0.000007867307,0.00037857928,0.000041698942,0.0000012608932,0.00004532645,0.00008927542,0.00002544524,0.00014881727,0.00018079575,0.9990664,0.0000061725823],"about_ca_topic_score_codex":0.008151266,"about_ca_topic_score_gemma":0.024926448,"teacher_disagreement_score":0.08713776,"about_ca_system_score_codex":0.00073842786,"about_ca_system_score_gemma":0.0005581803,"threshold_uncertainty_score":0.12429142},"labels":[],"label_agreement":null},{"id":"W6950320663","doi":"10.5281/zenodo.4041535","title":"FilM~complet@!]]]~AFTER CHAPITRE 2 (2020) Streaming vF","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Paraphernalia; Laziness; Feature (linguistics)","score_opus":0.04408176180292007,"score_gpt":0.21901278367210006,"score_spread":0.17493102186918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6950320663","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004967718,0.00083880225,0.0013789758,0.0035867654,0.00991824,0.00021355612,0.0080781765,0.007515778,0.967973],"genre_scores_gemma":[0.002127372,0.000516837,0.00092857017,0.00093414594,0.0011643054,0.00008573439,0.0040209927,0.004188057,0.9860341],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994967,0.00003448197,0.000015138976,0.00007939362,0.00024011593,0.00013416886],"domain_scores_gemma":[0.99846184,0.0000840143,0.000035263005,0.00020182352,0.00062090356,0.0005961644],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00042846712,0.00086152146,0.0004530704,0.0012419866,0.0024434251,0.006042305,0.001327655,0.0016700919,0.8720958],"category_scores_gemma":[0.0024190755,0.00051219005,0.00076593255,0.0011586574,0.0005721988,0.0038078788,0.0037176374,0.003159686,0.7641573],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010175925,0.000004009193,0.000018632118,0.000047835107,8.6273826e-7,0.000019912628,0.000030005383,0.000016270125,0.00026237677,0.001337935,0.9900547,0.008197179],"study_design_scores_gemma":[0.0000046844584,0.0000043128716,0.00015595656,0.000044185206,9.069085e-7,0.000025989984,0.00007724092,0.000020081472,0.00018981531,0.0004258091,0.9990459,0.000004922688],"about_ca_topic_score_codex":0.010484569,"about_ca_topic_score_gemma":0.033975698,"teacher_disagreement_score":0.12790418,"about_ca_system_score_codex":0.0022514637,"about_ca_system_score_gemma":0.0017263505,"threshold_uncertainty_score":0.18243968},"labels":[],"label_agreement":null},{"id":"W6950342575","doi":"10.5281/zenodo.4115217","title":"#ESP.RePeLis| 1917 (2019) H.D Pelicula Completa español foa","year":2020,"lang":"es","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Volunteer work; Work (physics); Point (geometry); Field (mathematics); Object (grammar)","score_opus":0.0667005905027897,"score_gpt":0.2350398591842912,"score_spread":0.1683392686815015,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6950342575","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00062320166,0.0005080238,0.00048501173,0.0007839948,0.0013273811,0.00006509535,0.006674145,0.0027150006,0.98681796],"genre_scores_gemma":[0.0016759147,0.00029597763,0.00031839308,0.0002175024,0.00009778866,0.000022188544,0.002500816,0.0010165684,0.9938548],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998964,0.000006483113,0.0000033868885,0.000020443656,0.000051507614,0.000021784688],"domain_scores_gemma":[0.99970347,0.000022155084,0.00001060472,0.00003660962,0.000141157,0.000085998196],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00018721583,0.00061602297,0.0003274313,0.0007101914,0.0012377971,0.0021902379,0.00066194625,0.00082942954,0.8867302],"category_scores_gemma":[0.00051973027,0.0002524232,0.00036374506,0.0005915361,0.0002728894,0.0015095492,0.0016774413,0.0010451284,0.7932001],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035172292,0.000014208413,0.00010474244,0.00008800008,0.0000013252621,0.00006342423,0.00005055058,0.000019698491,0.000611109,0.0010514191,0.9464516,0.0515088],"study_design_scores_gemma":[0.0000028169848,0.0000039018055,0.00021420255,0.000020030038,4.4421887e-7,0.000026334841,0.000032563195,0.000006028188,0.00010527027,0.000080511636,0.9995061,0.0000017280142],"about_ca_topic_score_codex":0.0066581247,"about_ca_topic_score_gemma":0.021462949,"teacher_disagreement_score":0.113269806,"about_ca_system_score_codex":0.000638704,"about_ca_system_score_gemma":0.00048177806,"threshold_uncertainty_score":0.16156554},"labels":[],"label_agreement":null},{"id":"W6950628356","doi":"10.5281/zenodo.4113572","title":"WATCH Sang froid (2019) HD Full Movie online free edb","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Full moon; New moon; Sign (mathematics); Full color; Box office; Online presence management","score_opus":0.06563948579902502,"score_gpt":0.22401554677983027,"score_spread":0.15837606098080526,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6950628356","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00031482207,0.00023018294,0.00074731675,0.00039204536,0.0010746618,0.00014147753,0.006596356,0.0047680736,0.9857351],"genre_scores_gemma":[0.0013651745,0.00022799837,0.0006118778,0.0002926354,0.00016915517,0.000054085045,0.0040031853,0.0030003553,0.9902756],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99981207,0.000010252073,0.0000060652615,0.000032082447,0.000099992634,0.000039512317],"domain_scores_gemma":[0.99944836,0.000047744365,0.000013026928,0.00007470744,0.0002461609,0.00017001397],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00025407015,0.00092030136,0.00044853406,0.0010231638,0.0014499659,0.0035351606,0.0010909426,0.0011516375,0.93208814],"category_scores_gemma":[0.0013754778,0.0005256838,0.0005930425,0.0007964631,0.00028091366,0.0030560698,0.0024676637,0.0015288965,0.8490436],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017587572,0.0000074728864,0.000028929167,0.000056409463,0.0000012376946,0.000018671519,0.000029529074,0.000015719143,0.00026096683,0.00045509366,0.9855999,0.013508666],"study_design_scores_gemma":[0.000008828947,0.000008868872,0.0003335598,0.000040811792,0.0000020415962,0.00004487572,0.00005813695,0.000034927158,0.00022433947,0.00018563078,0.99905187,0.0000061093724],"about_ca_topic_score_codex":0.007020722,"about_ca_topic_score_gemma":0.020193266,"teacher_disagreement_score":0.06791186,"about_ca_system_score_codex":0.0008418394,"about_ca_system_score_gemma":0.000569346,"threshold_uncertainty_score":0.09686798},"labels":[],"label_agreement":null},{"id":"W6955172544","doi":"10.58079/13aaq","title":"Gazette du 6 février 2025","year":2025,"lang":"fr","type":"article","venue":"Industrias Culturais (Universidade de Coimbra)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mars Exploration Program; Context (archaeology); Vulnerability (computing); Atmosphere (unit)","score_opus":0.030324799619816267,"score_gpt":0.23067030304293007,"score_spread":0.2003455034231138,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6955172544","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0021137616,0.21116008,0.00089075,0.031147301,0.106997535,0.00008333477,0.006102348,0.00044179257,0.6410631],"genre_scores_gemma":[0.010725817,0.03134683,0.00030218303,0.004728241,0.0113824885,0.00005214882,0.0020931698,0.0002792232,0.93908995],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99882406,0.0002025876,0.00006655225,0.0002447911,0.00045422782,0.0002077321],"domain_scores_gemma":[0.99911827,0.00018510569,0.000085213396,0.0000820056,0.00035543597,0.00017404417],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00094831904,0.0011547492,0.0009052723,0.0028100878,0.0027756868,0.0056903325,0.0007894623,0.002982765,0.25610647],"category_scores_gemma":[0.0024156715,0.00045288083,0.00065609894,0.0022884281,0.0008568876,0.002938448,0.002689314,0.003062025,0.094723985],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000066780325,0.000014613378,0.00021188345,0.0002315957,0.0000066179014,0.00013153709,0.00018574078,0.0000532277,0.00022605457,0.009583039,0.9498427,0.03944624],"study_design_scores_gemma":[0.00000174668,0.0000037735306,0.00034769994,0.00010899633,9.924493e-7,0.000034738325,0.00003865422,0.000007839866,0.000037128724,0.00019763055,0.9992181,0.0000025605116],"about_ca_topic_score_codex":0.032479826,"about_ca_topic_score_gemma":0.046860952,"teacher_disagreement_score":0.25610647,"about_ca_system_score_codex":0.0037138916,"about_ca_system_score_gemma":0.0020127888,"threshold_uncertainty_score":0.85676146},"labels":[],"label_agreement":null},{"id":"W6955505594","doi":"10.58079/reli","title":"[Parution] Participations. Journal of Audience &amp; Reception Studies, Volume 13, Issue 1","year":2016,"lang":"en","type":"article","venue":"OpenEdition (OpenEdition)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Volume (thermodynamics); Work (physics)","score_opus":0.07000944802547208,"score_gpt":0.2837556055164163,"score_spread":0.21374615749094422,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6955505594","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.017187946,0.016464043,0.0009862724,0.09876665,0.017951481,0.00012909582,0.0018156854,0.0003694709,0.84632933],"genre_scores_gemma":[0.14489041,0.0073877587,0.00035375243,0.010054386,0.0073498143,0.00014072466,0.00086084043,0.0003959267,0.8285664],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99683976,0.0009739526,0.0000811585,0.00046780295,0.0010947979,0.0005425233],"domain_scores_gemma":[0.9950394,0.0012025544,0.0004362364,0.00040751923,0.001374267,0.0015399988],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029141493,0.00056380965,0.00052356505,0.0016752493,0.006839553,0.011045809,0.0016756194,0.0024516445,0.13876714],"category_scores_gemma":[0.011551963,0.00031413566,0.00031305844,0.0026600345,0.0030175506,0.0055168266,0.005730124,0.0035347624,0.021534853],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000049845166,0.000047110705,0.0013630342,0.00021239574,0.000008687295,0.00011957554,0.01752255,0.000019362942,0.0002303169,0.04723385,0.8612967,0.07189663],"study_design_scores_gemma":[0.0000040025247,0.000012803781,0.0025535827,0.0000990703,0.0000025274683,0.00004283463,0.0037634093,0.000014768464,0.000043602508,0.00080601405,0.9926514,0.0000059101217],"about_ca_topic_score_codex":0.036458462,"about_ca_topic_score_gemma":0.06122511,"teacher_disagreement_score":0.13876714,"about_ca_system_score_codex":0.0040150345,"about_ca_system_score_gemma":0.0049436376,"threshold_uncertainty_score":0.4642223},"labels":[],"label_agreement":null},{"id":"W6958184938","doi":"10.6084/m9.figshare.26703043.v1","title":"Additional file 8 of Comparative secretome analysis of Striga and Cuscuta species identifies candidate virulence factors for two evolutionarily independent parasitic plant lineages","year":2024,"lang":"en","type":"dataset","venue":"Figshare","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Toronto","funders":"","keywords":"Virulence; Striga; Parasitic plant; Host (biology); Gene","score_opus":0.061495002847615846,"score_gpt":0.27563221785240016,"score_spread":0.21413721500478433,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6958184938","genre_codex":"dataset","genre_gemma":"dataset","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"dataset","genre_consensus":"dataset","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00009151347,0.000020912323,0.000031184863,0.000019405808,0.000005471274,0.0000053213666,0.9995808,0.000065001776,0.00018029845],"genre_scores_gemma":[0.0012071172,0.000049993265,0.00037047768,0.00007817827,0.000008995428,0.000115503855,0.9971654,0.000086988555,0.00091722317],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994012,0.00008126003,0.000069735106,0.00021592868,0.000106247484,0.00012564489],"domain_scores_gemma":[0.99499834,0.0030340638,0.00043197343,0.0005358138,0.0007114387,0.00028832883],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00092841673,0.0014052009,0.0014063176,0.002835687,0.0009064168,0.0021212234,0.0021165623,0.0020012313,0.44310638],"category_scores_gemma":[0.008946195,0.00054364325,0.0013699855,0.0040168962,0.00034629373,0.0013763779,0.0014164782,0.001323633,0.13350195],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020992607,0.000058236576,0.0043900455,0.0026565376,0.00009545557,0.00005361915,0.000054294156,0.00044977004,0.00036977782,0.00067298365,0.9877322,0.0032571773],"study_design_scores_gemma":[0.0011897811,0.00009276285,0.032177664,0.0013338432,0.00021738891,0.00022938126,0.00024352531,0.0009573078,0.00084508635,0.004591909,0.9580355,0.000085818785],"about_ca_topic_score_codex":0.011400886,"about_ca_topic_score_gemma":0.024359247,"teacher_disagreement_score":0.44310638,"about_ca_system_score_codex":0.0010492107,"about_ca_system_score_gemma":0.001492217,"threshold_uncertainty_score":0.79434115},"labels":[],"label_agreement":null},{"id":"W6961017792","doi":"10.14288/cl.v0i46.194930","title":"Write Me a Film?: A Symposium by Canadian Filmmakers","year":2021,"lang":"en","type":"article","venue":"Open Collections","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); Agency (philosophy); Feature (linguistics); Exposition (narrative)","score_opus":0.02090109200699573,"score_gpt":0.21453395506129883,"score_spread":0.1936328630543031,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6961017792","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007804574,0.20641676,0.0004055504,0.63490033,0.06058792,0.00021236103,0.0017312934,0.00008492615,0.08785629],"genre_scores_gemma":[0.13104936,0.27333018,0.0024577638,0.07935949,0.020790463,0.00027101408,0.001652229,0.00030069874,0.49078885],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9976433,0.0003680023,0.000064578075,0.00021820556,0.0009970064,0.00070888386],"domain_scores_gemma":[0.9916107,0.00082179374,0.00019835396,0.000103034996,0.003567577,0.0036985287],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004675842,0.0014921629,0.0009109839,0.0031969913,0.01893532,0.0125223,0.001886857,0.005501836,0.02560383],"category_scores_gemma":[0.007945598,0.00070839975,0.00056731864,0.0059974664,0.005921386,0.004191994,0.0032229512,0.0063730055,0.002526161],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030847223,0.000018278499,0.0003918694,0.00015036235,0.0000055042715,0.000106747204,0.0027178905,0.000031815423,0.00014155793,0.002376033,0.9763984,0.017630719],"study_design_scores_gemma":[0.0000045979377,0.000005662954,0.0022463861,0.00029990543,0.0000066336074,0.00004811799,0.011475738,0.000020370922,0.00005005727,0.00029471712,0.98552704,0.000020723019],"about_ca_topic_score_codex":0.91229695,"about_ca_topic_score_gemma":0.97934467,"teacher_disagreement_score":0.08770305,"about_ca_system_score_codex":0.053512655,"about_ca_system_score_gemma":0.09695561,"threshold_uncertainty_score":0.3882633},"labels":[],"label_agreement":null},{"id":"W6968216770","doi":"10.5281/zenodo.4041547","title":"(Regarder!) After - Chapitre 2 Streaming VF (2020!Film) Gratuit En ligne","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Laziness; Paraphernalia; Event (particle physics)","score_opus":0.02624106446664083,"score_gpt":0.20966350461920344,"score_spread":0.1834224401525626,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968216770","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00043679774,0.001006765,0.0011678789,0.003482261,0.011134571,0.00020087033,0.011083719,0.008989202,0.9624979],"genre_scores_gemma":[0.002050426,0.000675264,0.0008814254,0.0012779173,0.0015857094,0.000105543666,0.0054224385,0.0070326864,0.98096853],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995666,0.000035800986,0.000015051181,0.00007013552,0.00020435383,0.000108106935],"domain_scores_gemma":[0.9981133,0.00013980933,0.00005047156,0.0002167285,0.0008951709,0.0005846805],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00037941206,0.0009868813,0.00055043295,0.0015737556,0.0022810749,0.006790533,0.001185027,0.0016233866,0.9011824],"category_scores_gemma":[0.0030111207,0.0005262819,0.0007052809,0.0016621114,0.00042969603,0.0047877477,0.0032990638,0.0027969833,0.82219636],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009022671,0.0000035067114,0.0000174673,0.00004479034,6.198439e-7,0.00001818957,0.00003271857,0.000008981129,0.00014789462,0.0008126537,0.99059486,0.008309317],"study_design_scores_gemma":[0.000004436074,0.0000033658648,0.0001491925,0.00004516531,7.484519e-7,0.000028552286,0.00008038161,0.000013397318,0.00011812188,0.00020202462,0.99935,0.0000045808556],"about_ca_topic_score_codex":0.010592345,"about_ca_topic_score_gemma":0.024749883,"teacher_disagreement_score":0.09881759,"about_ca_system_score_codex":0.002072545,"about_ca_system_score_gemma":0.0011581663,"threshold_uncertainty_score":0.14095122},"labels":[],"label_agreement":null},{"id":"W6968334111","doi":"10.5281/zenodo.4207332","title":"RegardeR*]] Ain't No Time For Women (2020) — Film Complet Streaming VF eyh","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Order (exchange); Dictator","score_opus":0.03957949922211897,"score_gpt":0.21562655502937322,"score_spread":0.17604705580725424,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968334111","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005222705,0.00024509078,0.00036168357,0.0013951454,0.0021344125,0.00010357726,0.004739328,0.0020261484,0.9884723],"genre_scores_gemma":[0.0023538566,0.00023828392,0.000332413,0.00041773013,0.00020547587,0.000042748277,0.0020155467,0.0011014595,0.99329257],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998024,0.000016226264,0.0000053558156,0.000028443752,0.00008202585,0.00006558226],"domain_scores_gemma":[0.99937254,0.000046076002,0.00001583624,0.000045910903,0.00020432936,0.00031528217],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00027410296,0.0005579763,0.00028785542,0.00051869045,0.0018617425,0.0031598988,0.00067363883,0.0010037831,0.8872864],"category_scores_gemma":[0.0013553351,0.00031095836,0.00041980573,0.000477973,0.00023797582,0.0024297233,0.0020798154,0.001206114,0.7202623],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000017327862,0.0000062692457,0.00004867177,0.00003364088,6.506123e-7,0.000017650405,0.000063962456,0.0000051841007,0.00013084878,0.00059887976,0.98478764,0.014289246],"study_design_scores_gemma":[0.0000046368737,0.000006775853,0.00040592454,0.000031310858,9.34921e-7,0.000027296013,0.00013661003,0.000010295029,0.0000982716,0.000094076415,0.9991804,0.0000034307225],"about_ca_topic_score_codex":0.009898527,"about_ca_topic_score_gemma":0.035106637,"teacher_disagreement_score":0.112713575,"about_ca_system_score_codex":0.00077519077,"about_ca_system_score_gemma":0.00055995263,"threshold_uncertainty_score":0.16077214},"labels":[],"label_agreement":null},{"id":"W6968382094","doi":"10.5281/zenodo.4085713","title":"REGARDER''-Scandale (2019)]EN STREAMING FILM FR COMPLET iyi","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Burmese; Silence; Social life","score_opus":0.05142128025534778,"score_gpt":0.2242628613595619,"score_spread":0.1728415811042141,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968382094","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006354676,0.0002963211,0.00043328304,0.0012557779,0.0024026476,0.00014114883,0.008693855,0.0038448144,0.98229665],"genre_scores_gemma":[0.0030075568,0.00033953498,0.0005422443,0.0006550328,0.00035904424,0.000071155606,0.0060386965,0.0019853588,0.9870014],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997665,0.00001716654,0.000008767234,0.00003305947,0.0001006795,0.00007371378],"domain_scores_gemma":[0.9993343,0.000052313517,0.0000239477,0.000051196406,0.0002554392,0.00028284197],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00036989807,0.00066629355,0.00030630236,0.00078061473,0.0020406498,0.00427119,0.00068904663,0.0011553108,0.8838321],"category_scores_gemma":[0.0015776407,0.00038970454,0.00043803785,0.0007849734,0.00021259849,0.0031785546,0.0023890394,0.0015777564,0.7455737],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016276705,0.0000062194454,0.000060296366,0.00003202945,6.688083e-7,0.000025490654,0.00005587362,0.000004314218,0.00011080727,0.0004892495,0.98643374,0.0127650695],"study_design_scores_gemma":[0.000006317688,0.0000058892497,0.00044479046,0.00003669443,8.627563e-7,0.000029593963,0.0001027434,0.000015867949,0.00009950096,0.00007926004,0.9991738,0.0000045338347],"about_ca_topic_score_codex":0.010709125,"about_ca_topic_score_gemma":0.03999878,"teacher_disagreement_score":0.1161679,"about_ca_system_score_codex":0.0008006907,"about_ca_system_score_gemma":0.0005721497,"threshold_uncertainty_score":0.16569936},"labels":[],"label_agreement":null},{"id":"W6968388489","doi":"10.5281/zenodo.4148715","title":"Assistir The Craft: Legacy (2020) Dublado Filme Online Grátis okk","year":2020,"lang":"pt","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subject (documents); Scapegoat; Geologist; Troubleshooting; Context (archaeology); Fusible alloy","score_opus":0.0668634310942974,"score_gpt":0.23758608634993272,"score_spread":0.17072265525563532,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968388489","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013269224,0.00041307264,0.00045947015,0.0010891918,0.0011290737,0.00008494542,0.0038447697,0.0028151786,0.98883736],"genre_scores_gemma":[0.0040364875,0.00032363934,0.0003846911,0.00034332907,0.00019223022,0.000031095682,0.001807165,0.0011002478,0.9917812],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998474,0.000012486242,0.0000045795136,0.000026619642,0.00006398613,0.000044927092],"domain_scores_gemma":[0.99945515,0.000041893414,0.000016796235,0.00006130984,0.00016153145,0.00026326405],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023319053,0.00048156962,0.00020292909,0.000649502,0.0015834499,0.0037398767,0.00058803876,0.0008184774,0.804457],"category_scores_gemma":[0.0010549583,0.00030939816,0.00023054739,0.0005491103,0.00027743995,0.00247355,0.0025799824,0.0009337238,0.58096164],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022332357,0.000010687596,0.00010600931,0.000049514612,0.0000010568205,0.000053217154,0.00017268723,0.000012068723,0.00029933013,0.00069658953,0.9716466,0.026929894],"study_design_scores_gemma":[0.000004564112,0.000005834448,0.0006285911,0.000030375846,0.0000010048824,0.000043053424,0.0002489782,0.000016903237,0.00013867536,0.00008324185,0.9987956,0.000003194018],"about_ca_topic_score_codex":0.008794629,"about_ca_topic_score_gemma":0.047646634,"teacher_disagreement_score":0.19554299,"about_ca_system_score_codex":0.00076485414,"about_ca_system_score_gemma":0.00042023617,"threshold_uncertainty_score":0.2789184},"labels":[],"label_agreement":null},{"id":"W6968393293","doi":"10.5281/zenodo.4120006","title":"Streaming vF~ Falling (2020) streaming vf et vostfr en Ligne Complet kxi","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Falling in love; Imago","score_opus":0.05096462494940743,"score_gpt":0.23808351730365584,"score_spread":0.18711889235424842,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968393293","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005228797,0.00032461662,0.003206607,0.0006401277,0.001398114,0.0003420434,0.03884004,0.033726692,0.9209989],"genre_scores_gemma":[0.0033167652,0.00046014282,0.002798996,0.0005178424,0.000499207,0.00026617057,0.04056582,0.0153657375,0.93620926],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99965703,0.000022642489,0.000012752956,0.00005317721,0.0001634224,0.00009105287],"domain_scores_gemma":[0.99875414,0.00011540667,0.00003219579,0.00018812038,0.00048489936,0.0004252656],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00043465535,0.0013204073,0.00062458514,0.0014587506,0.0016449607,0.004433279,0.0015025195,0.0013500345,0.9267422],"category_scores_gemma":[0.0025427565,0.000587267,0.0007025265,0.0015072433,0.0002693954,0.0042776926,0.0039265426,0.0016317026,0.8417515],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000026601983,0.0000070111855,0.00004796062,0.000058366484,0.0000010772499,0.000020925707,0.00003327278,0.000018677158,0.0002797501,0.0005235349,0.9793565,0.019626267],"study_design_scores_gemma":[0.00001352321,0.000009180242,0.0003949119,0.000055372082,0.0000017252881,0.000044791672,0.000059445127,0.00007240714,0.00023465957,0.0003962755,0.9987081,0.000009574424],"about_ca_topic_score_codex":0.00677324,"about_ca_topic_score_gemma":0.01732272,"teacher_disagreement_score":0.073257804,"about_ca_system_score_codex":0.00093001034,"about_ca_system_score_gemma":0.0008614057,"threshold_uncertainty_score":0.10449326},"labels":[],"label_agreement":null},{"id":"W6968443615","doi":"10.5281/zenodo.4174714","title":"Se The Kid Detective 2020 På Nettet Film Online Gratis Danske Undertekster rri","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The Internet; Online forum; Discourse analysis","score_opus":0.07401383249047656,"score_gpt":0.23187952038452228,"score_spread":0.1578656878940457,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968443615","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023808228,0.0012453272,0.0010161109,0.0036100831,0.004062194,0.0002324913,0.03811197,0.0023907418,0.94695026],"genre_scores_gemma":[0.007867864,0.00095773634,0.0005987145,0.00050607335,0.00054420886,0.00010241617,0.013284704,0.001183039,0.9749553],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998486,0.000013162471,0.00000554356,0.000025991078,0.00007215861,0.000034507964],"domain_scores_gemma":[0.99948055,0.00007630494,0.000029576127,0.000040599134,0.0001720385,0.00020095585],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00035625332,0.00045837736,0.0002805676,0.0010866832,0.0009974645,0.0031906278,0.00042937257,0.0006314914,0.70503867],"category_scores_gemma":[0.0012223171,0.00031427434,0.00026642098,0.0008499738,0.00019106458,0.0015066328,0.0011843177,0.001181111,0.48197216],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025939114,0.000006569283,0.00008958836,0.000035692483,0.0000010340498,0.000016298613,0.00003399291,0.000008834476,0.00014364207,0.00049843936,0.988983,0.010157056],"study_design_scores_gemma":[0.000008780881,0.000007829557,0.0012994237,0.00003770447,0.0000017546912,0.000025826614,0.00010823379,0.00002845847,0.0002192605,0.00014136838,0.99811745,0.0000038911116],"about_ca_topic_score_codex":0.007908032,"about_ca_topic_score_gemma":0.030386223,"teacher_disagreement_score":0.29496133,"about_ca_system_score_codex":0.0007796929,"about_ca_system_score_gemma":0.0005971327,"threshold_uncertainty_score":0.42072654},"labels":[],"label_agreement":null},{"id":"W6968457883","doi":"10.5281/zenodo.4100080","title":"regarder||||||||&gt;&gt; 1917 (2019) streaming vf en film complet 'HD\" whl","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Documentary film; Film festival; Video recording; Video streaming","score_opus":0.05060213746492582,"score_gpt":0.22585601140370498,"score_spread":0.17525387393877917,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968457883","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005834203,0.00021602666,0.00044478363,0.0010198088,0.0022228092,0.00013747739,0.00754556,0.00312178,0.9847083],"genre_scores_gemma":[0.0018941512,0.00016860792,0.0002977968,0.0002446017,0.00017543924,0.000042997784,0.00332432,0.0021170722,0.991735],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997354,0.000016698172,0.0000064450287,0.00003819473,0.00012286707,0.00008041783],"domain_scores_gemma":[0.9993585,0.00004020489,0.000017777527,0.00006817332,0.00023116336,0.0002843363],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00034952056,0.00065663125,0.00033818505,0.00071719266,0.0024380195,0.0041688466,0.00078973843,0.0010004239,0.8941005],"category_scores_gemma":[0.0013577498,0.00037222885,0.00043511824,0.00063463306,0.0003402775,0.002916238,0.0027680474,0.0017427058,0.7740083],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013239998,0.000004802798,0.000044380402,0.000026528161,5.740874e-7,0.00001538303,0.000058588674,0.0000062644117,0.00013633985,0.00054277986,0.9888902,0.010261023],"study_design_scores_gemma":[0.0000043627174,0.0000045592005,0.00031584094,0.000025810965,7.014187e-7,0.000019251802,0.000107214706,0.000011741137,0.00011095638,0.000085000385,0.9993112,0.0000033273027],"about_ca_topic_score_codex":0.015306835,"about_ca_topic_score_gemma":0.05500788,"teacher_disagreement_score":0.10589951,"about_ca_system_score_codex":0.0014576537,"about_ca_system_score_gemma":0.0007975993,"threshold_uncertainty_score":0.15105283},"labels":[],"label_agreement":null},{"id":"W6968512449","doi":"10.5281/zenodo.4443020","title":"Streaming VF Vanguard Streaming VF — Film Complet en Français 2020","year":2021,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Vanguard; Cousin; Ligne","score_opus":0.03374378521215644,"score_gpt":0.22916521350829244,"score_spread":0.195421428296136,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968512449","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0020171395,0.0014679607,0.0025028563,0.0034693303,0.004161287,0.00024055297,0.033593275,0.017633753,0.9349139],"genre_scores_gemma":[0.004580748,0.0007934953,0.0015464936,0.00052815984,0.00041858092,0.000073619325,0.019484598,0.004006912,0.9685675],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999451,0.00004542085,0.000018797955,0.000093614864,0.00026666818,0.00012455137],"domain_scores_gemma":[0.99845326,0.00007745881,0.00003652661,0.00017078203,0.0006499776,0.000611895],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0009040104,0.00096682657,0.00035611884,0.0010415412,0.0020454768,0.006086224,0.0011644536,0.0014633391,0.76838034],"category_scores_gemma":[0.0024346323,0.00042516805,0.0005387068,0.0010481996,0.0005107472,0.0049266745,0.0029220823,0.0013212167,0.595585],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040910356,0.00000709311,0.000059551185,0.000044328768,0.0000013228813,0.000033353233,0.000045744906,0.000026015316,0.0005174343,0.0015307405,0.97860444,0.019089207],"study_design_scores_gemma":[0.0000078091525,0.0000104754345,0.00030287766,0.000035336525,8.645342e-7,0.000024887902,0.0000615389,0.000049835435,0.00020302233,0.0002672144,0.9990295,0.000006585254],"about_ca_topic_score_codex":0.031886082,"about_ca_topic_score_gemma":0.06677525,"teacher_disagreement_score":0.23161966,"about_ca_system_score_codex":0.0019926424,"about_ca_system_score_gemma":0.0019357962,"threshold_uncertainty_score":0.33037728},"labels":[],"label_agreement":null},{"id":"W6968522115","doi":"10.5281/zenodo.4077749","title":"Regarder Chef en pandémie (2020) Streaming VF Film Complet kyp","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Tourist destinations; Live streaming; Virtual world","score_opus":0.05095372935086339,"score_gpt":0.22862172235790493,"score_spread":0.17766799300704153,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968522115","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012620105,0.00065897394,0.0007410318,0.0036905927,0.0038186144,0.00016838837,0.011407927,0.0032394778,0.97501284],"genre_scores_gemma":[0.0049755583,0.00079854607,0.00093415333,0.0010780747,0.00049713295,0.0000688905,0.0059100953,0.00156669,0.984171],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99974066,0.00001553984,0.000006604211,0.0000289334,0.00013001324,0.00007823351],"domain_scores_gemma":[0.99918896,0.000073941206,0.00002061679,0.000055734712,0.00038438838,0.00027640973],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00038024285,0.00053309975,0.00022290528,0.0008327783,0.002369502,0.003963138,0.0006481122,0.0013338279,0.74996525],"category_scores_gemma":[0.0018461575,0.0002676522,0.00038899298,0.00078114605,0.00029204643,0.0029182825,0.0018874157,0.0015363122,0.45542857],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010459003,0.00000451418,0.00006380129,0.000030050696,5.884813e-7,0.00003034114,0.00006442925,0.000008348375,0.00013588065,0.00055107946,0.98723024,0.011870419],"study_design_scores_gemma":[0.0000041962344,0.0000043804253,0.0005423706,0.000044495704,0.0000011417936,0.000045576784,0.00015098653,0.000016377393,0.000119278986,0.00010489996,0.9989619,0.0000044217],"about_ca_topic_score_codex":0.039198536,"about_ca_topic_score_gemma":0.1331574,"teacher_disagreement_score":0.25003475,"about_ca_system_score_codex":0.0015629253,"about_ca_system_score_gemma":0.0013660254,"threshold_uncertainty_score":0.3566442},"labels":[],"label_agreement":null},{"id":"W6968531239","doi":"10.5281/zenodo.4254519","title":"[!REGARDER!]~VF Lointain (2020) Film Complet Streaming VF En Francais bwu","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Order (exchange); French; Paradise","score_opus":0.04037162136882586,"score_gpt":0.22456906805290494,"score_spread":0.18419744668407909,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968531239","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018297341,0.000627819,0.0009259505,0.0022885052,0.0026423584,0.00018247205,0.012465071,0.0051739207,0.9738641],"genre_scores_gemma":[0.005553688,0.00049381814,0.00088385586,0.00057130825,0.0002092835,0.000049134134,0.0051192674,0.0025301327,0.9845895],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999747,0.000015617668,0.0000064799256,0.000036171776,0.0001173979,0.00007738444],"domain_scores_gemma":[0.99895704,0.00004492203,0.000021993277,0.0000843794,0.0005200886,0.00037158426],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003263418,0.0005864425,0.00023080932,0.0007197768,0.002447756,0.0037848423,0.00070657185,0.00092218677,0.8048481],"category_scores_gemma":[0.0014096858,0.0003228693,0.00031072838,0.00089960755,0.00030326645,0.002558357,0.0017886363,0.0012968273,0.5479176],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001829202,0.0000070422007,0.00011327058,0.000046472767,0.0000010904193,0.000042783493,0.00013697875,0.000010997627,0.0003650785,0.000706128,0.98008096,0.018471012],"study_design_scores_gemma":[0.0000038339977,0.000004314385,0.00056113873,0.000037346814,9.802204e-7,0.000038565744,0.00020207468,0.000018333243,0.00017287316,0.00006391404,0.99889153,0.0000051396087],"about_ca_topic_score_codex":0.10558053,"about_ca_topic_score_gemma":0.25861022,"teacher_disagreement_score":0.19515193,"about_ca_system_score_codex":0.0019545327,"about_ca_system_score_gemma":0.001457247,"threshold_uncertainty_score":0.2783605},"labels":[],"label_agreement":null},{"id":"W6968542880","doi":"10.5281/zenodo.4084004","title":"[FILMS VOIR] Scandale (2019) FILMS STREAMING VF EN GRATUIT ET VOSTFR uqh","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Burmese; Tourist destinations; Order (exchange)","score_opus":0.04290451033282222,"score_gpt":0.23191520356818257,"score_spread":0.18901069323536035,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968542880","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00044408644,0.00036312608,0.00025585075,0.00088297727,0.0020601943,0.00008602607,0.007986634,0.0027684227,0.9851527],"genre_scores_gemma":[0.002858366,0.00047333344,0.0004423182,0.0005622381,0.00041395464,0.000059456823,0.0070269913,0.0021523857,0.9860109],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997032,0.000021408803,0.000009901412,0.000038136503,0.00014490516,0.00008238278],"domain_scores_gemma":[0.99915767,0.000058382248,0.000028564516,0.00007515843,0.0003819234,0.0002982273],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032539334,0.0007711495,0.000320708,0.0010801347,0.0024027948,0.0061198277,0.0008016244,0.0012375201,0.87334156],"category_scores_gemma":[0.0017103871,0.0005153305,0.00046694063,0.0013686919,0.00026224583,0.003586827,0.0021616174,0.0017045074,0.7438607],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000132681835,0.000004953988,0.000035874422,0.000031279546,7.2832836e-7,0.000018918345,0.000037257636,0.000005026879,0.000086184664,0.00042954882,0.9895504,0.009786576],"study_design_scores_gemma":[0.0000059354275,0.0000044284793,0.00036135837,0.00004092029,9.451949e-7,0.000027851322,0.00008432087,0.000011028861,0.00007949425,0.000095091826,0.9992843,0.000004407774],"about_ca_topic_score_codex":0.014613211,"about_ca_topic_score_gemma":0.04431052,"teacher_disagreement_score":0.12665844,"about_ca_system_score_codex":0.000918793,"about_ca_system_score_gemma":0.0007509259,"threshold_uncertainty_score":0.18066281},"labels":[],"label_agreement":null},{"id":"W6968569684","doi":"10.5281/zenodo.4052588","title":"Regarder {{Les Croods 2 : Une Nouvelle Ère}} 2020 Streaming VF Complet en Film FR","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Portrait; Feature film; Taste","score_opus":0.046839974295518526,"score_gpt":0.22898269298989984,"score_spread":0.1821427186943813,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968569684","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0037682722,0.00018051878,0.0056296815,0.0011870338,0.0012147721,0.00025286764,0.00240319,0.007165796,0.97819793],"genre_scores_gemma":[0.011844715,0.00019041562,0.0035773295,0.00043809187,0.00019481765,0.00007416627,0.001555403,0.0036779556,0.97844714],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99962175,0.00001852821,0.000009637899,0.00006918486,0.00018757656,0.00009331779],"domain_scores_gemma":[0.99907804,0.00007300465,0.000027445072,0.000108717795,0.00046028788,0.00025250253],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000321017,0.0010575232,0.00035028462,0.0009293597,0.002056061,0.002675439,0.0011101142,0.0012909723,0.76647115],"category_scores_gemma":[0.0013526846,0.00055699516,0.00048259227,0.00043056652,0.0003376469,0.0027134032,0.0018007777,0.0014237928,0.54784864],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016433104,0.00004908838,0.0005182349,0.00014634161,0.000004959084,0.0003283223,0.00022955985,0.00015273548,0.013862648,0.0050820913,0.88382447,0.09563707],"study_design_scores_gemma":[0.000016465368,0.000045595683,0.000957681,0.00003478068,0.000003924449,0.00021550112,0.00015638559,0.00034311495,0.0057026963,0.0005616035,0.99194324,0.0000189168],"about_ca_topic_score_codex":0.00844617,"about_ca_topic_score_gemma":0.023024036,"teacher_disagreement_score":0.23352885,"about_ca_system_score_codex":0.001115801,"about_ca_system_score_gemma":0.00081639143,"threshold_uncertainty_score":0.33310056},"labels":[],"label_agreement":null},{"id":"W6968573001","doi":"10.5281/zenodo.4462135","title":"[HD]~ Streaming vf Pour une histoire d'un soir (2021) Film COmplet VOSTFR En Gratuit brn","year":2021,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Population; Context (archaeology); Noise (video)","score_opus":0.037008787278033035,"score_gpt":0.2225479307752495,"score_spread":0.18553914349721648,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968573001","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006445214,0.00034223287,0.0017225652,0.0012535286,0.002448081,0.00016080936,0.015406879,0.0070659663,0.9709555],"genre_scores_gemma":[0.0046202927,0.0004381179,0.0017411959,0.0004391723,0.00035554962,0.000079916805,0.010282799,0.005005437,0.97703743],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998178,0.000014836067,0.0000047270823,0.000025103393,0.00009165125,0.00004583435],"domain_scores_gemma":[0.9993631,0.00005093082,0.000014745229,0.00008982304,0.00030449228,0.00017683943],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00030812618,0.0007017657,0.00024489316,0.0007733772,0.0019382972,0.0037775158,0.0009115665,0.0009299656,0.81845737],"category_scores_gemma":[0.0012809573,0.00045443722,0.00038322035,0.0008881747,0.00031692238,0.0025146632,0.0019047935,0.0012982164,0.5813831],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016589682,0.0000032288256,0.000041936226,0.000038250833,0.0000010558724,0.000025774463,0.000061512605,0.000019997451,0.0002923178,0.00086999655,0.98764825,0.010981186],"study_design_scores_gemma":[0.0000060505145,0.000004138226,0.0003460032,0.000033024182,0.000001116217,0.000038772418,0.00010622058,0.000038663344,0.00016948055,0.00018397659,0.9990671,0.0000054374377],"about_ca_topic_score_codex":0.03236748,"about_ca_topic_score_gemma":0.089273326,"teacher_disagreement_score":0.18154263,"about_ca_system_score_codex":0.0012064518,"about_ca_system_score_gemma":0.00078432396,"threshold_uncertainty_score":0.25894845},"labels":[],"label_agreement":null},{"id":"W6968578420","doi":"10.5281/zenodo.4102182","title":"[[Vedere]] » Falling (2020) film completo streaming ita hd qdc","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Daughter; Falling in love; The Internet","score_opus":0.07774528967637671,"score_gpt":0.22796833512680406,"score_spread":0.15022304545042736,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968578420","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00039586078,0.0002661945,0.00043375502,0.0006566072,0.0014172548,0.00009097993,0.0038833912,0.0024172917,0.99043864],"genre_scores_gemma":[0.0020247567,0.00029737403,0.00052139274,0.0003956448,0.00024031698,0.000040712097,0.0027134193,0.0013082927,0.9924581],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99983454,0.000009657766,0.0000048903703,0.000026291165,0.00008630387,0.00003831947],"domain_scores_gemma":[0.9995895,0.00002424429,0.000010430472,0.000042725143,0.00020928956,0.00012385153],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00023952717,0.0005455553,0.0002649308,0.00087717484,0.001514074,0.0036570323,0.0007303221,0.00083404686,0.86322606],"category_scores_gemma":[0.00084692554,0.00035271273,0.00040011836,0.000724786,0.000212223,0.0019878924,0.0017021211,0.001267708,0.65912277],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013053213,0.0000071965724,0.000032826978,0.000037486476,8.0913196e-7,0.000017852366,0.000038852282,0.000007906377,0.00017541439,0.00069203746,0.9805871,0.018389491],"study_design_scores_gemma":[0.000003657258,0.000004198257,0.00025943294,0.000020683588,7.243509e-7,0.00002593732,0.000037167312,0.00001200163,0.00007800339,0.00009434586,0.9994615,0.0000024959845],"about_ca_topic_score_codex":0.010205191,"about_ca_topic_score_gemma":0.03392537,"teacher_disagreement_score":0.13677394,"about_ca_system_score_codex":0.0007202156,"about_ca_system_score_gemma":0.00051934103,"threshold_uncertainty_score":0.19509137},"labels":[],"label_agreement":null},{"id":"W6968591170","doi":"10.5281/zenodo.4165995","title":"[[Vedere]] » My Salinger Year (2020) film completo streaming ita hd qmu","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Dysgeusia; Diafiltration; Liquation; Fusible alloy; Emperipolesis; Triacetin","score_opus":0.06755079474789882,"score_gpt":0.22626815354788862,"score_spread":0.1587173587999898,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968591170","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0037223927,0.0025205987,0.0021914025,0.008884357,0.002790663,0.00017702108,0.079019226,0.0027648243,0.89792955],"genre_scores_gemma":[0.022503648,0.0028669701,0.0017828045,0.001005381,0.00059931533,0.00015001226,0.03599596,0.0012940494,0.93380183],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99987197,0.000015508374,0.0000051152365,0.000024603503,0.00005406918,0.000028713543],"domain_scores_gemma":[0.99959296,0.000051023442,0.000033267508,0.000034988894,0.00014827534,0.000139521],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00047665468,0.0003145699,0.00022369261,0.0008711519,0.00062608975,0.0031729273,0.00039122693,0.0006169757,0.58368623],"category_scores_gemma":[0.0017456939,0.000186178,0.00027793026,0.0010609531,0.00013513213,0.0014475418,0.0008056413,0.0008010513,0.29501197],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000015647624,0.000005343969,0.00022446926,0.000045686098,0.0000022746788,0.00000976093,0.000029101177,0.000030959996,0.00006094667,0.001691989,0.9755222,0.022361748],"study_design_scores_gemma":[0.0000072763987,0.000008629919,0.0032295154,0.00005772429,0.000002291656,0.000019362727,0.00008698055,0.00007368854,0.00008519219,0.00040445337,0.9960206,0.0000042686247],"about_ca_topic_score_codex":0.022656495,"about_ca_topic_score_gemma":0.03944236,"teacher_disagreement_score":0.41631377,"about_ca_system_score_codex":0.0008545178,"about_ca_system_score_gemma":0.0007023477,"threshold_uncertainty_score":0.59382105},"labels":[],"label_agreement":null},{"id":"W6968595102","doi":"10.5281/zenodo.4146431","title":"[HD]~ Streaming vf Les vieux chums (2020) Film COmplet VOSTFR En Gratuit zjk","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Population; Key (lock); Nucleofection","score_opus":0.056273803421300866,"score_gpt":0.230946959034421,"score_spread":0.17467315561312013,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968595102","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006400693,0.0002738797,0.000981792,0.00084765494,0.001585355,0.0001473186,0.012162331,0.007536701,0.9758251],"genre_scores_gemma":[0.0039647496,0.00039313134,0.000913585,0.00041500162,0.0003062059,0.000069816866,0.009312756,0.0038069636,0.9808178],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998227,0.000010089916,0.0000044447843,0.000022568389,0.00008747995,0.000052772175],"domain_scores_gemma":[0.9994123,0.000038408893,0.000012189586,0.000065958964,0.00027247428,0.00019866739],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00021406137,0.0007111927,0.0002981477,0.00083759666,0.0020879384,0.0038353098,0.00085138134,0.00087584107,0.8610642],"category_scores_gemma":[0.0011584687,0.0004034933,0.00035875064,0.0009217603,0.0002733026,0.0025949725,0.00206146,0.0013332823,0.66357905],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021001379,0.0000045338647,0.000045432294,0.000034696954,9.33931e-7,0.000021817266,0.00004765402,0.000017089673,0.00024968633,0.00068303104,0.9864384,0.012435783],"study_design_scores_gemma":[0.000008159869,0.0000056495896,0.00040772377,0.000033766384,0.000001263914,0.000033690536,0.00008952181,0.00004409716,0.00019954122,0.00015464044,0.9990159,0.0000058199676],"about_ca_topic_score_codex":0.026806664,"about_ca_topic_score_gemma":0.07442226,"teacher_disagreement_score":0.1389358,"about_ca_system_score_codex":0.0011181638,"about_ca_system_score_gemma":0.00075129746,"threshold_uncertainty_score":0.19817501},"labels":[],"label_agreement":null},{"id":"W6968616720","doi":"10.5281/zenodo.4143033","title":"STREAMING VF~ Monster Hunter (2020) streaming vF VOSTFR en Ligne Film FR iqm","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Monster; Web site; Hum","score_opus":0.0315205739586618,"score_gpt":0.22183835589928091,"score_spread":0.1903177819406191,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968616720","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006167801,0.0003813258,0.0020189437,0.0006427106,0.0012477272,0.00025330126,0.027758447,0.01720996,0.94987077],"genre_scores_gemma":[0.0033839676,0.00046414125,0.0017731779,0.0004019034,0.0003618837,0.000196871,0.022614026,0.009973342,0.96083075],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997261,0.000021220574,0.000009131827,0.000046985977,0.00011690522,0.00007954487],"domain_scores_gemma":[0.9991239,0.00008345276,0.000025912539,0.00012208652,0.0002921097,0.00035242847],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032203438,0.0014195719,0.0005908351,0.0013083502,0.0015578868,0.004038482,0.001615429,0.0014293819,0.9273747],"category_scores_gemma":[0.0021148417,0.0006733198,0.00073219417,0.0012540778,0.00030549715,0.0042654243,0.004738478,0.0014497932,0.8359601],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029685725,0.0000064705755,0.000046961864,0.000063748135,0.0000015099539,0.000029596482,0.000049484628,0.000020910851,0.00018599091,0.00051643973,0.98463875,0.014410527],"study_design_scores_gemma":[0.000014279174,0.000009323556,0.00035536237,0.00007483693,0.0000025585282,0.00006854827,0.00009726983,0.000076698336,0.00018680519,0.00036423476,0.9987394,0.000010754183],"about_ca_topic_score_codex":0.009035048,"about_ca_topic_score_gemma":0.02293279,"teacher_disagreement_score":0.07262528,"about_ca_system_score_codex":0.0008661922,"about_ca_system_score_gemma":0.00070098566,"threshold_uncertainty_score":0.103591084},"labels":[],"label_agreement":null},{"id":"W6968752630","doi":"10.5281/zenodo.4253290","title":"REGARDER!@# Nulle trace (2020) FILM-COMPLET EN fsr","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"TRACE (psycholinguistics); Field (mathematics); Feature (linguistics)","score_opus":0.04820412648405216,"score_gpt":0.22436157765964393,"score_spread":0.17615745117559178,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968752630","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011244605,0.00040342662,0.002871636,0.0014311761,0.0022917553,0.00030971903,0.023087729,0.028699957,0.9397801],"genre_scores_gemma":[0.004369008,0.0004705954,0.0018025002,0.0008470128,0.00033492036,0.0001496794,0.01248855,0.01792532,0.96161234],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99964964,0.00002143119,0.000013856506,0.00005010467,0.00017237407,0.00009267907],"domain_scores_gemma":[0.99847895,0.00014356116,0.000035168363,0.00025966502,0.00070018886,0.00038242727],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00037778736,0.0010812089,0.000476651,0.00126178,0.0016020401,0.0046709892,0.0013458874,0.001540705,0.8926313],"category_scores_gemma":[0.0029180674,0.0006918916,0.000733718,0.0009702787,0.0002815376,0.005090662,0.002979875,0.0014283301,0.8055115],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003411876,0.0000146717075,0.00008331326,0.00008483607,0.0000015478901,0.000034514356,0.000067640765,0.000020622676,0.0003988254,0.00073307415,0.97689795,0.021628877],"study_design_scores_gemma":[0.000013416296,0.000010359007,0.00045494066,0.00005690634,0.0000027481747,0.00006381565,0.00009084056,0.000060491104,0.00065331615,0.00028041072,0.9983015,0.000011157304],"about_ca_topic_score_codex":0.011418376,"about_ca_topic_score_gemma":0.023973266,"teacher_disagreement_score":0.10736871,"about_ca_system_score_codex":0.0011898278,"about_ca_system_score_gemma":0.0007124589,"threshold_uncertainty_score":0.15314835},"labels":[],"label_agreement":null},{"id":"W6968765741","doi":"10.5281/zenodo.4251827","title":"Vederlo Streaming Mort Subite 2 (2020) Online Film Completo Italiano Gratuito gih","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; Diafiltration; TSG101; Dysgeusia; Fusible alloy; Proteogenomics; Pretext; Hyporeflexia","score_opus":0.06159299016754691,"score_gpt":0.24512942424610706,"score_spread":0.18353643407856016,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968765741","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006493476,0.00048018174,0.00054504845,0.00077932794,0.0020478386,0.00017048919,0.0077783624,0.0033897012,0.98415965],"genre_scores_gemma":[0.002376518,0.0004612361,0.000495517,0.00033969322,0.0005289675,0.0000661098,0.004512485,0.0018514775,0.9893679],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997793,0.000011987015,0.0000056059926,0.000032893153,0.00011629571,0.000053873482],"domain_scores_gemma":[0.99950635,0.00004090823,0.000018161923,0.0000684226,0.00018902827,0.00017725602],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003270164,0.0009491484,0.00038708607,0.0012447314,0.001206446,0.0044670184,0.0008657995,0.0010721469,0.8723358],"category_scores_gemma":[0.0010782938,0.00046006794,0.00057456107,0.0009142712,0.00026529178,0.0024177893,0.0021586593,0.0014988212,0.71772933],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000039292823,0.0000121124,0.000049467606,0.00007126576,0.0000015804366,0.000029879295,0.0000363191,0.000023336333,0.0003406504,0.000742845,0.98200005,0.01665318],"study_design_scores_gemma":[0.000011988849,0.000012746214,0.0005585077,0.0000549728,0.0000021978362,0.000037531332,0.000045942314,0.00003644975,0.0001547234,0.0001529548,0.99892765,0.0000043451187],"about_ca_topic_score_codex":0.0051691826,"about_ca_topic_score_gemma":0.017903557,"teacher_disagreement_score":0.12766421,"about_ca_system_score_codex":0.0008271581,"about_ca_system_score_gemma":0.00062824157,"threshold_uncertainty_score":0.18209743},"labels":[],"label_agreement":null},{"id":"W6968772105","doi":"10.5281/zenodo.4462426","title":"STREAMING VF~ L'origine de mes espèces – La genèse (2021) streaming vF VOSTFR en Ligne Film FR iyr","year":2021,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Private life; Virtual world; Cyberculture","score_opus":0.023692525272470965,"score_gpt":0.23274975108122137,"score_spread":0.2090572258087504,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968772105","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0028280686,0.00111175,0.004352524,0.0026923553,0.0035685808,0.00026386062,0.037634823,0.014105748,0.9334422],"genre_scores_gemma":[0.008768242,0.0010766932,0.0039678044,0.0009799463,0.0003801799,0.00015651964,0.02315734,0.006419628,0.95509356],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99985504,0.00000959656,0.0000053267718,0.00002637483,0.000069077774,0.00003452428],"domain_scores_gemma":[0.99964714,0.00004652427,0.000012549344,0.000046453108,0.00013064078,0.000116701936],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00026438857,0.0006732617,0.00032124232,0.00069645664,0.0011447328,0.0024486564,0.0007721989,0.0010811306,0.74483395],"category_scores_gemma":[0.0009913964,0.0003531323,0.0005782025,0.00061091455,0.00025456044,0.002278398,0.0017780302,0.0014028063,0.51148576],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050579478,0.00001076772,0.00015935322,0.000121056815,0.0000029451292,0.000102583224,0.00011305526,0.00003834286,0.004112792,0.0015217334,0.95609987,0.037666954],"study_design_scores_gemma":[0.0000073994734,0.000011963043,0.00068296737,0.00004069699,0.0000021719545,0.00009726901,0.00007465531,0.000040104343,0.0008303104,0.00034899896,0.9978561,0.0000072717057],"about_ca_topic_score_codex":0.0058006677,"about_ca_topic_score_gemma":0.016216515,"teacher_disagreement_score":0.25516605,"about_ca_system_score_codex":0.00080696784,"about_ca_system_score_gemma":0.00044828356,"threshold_uncertainty_score":0.36396337},"labels":[],"label_agreement":null},{"id":"W6968817343","doi":"10.5281/zenodo.4253831","title":"(ReGarder) L'Abat (2020) FILM Streaming VF Complet [HD] français guk","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Glide plane; Video recording; Live streaming","score_opus":0.04797857340100691,"score_gpt":0.22101792357473246,"score_spread":0.17303935017372554,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968817343","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0019310772,0.00048405182,0.0015721323,0.0014967858,0.0022880924,0.00023623358,0.018762253,0.010011964,0.9632174],"genre_scores_gemma":[0.007282748,0.00043593263,0.0017482579,0.0006247663,0.00028667462,0.000102619495,0.008581874,0.0063056424,0.97463155],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99977607,0.000016099182,0.0000067883616,0.000038507464,0.00009508809,0.00006738141],"domain_scores_gemma":[0.99904305,0.000055545643,0.000022821203,0.00011663698,0.00044165022,0.00032026676],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00033494085,0.00074884424,0.0003179083,0.00081920065,0.002022012,0.0035475197,0.0008632125,0.0010629755,0.8617391],"category_scores_gemma":[0.0013208041,0.00041672742,0.00045896674,0.0007765827,0.000289009,0.0025466366,0.0019414943,0.0013691057,0.65452355],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038312763,0.000011509986,0.000123003,0.00006840529,0.0000018388722,0.000048085865,0.00013221744,0.000021998065,0.00072856335,0.0007707432,0.9773605,0.02069471],"study_design_scores_gemma":[0.000008250127,0.000008289861,0.00073851366,0.000050242754,0.0000019720555,0.000052416275,0.00017781476,0.00004380141,0.0003329277,0.00013073956,0.9984471,0.000007873287],"about_ca_topic_score_codex":0.030283468,"about_ca_topic_score_gemma":0.10304926,"teacher_disagreement_score":0.1382609,"about_ca_system_score_codex":0.0013743123,"about_ca_system_score_gemma":0.0008894196,"threshold_uncertainty_score":0.1972124},"labels":[],"label_agreement":null},{"id":"W6968819136","doi":"10.5281/zenodo.4041561","title":"FilM~complet@!HD]]]~AFTER CHAPITRE 2 Streaming vF (2020)","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Paraphernalia; Laziness; Feature (linguistics)","score_opus":0.04408176180292007,"score_gpt":0.21901278367210006,"score_spread":0.17493102186918,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968819136","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005130029,0.0008843379,0.0010260632,0.0038374648,0.0077964063,0.0001425543,0.0065705534,0.0041928524,0.9750367],"genre_scores_gemma":[0.0029676838,0.00054645777,0.00086498423,0.0010856962,0.0010121528,0.00006300205,0.0035713708,0.0036932805,0.98619545],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99951184,0.00004540062,0.000014808659,0.000081697974,0.00022740112,0.0001188864],"domain_scores_gemma":[0.99869776,0.000086835644,0.000034627017,0.00014694512,0.0006187294,0.00041512316],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00039459573,0.0007831741,0.00041517327,0.0012324837,0.0028535014,0.0054823863,0.0010099241,0.001372844,0.8549147],"category_scores_gemma":[0.0022322533,0.0004236143,0.0006017229,0.0012562129,0.00057995657,0.0036019303,0.0027270697,0.002856344,0.685299],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000008973971,0.0000035928435,0.000025757696,0.000039686616,8.4162997e-7,0.000021681883,0.000049496743,0.000012230769,0.0002041594,0.0019339372,0.98965806,0.008041547],"study_design_scores_gemma":[0.0000030626034,0.0000027462609,0.00016965224,0.00003832161,6.422909e-7,0.000022057853,0.00009567661,0.000014114965,0.00013853532,0.00025311593,0.99925834,0.000003807308],"about_ca_topic_score_codex":0.022268713,"about_ca_topic_score_gemma":0.06258703,"teacher_disagreement_score":0.14508528,"about_ca_system_score_codex":0.0030010499,"about_ca_system_score_gemma":0.0017538078,"threshold_uncertainty_score":0.20694655},"labels":[],"label_agreement":null},{"id":"W6968824566","doi":"10.5281/zenodo.4068337","title":"« 123movies » Two Weeks to Live Season 1 Episode 6 : Sky1","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Live birth; Live donor; Live streaming; Live food; Live cell imaging; Attenuated vaccine","score_opus":0.06092472698804758,"score_gpt":0.2381699172850813,"score_spread":0.17724519029703373,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968824566","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003575718,0.0003186059,0.0012922278,0.0019156141,0.0039606327,0.0006007832,0.009465358,0.0043322984,0.9745387],"genre_scores_gemma":[0.0072640837,0.00019108728,0.0009910109,0.00087296165,0.0005899806,0.0002685345,0.0052801315,0.0016957973,0.98284656],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993686,0.00006563869,0.000017437513,0.00008061611,0.0002298075,0.00023796975],"domain_scores_gemma":[0.9977609,0.00008078355,0.000042512736,0.00014272417,0.00055599323,0.0014171324],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00058018655,0.0007156712,0.00056336867,0.0006402492,0.0033031004,0.0038768619,0.0011537183,0.0012614296,0.78908646],"category_scores_gemma":[0.0016239826,0.00046862126,0.0006488486,0.0005607431,0.00026365553,0.0019660383,0.0045335204,0.0020757518,0.555563],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058979553,0.000056047993,0.00015347217,0.00005389476,0.00000206415,0.000032869353,0.000102252445,0.0000135085065,0.00025973457,0.00034470568,0.9833439,0.015578706],"study_design_scores_gemma":[0.00001155145,0.000026975134,0.0011228075,0.000026510035,0.0000015250132,0.000025505637,0.00026026025,0.00002509393,0.00010758109,0.00010402941,0.99828255,0.0000056567383],"about_ca_topic_score_codex":0.006258626,"about_ca_topic_score_gemma":0.041533377,"teacher_disagreement_score":0.21091354,"about_ca_system_score_codex":0.00078966847,"about_ca_system_score_gemma":0.0010678383,"threshold_uncertainty_score":0.30084252},"labels":[],"label_agreement":null},{"id":"W6968839230","doi":"10.5281/zenodo.4136291","title":"Assistir The Craft: Legacy (2020) Dublado Filme Online Grátis hlb","year":2020,"lang":"pt","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Legacy system; Craft; Storytelling; Film director","score_opus":0.06701203764193951,"score_gpt":0.23758401564154083,"score_spread":0.17057197799960133,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968839230","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001236886,0.00037628214,0.00052715704,0.0010756736,0.001078324,0.0000878662,0.003318189,0.0032373532,0.98906225],"genre_scores_gemma":[0.0037273103,0.00028651083,0.00044588838,0.00034571838,0.00019354852,0.000033532357,0.0016284011,0.0011346182,0.99220455],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998312,0.00001360824,0.0000047011918,0.000030618656,0.00007215412,0.00004782838],"domain_scores_gemma":[0.99939895,0.000045935416,0.000017682594,0.00007170499,0.00018060982,0.00028517994],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00024113161,0.0005075018,0.0002165387,0.0006596102,0.0017214147,0.0036593266,0.0006230067,0.00087147445,0.8253653],"category_scores_gemma":[0.0011434217,0.00032623013,0.00023717781,0.00053625746,0.00029321123,0.002403197,0.0027727871,0.0009930856,0.59244776],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023099554,0.00001034618,0.00010347547,0.00004693212,0.0000011094936,0.000054779386,0.00014982816,0.000013297598,0.00032734044,0.00076633587,0.9711005,0.027402928],"study_design_scores_gemma":[0.000004971664,0.0000063086723,0.0005825164,0.000030444216,0.0000010302435,0.00004800504,0.00021323706,0.000021999702,0.00015032045,0.00009485186,0.99884284,0.0000034470995],"about_ca_topic_score_codex":0.008723161,"about_ca_topic_score_gemma":0.048030198,"teacher_disagreement_score":0.1746347,"about_ca_system_score_codex":0.0007921216,"about_ca_system_score_gemma":0.00043100736,"threshold_uncertainty_score":0.24909514},"labels":[],"label_agreement":null},{"id":"W6968844559","doi":"10.5281/zenodo.4461255","title":"Little Fish (2021) Film ▶ HD !Complet En Francais ~ Streaming Vf Entier 4k. zfl","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Headline; Staring; Population; Fish <Actinopterygii>","score_opus":0.0351863885708136,"score_gpt":0.22006127909072926,"score_spread":0.18487489051991565,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968844559","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00081703253,0.0002718956,0.0009479176,0.00076305197,0.00087565725,0.00013933938,0.011335122,0.0074575315,0.9773925],"genre_scores_gemma":[0.0026134788,0.00020891016,0.00055710704,0.00023068409,0.00010212529,0.000059010454,0.0047711437,0.0032407178,0.9882167],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99977595,0.000014532223,0.000006596676,0.000037849546,0.00010139918,0.00006368321],"domain_scores_gemma":[0.9991617,0.00006062741,0.000021741795,0.00008855382,0.00033262212,0.0003346933],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003029734,0.0009254849,0.0003908795,0.00089817855,0.0015873717,0.003745029,0.0010771768,0.0012296741,0.93454397],"category_scores_gemma":[0.0015465315,0.0005638731,0.00050234224,0.0008754368,0.00030099088,0.003421878,0.0027877688,0.0011854334,0.8255819],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003254442,0.000007622011,0.000049302504,0.000052836946,0.0000014009686,0.000025529816,0.000059351813,0.000017181757,0.00030550078,0.00056094135,0.9826066,0.01628115],"study_design_scores_gemma":[0.000011991564,0.000010383863,0.0004908322,0.000059353413,0.0000021576739,0.000051255014,0.00013670024,0.000057256257,0.00021955185,0.00018813896,0.9987633,0.000009101368],"about_ca_topic_score_codex":0.01942482,"about_ca_topic_score_gemma":0.050936315,"teacher_disagreement_score":0.06545603,"about_ca_system_score_codex":0.0011096341,"about_ca_system_score_gemma":0.00065825693,"threshold_uncertainty_score":0.09336501},"labels":[],"label_agreement":null},{"id":"W6968850304","doi":"10.5281/zenodo.4076292","title":"ReGaRder Falling (2020) Streaming VF Film Complet Gratuit en Vostfr lau","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Imago; Hum; Heading (navigation)","score_opus":0.052323877774544225,"score_gpt":0.2252265075098654,"score_spread":0.17290262973532117,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968850304","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010888767,0.00032643913,0.0009991132,0.0010684505,0.002297875,0.00023049794,0.011170666,0.0061027235,0.97671527],"genre_scores_gemma":[0.0045591374,0.00039216407,0.0012663836,0.00057751156,0.00039975793,0.00009917211,0.0076798955,0.0036988563,0.9813271],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999783,0.000012797047,0.000006628658,0.00002795692,0.00010802211,0.000061617626],"domain_scores_gemma":[0.9993624,0.000046302743,0.000016798618,0.000061852465,0.0002575749,0.00025503134],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003039365,0.0006737184,0.00026113604,0.00084578036,0.0015777758,0.0032622262,0.00075230974,0.00097348663,0.8640488],"category_scores_gemma":[0.001550452,0.00034375652,0.00043201065,0.00080413575,0.0001936499,0.0025334817,0.0019711806,0.0012276232,0.6308693],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000021519016,0.000008097221,0.00005877383,0.000039160514,8.270128e-7,0.000036540026,0.000059610687,0.000008584385,0.00031183855,0.0004728108,0.9802617,0.018720526],"study_design_scores_gemma":[0.000009611091,0.000010171666,0.0005880902,0.000039291055,0.0000013377028,0.000059167534,0.00010812107,0.000028853394,0.0001882736,0.00015441864,0.9988072,0.0000055481573],"about_ca_topic_score_codex":0.00971965,"about_ca_topic_score_gemma":0.03705814,"teacher_disagreement_score":0.13595122,"about_ca_system_score_codex":0.00071017985,"about_ca_system_score_gemma":0.0005876049,"threshold_uncertainty_score":0.19391793},"labels":[],"label_agreement":null},{"id":"W6968911555","doi":"10.5281/zenodo.4175234","title":"((REGARDER)) Nulle trace (2020) Film Streaming VF Complet Voir HD yqt","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"TRACE (psycholinguistics); Video recording; Qualitative analysis","score_opus":0.054231323713819016,"score_gpt":0.22720529172119905,"score_spread":0.17297396800738002,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968911555","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016010454,0.00062729657,0.0055961013,0.0014728219,0.0028620125,0.00043046084,0.048473585,0.046256322,0.89268035],"genre_scores_gemma":[0.0074882014,0.0007567779,0.004299157,0.00096209714,0.00057789026,0.0002576362,0.031184036,0.031936117,0.92253804],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999689,0.000015962882,0.000013746226,0.000050098377,0.00014584807,0.00008539968],"domain_scores_gemma":[0.9988116,0.000117054304,0.00003189599,0.00023399713,0.00056012033,0.00024531598],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0003760472,0.001242792,0.0005324234,0.0014556977,0.0014636236,0.0043522455,0.0014435147,0.001636892,0.87624073],"category_scores_gemma":[0.002516099,0.0008113852,0.0007811971,0.0010607981,0.00029553642,0.0049224915,0.0027823125,0.0016838977,0.75042546],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057717436,0.0000151076965,0.000121660145,0.00012616545,0.0000024585424,0.000048672067,0.00008388312,0.000025828102,0.00080990174,0.0008807802,0.97301877,0.024809046],"study_design_scores_gemma":[0.000021179025,0.000015120168,0.0007377399,0.00008472838,0.000004454416,0.00011601945,0.000104209335,0.00008112551,0.00119023,0.00036032678,0.9972692,0.000015612994],"about_ca_topic_score_codex":0.009091946,"about_ca_topic_score_gemma":0.016026147,"teacher_disagreement_score":0.12375927,"about_ca_system_score_codex":0.00092715886,"about_ca_system_score_gemma":0.0006765356,"threshold_uncertainty_score":0.1765275},"labels":[],"label_agreement":null},{"id":"W6968921792","doi":"10.5281/zenodo.4258963","title":"cb01-(ITA) Let Him Go (2020) - Streaming ALTADEFINIZIONE oqr","year":2020,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Diafiltration; Dysgeusia; Fusible alloy; Liquation; Triacetin; Demotion","score_opus":0.06238105411955558,"score_gpt":0.2213419702722835,"score_spread":0.15896091615272792,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968921792","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00078022137,0.0003005243,0.0015373033,0.0010142424,0.0016695141,0.00027258528,0.025180632,0.012612157,0.95663273],"genre_scores_gemma":[0.0041442034,0.00036185517,0.0014339547,0.0006175083,0.00045584567,0.00017144825,0.02078457,0.00798796,0.9640426],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997656,0.000015841018,0.000005168738,0.0000379652,0.00009322989,0.00008227665],"domain_scores_gemma":[0.99904126,0.00006173195,0.00002048575,0.00011983463,0.00026937758,0.00048722007],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0004632847,0.00090714206,0.0004344429,0.0009661479,0.0013925816,0.0044402466,0.0009942084,0.001458654,0.89376765],"category_scores_gemma":[0.0013296126,0.0004371004,0.00048632428,0.00073069625,0.00028020298,0.002554409,0.0032426096,0.0014002162,0.81222564],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005882919,0.0000139190915,0.000048970964,0.00004972412,0.0000013264861,0.000023207042,0.000027234255,0.000019731582,0.00038553355,0.0006503587,0.984106,0.014615234],"study_design_scores_gemma":[0.000022131437,0.000014149565,0.00048280507,0.0000375549,0.0000018533444,0.000027057624,0.00003794797,0.000064778185,0.00022805989,0.00029939166,0.9987783,0.000005881812],"about_ca_topic_score_codex":0.0072938823,"about_ca_topic_score_gemma":0.019317243,"teacher_disagreement_score":0.106232345,"about_ca_system_score_codex":0.0008280058,"about_ca_system_score_gemma":0.0006866941,"threshold_uncertainty_score":0.15152758},"labels":[],"label_agreement":null},{"id":"W6968942052","doi":"10.5281/zenodo.4116953","title":"Regarder ]]\"1917 (2019))\" FRANÇAIS FILM-STREAMING VF qmo","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); Nucleofection; Field (mathematics)","score_opus":0.04442378320162007,"score_gpt":0.2181983996405745,"score_spread":0.17377461643895442,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968942052","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00074034726,0.00024143684,0.00028137566,0.0012405065,0.0015021357,0.00009989156,0.009669015,0.0023984734,0.9838268],"genre_scores_gemma":[0.003107306,0.00018017837,0.00027913039,0.00054988544,0.00012131167,0.00003528658,0.0041150614,0.0011365626,0.99047524],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99968064,0.000025259349,0.000010830332,0.00003957055,0.00014063914,0.00010303598],"domain_scores_gemma":[0.99927074,0.000027036545,0.000022795795,0.00007307042,0.00037566663,0.00023064562],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00045495905,0.0005342135,0.0002125977,0.0008401565,0.002632723,0.003725797,0.00071621325,0.0009213225,0.84653974],"category_scores_gemma":[0.0013711812,0.00027689108,0.0003251437,0.0008042407,0.00026670765,0.00228718,0.00228965,0.0014098469,0.6620692],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000009956946,0.000005006944,0.00008301315,0.000023716868,6.0404227e-7,0.0000218113,0.000088625704,0.0000051008496,0.000082805745,0.001004019,0.98668694,0.011988393],"study_design_scores_gemma":[0.000002251614,0.0000024601557,0.00035405133,0.000022252216,3.7230922e-7,0.000017389828,0.00008419616,0.0000058513256,0.000044329005,0.00003882451,0.9994253,0.0000027514438],"about_ca_topic_score_codex":0.08005208,"about_ca_topic_score_gemma":0.20817769,"teacher_disagreement_score":0.15346026,"about_ca_system_score_codex":0.002326051,"about_ca_system_score_gemma":0.0011823542,"threshold_uncertainty_score":0.2188924},"labels":[],"label_agreement":null},{"id":"W6968981523","doi":"10.5281/zenodo.4178724","title":"~#ReGarDer~Comme la neige au printemps (2020) FILM Complet HD En Francais Streaming vf uxy","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Ideal (ethics); Demotion; Context (archaeology)","score_opus":0.06322230913675976,"score_gpt":0.23947269800122467,"score_spread":0.17625038886446492,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968981523","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011186525,0.00037782744,0.001124572,0.0015402692,0.0022836896,0.00023102848,0.01909939,0.009724265,0.96450037],"genre_scores_gemma":[0.0030037696,0.0003020217,0.00080361735,0.0003848985,0.00017286612,0.000065913875,0.007201131,0.0037370399,0.98432875],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961793,0.000020268762,0.000011704555,0.000054370874,0.00018246289,0.00011324431],"domain_scores_gemma":[0.9984534,0.0000641259,0.000028817878,0.0001409872,0.00081083726,0.00050194917],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00047034307,0.0007637794,0.00038731933,0.0009175617,0.0025068878,0.0043169484,0.0008859695,0.0012331072,0.8842239],"category_scores_gemma":[0.00212194,0.00043341206,0.000454981,0.0009801567,0.00039590625,0.0031093913,0.0024243412,0.0014902438,0.7713448],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020767573,0.000006166849,0.00008810782,0.000039584025,0.000001085353,0.00002987965,0.0000729474,0.000015154749,0.00027483603,0.00049573916,0.9869464,0.012009284],"study_design_scores_gemma":[0.000006358878,0.0000067973315,0.00065650436,0.00003833761,0.0000013612527,0.000034155193,0.00014067262,0.000032060296,0.00024256844,0.00009156143,0.9987417,0.000007919521],"about_ca_topic_score_codex":0.06467588,"about_ca_topic_score_gemma":0.1683774,"teacher_disagreement_score":0.11577612,"about_ca_system_score_codex":0.00196774,"about_ca_system_score_gemma":0.0015322419,"threshold_uncertainty_score":0.16514057},"labels":[],"label_agreement":null},{"id":"W6968984352","doi":"10.5281/zenodo.4142761","title":"Regarder Mort Subite 2 (2020) Film Complet en HD Streaming VF Entier Français cqw","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sudden death; Web site; Sudden infant death syndrome; Electrodiagnosis","score_opus":0.037237118474824915,"score_gpt":0.22787114932207997,"score_spread":0.19063403084725505,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6968984352","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018942866,0.00054132397,0.0017613135,0.0012843031,0.0026334627,0.0003842583,0.02195465,0.0061527262,0.9633938],"genre_scores_gemma":[0.0056587043,0.00061318156,0.0016349723,0.00057855144,0.0003167763,0.00013213036,0.011673833,0.0032578146,0.97613406],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996487,0.000022437278,0.000014361857,0.000047660436,0.0001779164,0.000088914305],"domain_scores_gemma":[0.9987717,0.00008096178,0.00002980733,0.00014667446,0.00070403726,0.00026677706],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.000593825,0.0006134067,0.00031912207,0.0011435437,0.0018880662,0.003517423,0.0008219058,0.001003533,0.79283005],"category_scores_gemma":[0.0015559737,0.00038872,0.00050090585,0.0010738581,0.000312883,0.00267286,0.001566621,0.0013396543,0.5435242],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058729147,0.000018097468,0.00020087195,0.000096644035,0.0000018682051,0.00006300285,0.00012754143,0.00003196839,0.0011853141,0.0011446818,0.9707618,0.026309539],"study_design_scores_gemma":[0.0000070483256,0.00000842667,0.00085436,0.000054408676,0.0000011976024,0.000043797554,0.00011575646,0.000029223413,0.00043432153,0.00009106231,0.9983535,0.0000068620816],"about_ca_topic_score_codex":0.03824407,"about_ca_topic_score_gemma":0.097707875,"teacher_disagreement_score":0.20716995,"about_ca_system_score_codex":0.0014993352,"about_ca_system_score_gemma":0.0012290446,"threshold_uncertainty_score":0.29550278},"labels":[],"label_agreement":null},{"id":"W6969023675","doi":"10.5281/zenodo.4100190","title":"[FILMS VOIR] Lost Girls &amp; Love Hotels (2020) FILMS STREAMING VF EN GRATUIT ET VOSTFR xie","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Love story; Film festival; Private life; Family life","score_opus":0.04807703972046564,"score_gpt":0.24048346009375637,"score_spread":0.19240642037329073,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6969023675","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006211651,0.0005669343,0.0002994917,0.00087302044,0.0022096245,0.000087513436,0.005626434,0.0019122815,0.9878035],"genre_scores_gemma":[0.0030644112,0.0005928871,0.00038015132,0.0004964597,0.00042344545,0.00004917877,0.003397605,0.0016565854,0.9899394],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99983835,0.000012048801,0.0000039386364,0.000020125632,0.000076908116,0.00004867318],"domain_scores_gemma":[0.9996118,0.000027830682,0.0000132140085,0.000034219658,0.00012411654,0.00018876536],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00020911945,0.0008353012,0.0002757359,0.0006967006,0.0017569881,0.0048822584,0.0007178399,0.00088492123,0.83783066],"category_scores_gemma":[0.00092926715,0.00041382847,0.00045918068,0.00087451143,0.00024613662,0.0027215779,0.0022506958,0.0017771968,0.66913956],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012156101,0.000005069722,0.000030830535,0.000030655912,8.9878654e-7,0.000022479138,0.00004515635,0.000007637916,0.00009836817,0.00037512835,0.98976266,0.009608957],"study_design_scores_gemma":[0.0000056232825,0.0000051535208,0.00035428433,0.000039415918,0.0000012179645,0.000044021064,0.000111939094,0.000013585775,0.000083470484,0.00009181377,0.9992455,0.0000039943366],"about_ca_topic_score_codex":0.007397487,"about_ca_topic_score_gemma":0.02610345,"teacher_disagreement_score":0.16216934,"about_ca_system_score_codex":0.0006112782,"about_ca_system_score_gemma":0.00045507768,"threshold_uncertainty_score":0.23131478},"labels":[],"label_agreement":null},{"id":"W6969031991","doi":"10.5281/zenodo.4144888","title":"Assistir Coringa (2019) Dublado Filme Online Grátis fcu","year":2020,"lang":"pt","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Elite; Joint (building); Power (physics); Digital media","score_opus":0.08805985599355357,"score_gpt":0.2404069702786931,"score_spread":0.15234711428513953,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6969031991","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0009152704,0.0004411778,0.00032020346,0.0015707025,0.0019902925,0.00013039593,0.0024102898,0.002400634,0.98982096],"genre_scores_gemma":[0.002561369,0.00028405167,0.00032764752,0.00043367746,0.00021698269,0.000043768196,0.0009630569,0.0007150429,0.99445444],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997528,0.00002133665,0.000007257934,0.000042385996,0.00010800134,0.00006816869],"domain_scores_gemma":[0.9990972,0.00007317068,0.00002703319,0.00009825077,0.0002991276,0.00040511347],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00032936552,0.00059737294,0.00027510282,0.00080971926,0.0022286105,0.0037232065,0.00068751327,0.0011724584,0.83265376],"category_scores_gemma":[0.0017969667,0.0003063926,0.00031424407,0.00064069603,0.0003281563,0.0027162577,0.002610725,0.0012665844,0.6317087],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018088682,0.000009556524,0.00008188035,0.00004193889,8.622782e-7,0.000047163325,0.000102122285,0.000007713488,0.00027501295,0.0005321972,0.9758482,0.023035226],"study_design_scores_gemma":[0.000003860437,0.000006483786,0.0006300975,0.000031171778,9.2026403e-7,0.000042797557,0.00018926438,0.000016776157,0.00011395031,0.000105536375,0.9988564,0.000002787836],"about_ca_topic_score_codex":0.010937642,"about_ca_topic_score_gemma":0.056405384,"teacher_disagreement_score":0.16734624,"about_ca_system_score_codex":0.001170946,"about_ca_system_score_gemma":0.0007411964,"threshold_uncertainty_score":0.23869902},"labels":[],"label_agreement":null},{"id":"W6969039724","doi":"10.5281/zenodo.4483300","title":"Eng Sub!! — Falling (2020) FuLL Movie Online","year":2021,"lang":"en","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Falling (accident); Drama; Adventure; Movie theater; Feature (linguistics)","score_opus":0.04944643864023114,"score_gpt":0.22889247146288758,"score_spread":0.17944603282265642,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6969039724","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00064671907,0.00010589707,0.00029633477,0.00033085846,0.00064860476,0.0001228068,0.0039738207,0.0023430064,0.991532],"genre_scores_gemma":[0.0038643887,0.0002175133,0.00050073524,0.0005004368,0.00022627188,0.000070641625,0.0037488104,0.0016182039,0.989253],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99988973,0.000006910129,0.0000035227908,0.000016101258,0.00005203119,0.00003162464],"domain_scores_gemma":[0.99967766,0.00002273702,0.000008632625,0.00003183694,0.00011736346,0.0001418026],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0001358287,0.00056668906,0.0002953415,0.0005814493,0.0012038454,0.001882373,0.0006847101,0.0007288025,0.9145775],"category_scores_gemma":[0.00077310303,0.00028536553,0.00032355648,0.00041864085,0.00018614429,0.0017330296,0.0020345575,0.0009327039,0.7420894],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000028348068,0.000014705704,0.00005720692,0.000058820067,0.000001123996,0.000024179404,0.000037128357,0.000009184639,0.00031811357,0.00051482796,0.97204775,0.026888546],"study_design_scores_gemma":[0.000011246592,0.000015712609,0.00074012985,0.000044986456,0.0000015497542,0.000039607112,0.000082934734,0.00005107356,0.00019748205,0.00015838585,0.9986511,0.000005858324],"about_ca_topic_score_codex":0.0055359914,"about_ca_topic_score_gemma":0.017951645,"teacher_disagreement_score":0.085422516,"about_ca_system_score_codex":0.00039433423,"about_ca_system_score_gemma":0.00027179002,"threshold_uncertainty_score":0.12184477},"labels":[],"label_agreement":null},{"id":"W6969164719","doi":"10.5281/zenodo.4254228","title":"REGARDER[[2Frères - L'improbable parcours (2020)]EN STREAMING FILM FR COMPLET gxq","year":2020,"lang":"fr","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Order (exchange); Social life; User needs","score_opus":0.045010321188815476,"score_gpt":0.2248176443294717,"score_spread":0.17980732314065623,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6969164719","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000946179,0.0002511874,0.0019064415,0.0012354313,0.0017907099,0.00028177784,0.013000982,0.010642722,0.96994454],"genre_scores_gemma":[0.0038174142,0.00028215532,0.0014108815,0.000533567,0.00026540237,0.00011960717,0.007029235,0.007265835,0.97927606],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999701,0.000019995463,0.000008548901,0.000044780903,0.00014057872,0.000084970474],"domain_scores_gemma":[0.9989951,0.0000806158,0.0000248697,0.00010038158,0.00047049046,0.00032850224],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00037462325,0.000803312,0.00038082385,0.0006803109,0.0019919209,0.0038107922,0.00096792803,0.0013667705,0.88261604],"category_scores_gemma":[0.002078737,0.00048856845,0.00046432033,0.0006872097,0.00033205425,0.0030516188,0.0022226095,0.0014935042,0.7398235],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035069028,0.00001000064,0.0000853922,0.000053163756,0.0000012271734,0.000040326115,0.00010396676,0.000020911317,0.0002857253,0.0008329347,0.98275906,0.015772253],"study_design_scores_gemma":[0.000014788455,0.000009515737,0.00056119484,0.00004255825,0.000001738561,0.00004360232,0.00012524214,0.00005762855,0.00024003128,0.00018004295,0.9987147,0.000008908884],"about_ca_topic_score_codex":0.032137275,"about_ca_topic_score_gemma":0.09188707,"teacher_disagreement_score":0.11738396,"about_ca_system_score_codex":0.0013357201,"about_ca_system_score_gemma":0.0010553689,"threshold_uncertainty_score":0.16743392},"labels":[],"label_agreement":null},{"id":"W6976618690","doi":"10.60692/pxvgc-cd909","title":"Temperature sensitivity of termites determines global wood decay rates","year":2022,"lang":"en","type":"article","venue":"Greater South Information System","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université de Montréal; Agriculture and Agri-Food Canada; McGill University","funders":"","keywords":"Subtropics; Temperate climate; Precipitation; Population; Carbon cycle; Substrate (aquarium); Tropics; Ecosystem","score_opus":0.02589720478457834,"score_gpt":0.20067286839320925,"score_spread":0.1747756636086309,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6976618690","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9972697,0.00021243696,0.0005615885,0.00003774401,0.0000026032762,0.0000029540058,0.00041660905,0.000014512226,0.0014819336],"genre_scores_gemma":[0.9994698,0.00006539958,0.00011668792,0.0000053592807,0.0000035084565,0.0000021168457,0.0001702852,0.0000037345294,0.00016314485],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9998442,0.000032968717,0.000007984282,0.000053611122,0.000024163111,0.000036982692],"domain_scores_gemma":[0.9985178,0.00039035708,0.0006708901,0.000120260105,0.0001968589,0.00010388586],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00047152233,0.00016028961,0.00015022095,0.0006898393,0.0002127461,0.00068919465,0.00013274945,0.00018905452,0.0021590844],"category_scores_gemma":[0.002234724,0.0000929097,0.00017360208,0.0008163358,0.0002880138,0.0005601787,0.00034253972,0.00028610133,0.00031060193],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023916108,0.00003062514,0.9630599,0.000054224776,0.00009711316,0.00007027869,0.00042169172,0.0036124457,0.013300127,0.0009491548,0.00047264202,0.017692612],"study_design_scores_gemma":[0.0000013492099,0.000027662656,0.99525154,0.0000054736574,0.0000130525905,0.000045062992,0.00015762736,0.0027543171,0.00086289557,0.0004404966,0.0004348978,0.000005615097],"about_ca_topic_score_codex":0.0069034654,"about_ca_topic_score_gemma":0.0076887934,"teacher_disagreement_score":0.0069034654,"about_ca_system_score_codex":0.00040006838,"about_ca_system_score_gemma":0.00009596633,"threshold_uncertainty_score":0.013726592},"labels":[],"label_agreement":null},{"id":"W6977881052","doi":"10.7916/d8-4ac7-fq81","title":"May Watkis","year":2020,"lang":"en","type":"article","venue":"Columbia Academic Commons (Columbia University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Newspaper; Government (linguistics); Period (music); Work (physics)","score_opus":0.05011867740546132,"score_gpt":0.20157465687363985,"score_spread":0.15145597946817851,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6977881052","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007017042,0.013832214,0.0010270845,0.07210114,0.011092314,0.00006285028,0.00084483816,0.00048062333,0.8935419],"genre_scores_gemma":[0.017174134,0.0033134373,0.00025860075,0.0038228482,0.00044802914,0.0000143896405,0.00012754323,0.00012382597,0.9747172],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993886,0.000067137364,0.000013292621,0.00015328493,0.00024592842,0.00013177039],"domain_scores_gemma":[0.998722,0.00010682052,0.000040842617,0.000053052438,0.0005413119,0.0005358613],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00052648433,0.0005859087,0.00022150253,0.0011465586,0.006023936,0.004520125,0.00060895894,0.0011690374,0.19323681],"category_scores_gemma":[0.0029905005,0.0002625678,0.00017994802,0.00077940023,0.0012481182,0.0022478257,0.0018020468,0.0017140271,0.049076382],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003227872,0.00001462545,0.0004900463,0.00005963454,0.0000024022017,0.00029075268,0.001202423,0.000037773007,0.00032946045,0.023531513,0.94600326,0.02800592],"study_design_scores_gemma":[9.3097805e-7,0.0000026069695,0.00032357304,0.000029420347,8.047951e-7,0.00008078472,0.00058656844,0.000021444519,0.0000801835,0.00053997495,0.9983292,0.000004486073],"about_ca_topic_score_codex":0.12805256,"about_ca_topic_score_gemma":0.31275928,"teacher_disagreement_score":0.8067632,"about_ca_system_score_codex":0.005267609,"about_ca_system_score_gemma":0.005082233,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W6977882465","doi":"10.6084/m9.figshare.c.6580021.v1","title":"Towards conceptualizing patients as partners in health systems: a systematic review and descriptive synthesis","year":2024,"lang":"en","type":"other","venue":"Figshare","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Cancer Care Ontario; University of Calgary; University of Toronto; McMaster University","funders":"","keywords":"General partnership; Systematic review; Extant taxon; Work (physics); Grey literature; MEDLINE; Patient participation; Descriptive research","score_opus":0.08605438935006841,"score_gpt":0.3017133061631408,"score_spread":0.21565891681307237,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6977882465","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.006896232,0.98191684,0.002884394,0.0027727946,0.0003044992,0.0025818374,0.00110058,0.000019378724,0.0015233385],"genre_scores_gemma":[0.13354807,0.8396525,0.011348606,0.003931935,0.00017797167,0.010095897,0.0009123937,0.000024441404,0.0003081804],"study_design_codex":"systematic_review","study_design_gemma":"systematic_review","domain_scores_codex":[0.9081576,0.053058673,0.025053231,0.0036562483,0.008643192,0.0014311275],"domain_scores_gemma":[0.8046367,0.16777274,0.015594754,0.0031991126,0.007977396,0.0008192161],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.075756155,0.0016026824,0.006946308,0.02223503,0.0016679586,0.009238589,0.0034631076,0.0028218077,0.0039942656],"category_scores_gemma":[0.17914332,0.0017237106,0.0071732104,0.024530858,0.0038429291,0.01306525,0.005642789,0.003133459,0.00032072363],"study_design_candidate":"systematic_review","study_design_consensus":"systematic_review","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000100232726,0.000027997616,0.0028778075,0.93111956,0.0060767676,0.00023731026,0.011892135,0.00034084925,0.00010482163,0.00801141,0.0019320713,0.037279096],"study_design_scores_gemma":[0.00007213911,0.00008527574,0.0023685365,0.9564158,0.010879585,0.00024066376,0.008723242,0.00016080693,0.000099973164,0.0028082563,0.018098664,0.00004710191],"about_ca_topic_score_codex":0.012314043,"about_ca_topic_score_gemma":0.028747465,"teacher_disagreement_score":0.075756155,"about_ca_system_score_codex":0.015049017,"about_ca_system_score_gemma":0.03787105,"threshold_uncertainty_score":0.40064162},"labels":[],"label_agreement":null},{"id":"W6979932739","doi":"","title":"Andy Oudman Pam Killeen E Coli","year":2012,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Factory (object-oriented programming); Recall; Taste; Food processing","score_opus":0.011182771802593083,"score_gpt":0.17814850355004214,"score_spread":0.16696573174744905,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6979932739","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00079364394,0.010224462,0.00035622166,0.04784492,0.013054994,0.0000527227,0.0011401753,0.0005055925,0.9260274],"genre_scores_gemma":[0.0012251261,0.0014157486,0.00005374744,0.0034267558,0.00030394003,0.000009811865,0.000112757014,0.00009078393,0.99336123],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994764,0.000087646265,0.000012486334,0.00011571084,0.00018035562,0.00012742731],"domain_scores_gemma":[0.9983596,0.0002461959,0.000070631424,0.00009520108,0.00056331995,0.00066511193],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0006136918,0.0006458548,0.00038414245,0.0006634036,0.0026640694,0.003712424,0.0005441964,0.0021396605,0.5623495],"category_scores_gemma":[0.0042376276,0.00035839973,0.00021527491,0.0006853284,0.0005662806,0.0023124032,0.0021803551,0.002396058,0.28755724],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000055388073,0.0000031709535,0.00003456905,0.000016373035,2.5479605e-7,0.000026386224,0.00003622671,0.000004931375,0.000018733273,0.00041108963,0.9902856,0.009157115],"study_design_scores_gemma":[8.2170754e-7,0.0000017269462,0.000082477105,0.000030056428,2.3253531e-7,0.000032637832,0.0001196668,0.0000043670393,0.000014870245,0.00006661306,0.999645,0.0000015211699],"about_ca_topic_score_codex":0.020572172,"about_ca_topic_score_gemma":0.047379967,"teacher_disagreement_score":0.4376505,"about_ca_system_score_codex":0.0016149745,"about_ca_system_score_gemma":0.0022437773,"threshold_uncertainty_score":0.6242553},"labels":[],"label_agreement":null},{"id":"W6980242776","doi":"","title":"'The Billings Verdict': Kine Weekly and the British box office, 1936-62","year":2022,"lang":"en","type":"article","venue":"Figshare","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Revenue; Quarter (Canadian coin); Box office; Work (physics); Period (music)","score_opus":0.025671999393975343,"score_gpt":0.19240625016427962,"score_spread":0.16673425077030427,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6980242776","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.124974735,0.050544906,0.00082462735,0.08734017,0.0059278063,0.00009637454,0.031914216,0.00017257572,0.69820464],"genre_scores_gemma":[0.3315045,0.012120421,0.00050998013,0.004767862,0.0010470786,0.000081837745,0.004725095,0.00017543756,0.6450678],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9991732,0.00011511362,0.000037726863,0.0001243,0.0003746297,0.00017500231],"domain_scores_gemma":[0.9986438,0.0004944547,0.00016314081,0.00007574506,0.00044192342,0.00018095174],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00096505356,0.00020295929,0.00017449608,0.0019187506,0.0033680832,0.0042835623,0.00035574133,0.0011954694,0.02611028],"category_scores_gemma":[0.0064203963,0.00031503657,0.00009045584,0.006248198,0.0013562002,0.0017832759,0.00075731095,0.0015326367,0.0047734254],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007006137,0.000012016611,0.009579223,0.00009021377,0.0000055030805,0.00015483107,0.0063626193,0.00005365535,0.00011608093,0.05014415,0.8852603,0.0481514],"study_design_scores_gemma":[0.0000018044126,0.000007936025,0.058508597,0.00009581474,0.0000023765042,0.00004121487,0.00268238,0.000026635,0.000085871805,0.0009820958,0.93755394,0.000011291291],"about_ca_topic_score_codex":0.41312283,"about_ca_topic_score_gemma":0.62140155,"teacher_disagreement_score":0.41312283,"about_ca_system_score_codex":0.0070683956,"about_ca_system_score_gemma":0.0026460197,"threshold_uncertainty_score":0.8214364},"labels":[],"label_agreement":null},{"id":"W6980337296","doi":"","title":"Brian Jean on Fort McMurray fire","year":2016,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Clothing; Poison control; Geologist; Government (linguistics)","score_opus":0.009769050948914256,"score_gpt":0.1815151675979433,"score_spread":0.17174611664902906,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6980337296","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011242651,0.0018007301,0.0002613992,0.014787759,0.005141962,0.000028884944,0.00043803357,0.00039272153,0.9760243],"genre_scores_gemma":[0.0022359048,0.00040356227,0.00006798168,0.0011957925,0.00022010838,0.0000049853156,0.00008451198,0.00007976596,0.9957074],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99969363,0.000025695512,0.0000044762314,0.000053624062,0.00013715941,0.00008536532],"domain_scores_gemma":[0.9991511,0.000062160274,0.000024826897,0.00004139555,0.00028006997,0.00044058316],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003732944,0.00038761616,0.00019702227,0.000550904,0.0032562113,0.0027449098,0.00040636017,0.0010964334,0.511019],"category_scores_gemma":[0.0015304463,0.00022893563,0.00015236174,0.00034695063,0.0003318897,0.0010814597,0.0014502773,0.0017863666,0.1998147],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005951382,0.000005313925,0.000062049556,0.000006752706,2.5296544e-7,0.000033189015,0.00003339762,0.0000066093776,0.000037147183,0.0009836971,0.9885307,0.010294897],"study_design_scores_gemma":[6.809113e-7,0.0000027040246,0.00019710716,0.000018046243,2.0075343e-7,0.000029672949,0.000092803384,0.000007749958,0.000027916309,0.0000916241,0.9995301,0.000001434502],"about_ca_topic_score_codex":0.02581012,"about_ca_topic_score_gemma":0.08696549,"teacher_disagreement_score":0.9741899,"about_ca_system_score_codex":0.0009959077,"about_ca_system_score_gemma":0.0014237569,"threshold_uncertainty_score":0.6974721},"labels":[],"label_agreement":null},{"id":"W6980422323","doi":"","title":"Card, Plunge, September 17, 2005","year":2005,"lang":"en","type":"article","venue":"Digital Commons - University of South Florida (University of South Florida)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Event (particle physics); Lesbian; Government (linguistics); Quarter (Canadian coin)","score_opus":0.022577119428874838,"score_gpt":0.17435599437959792,"score_spread":0.1517788749507231,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6980422323","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.012716084,0.0059428615,0.0012585272,0.038066994,0.013743052,0.0005480739,0.035233308,0.0018550245,0.8906361],"genre_scores_gemma":[0.017771114,0.0010532344,0.00042721647,0.0015763092,0.0008106455,0.00009076675,0.0054122983,0.000119176555,0.97273916],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99977463,0.000017994473,0.0000081096605,0.000031153573,0.000094413685,0.00007369751],"domain_scores_gemma":[0.9993605,0.000054721113,0.000030467316,0.000036194364,0.00029056886,0.0002275144],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0006437791,0.00037871173,0.00025052667,0.0008032301,0.0028233267,0.003924693,0.00061603583,0.0017174116,0.3076446],"category_scores_gemma":[0.0020153718,0.00025063156,0.00017238244,0.0004563744,0.000278725,0.0013185417,0.0010025611,0.0019617465,0.08033893],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012897688,0.00001872467,0.0002505082,0.00002369154,0.0000014043568,0.000086457556,0.000065171596,0.000017080918,0.00010191631,0.0012372811,0.9873662,0.0107024815],"study_design_scores_gemma":[0.000019904155,0.000032785836,0.0025969485,0.000045161472,0.000002136721,0.000039401395,0.00018068984,0.000055469096,0.00014117222,0.0002530317,0.99662787,0.0000054504726],"about_ca_topic_score_codex":0.016145471,"about_ca_topic_score_gemma":0.07894942,"teacher_disagreement_score":0.3076446,"about_ca_system_score_codex":0.0013732774,"about_ca_system_score_gemma":0.0010025946,"threshold_uncertainty_score":0.9875609},"labels":[],"label_agreement":null},{"id":"W6981234169","doi":"","title":"Donegal Group Inc. Announces Second Quarter and First Half 2017 Results","year":2017,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Group (periodic table); Placemaking; Term (time)","score_opus":0.027708977332323317,"score_gpt":0.22193721374959002,"score_spread":0.19422823641726672,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6981234169","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0038278003,0.0011596225,0.004576133,0.017850112,0.010208834,0.00056501763,0.11081531,0.0058655497,0.8451316],"genre_scores_gemma":[0.010259795,0.0008914502,0.0016999005,0.00272914,0.0015381182,0.0003381428,0.056424517,0.002679624,0.92343944],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99585825,0.00031090528,0.00011078028,0.0002711172,0.0028878106,0.0005612142],"domain_scores_gemma":[0.98309547,0.0021464822,0.0006638523,0.0015841656,0.009059139,0.0034509168],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0067438106,0.00087156537,0.0006506147,0.004017493,0.001471483,0.008831283,0.0015407482,0.0019351958,0.37117314],"category_scores_gemma":[0.012393235,0.00039145045,0.00080873066,0.0025273773,0.00076035026,0.0027069668,0.0027366898,0.0025314232,0.28929555],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006646657,0.000052723095,0.00047019508,0.00003862778,0.0000031393695,0.000015930662,0.000013970921,0.000051244893,0.00008695312,0.0020878555,0.98497283,0.0121401455],"study_design_scores_gemma":[0.000042432126,0.000038130886,0.0033740655,0.00008043606,0.000009390579,0.000024705325,0.00011025122,0.0002948321,0.0007075113,0.0024410107,0.9928637,0.000013489228],"about_ca_topic_score_codex":0.008730417,"about_ca_topic_score_gemma":0.022873737,"teacher_disagreement_score":0.37117314,"about_ca_system_score_codex":0.0021314055,"about_ca_system_score_gemma":0.0051454194,"threshold_uncertainty_score":0.8969452},"labels":[],"label_agreement":null},{"id":"W6981471845","doi":"","title":"Emerging approaches for using food webs in conservation","year":2023,"lang":"en","type":"article","venue":"HAL (Le Centre pour la Communication Scientifique Directe)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Food security; Food supply; Sustainability; Fishing; Ecosystem","score_opus":0.08439231685152104,"score_gpt":0.23907691329230374,"score_spread":0.1546845964407827,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6981471845","genre_codex":"methods","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.073794164,0.0743116,0.6192309,0.073746435,0.0020126933,0.00025515188,0.00146634,0.00051484816,0.15466787],"genre_scores_gemma":[0.74297,0.03918231,0.20147067,0.0023909928,0.0018230109,0.00045543248,0.00035545035,0.00016939637,0.011182844],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99833316,0.0010328619,0.00008084654,0.00030580556,0.00017720861,0.00007017849],"domain_scores_gemma":[0.9880143,0.0089471,0.0006083708,0.0012000279,0.00088747387,0.00034275453],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0059416075,0.0010153546,0.0009962465,0.0066509154,0.0012195841,0.007433944,0.0025467398,0.002822162,0.020134762],"category_scores_gemma":[0.01368931,0.00036800734,0.0011596831,0.0075124577,0.010188841,0.012476844,0.0027499136,0.0021910155,0.0014004083],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048428505,0.00008764529,0.005550368,0.0008665399,0.000160447,0.00017111776,0.0017155854,0.0061445907,0.0009093774,0.83428127,0.0033822902,0.14668229],"study_design_scores_gemma":[0.0000070861265,0.000024303441,0.0023603118,0.00038879647,0.000029586665,0.00007496318,0.0016664815,0.009697001,0.0002482213,0.9642847,0.021195162,0.000023419825],"about_ca_topic_score_codex":0.0044548674,"about_ca_topic_score_gemma":0.0052453913,"teacher_disagreement_score":0.020134762,"about_ca_system_score_codex":0.0038813227,"about_ca_system_score_gemma":0.001430397,"threshold_uncertainty_score":0.06735754},"labels":[],"label_agreement":null},{"id":"W6981570888","doi":"","title":"Entre universalisation et adaptation de la moralisation du financement de la vie politique","year":2016,"lang":"fr","type":"other","venue":"Toulouse Capitole Publications (University Toulouse 1 Capitole)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Perspective (graphical); Context (archaeology); Politics; Field (mathematics)","score_opus":0.01424122701120566,"score_gpt":0.21874931415968088,"score_spread":0.2045080871484752,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6981570888","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3845635,0.012275377,0.024056328,0.041033678,0.00038511673,0.00009277914,0.00031642817,0.00012005633,0.5371567],"genre_scores_gemma":[0.9878243,0.0012583946,0.0012665003,0.0007113955,0.00008182886,0.000032616947,0.00005098474,0.000028279295,0.008745696],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9944747,0.0028310078,0.00015253124,0.00070413767,0.00074351125,0.0010940467],"domain_scores_gemma":[0.99275607,0.0036631047,0.0011245831,0.0009094298,0.001018362,0.00052842684],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0075807525,0.00026743667,0.0003878396,0.0013758616,0.0022093263,0.006040452,0.00070971303,0.0013323145,0.011168327],"category_scores_gemma":[0.01549213,0.00020508099,0.00043008965,0.0018189178,0.011532567,0.004682078,0.004204016,0.0034788654,0.0004191825],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051296916,0.000046432353,0.011335355,0.00016491208,0.000042578176,0.00009427158,0.01409091,0.0011768821,0.00028732582,0.8938625,0.0029516676,0.07589583],"study_design_scores_gemma":[0.00004765308,0.00014597493,0.20765416,0.0012673528,0.000058625134,0.00033106102,0.02235286,0.0024121625,0.0010182975,0.45194295,0.31268027,0.0000886926],"about_ca_topic_score_codex":0.021170406,"about_ca_topic_score_gemma":0.021374308,"teacher_disagreement_score":0.021170406,"about_ca_system_score_codex":0.009129817,"about_ca_system_score_gemma":0.005297601,"threshold_uncertainty_score":0.0662418},"labels":[],"label_agreement":null},{"id":"W6981888739","doi":"","title":"Fortress Paper Announces Fourth Quarter 2014 Results | Reuters","year":2015,"lang":"en","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Fortress (chess); Quarter (Canadian coin); Work (physics); Period (music)","score_opus":0.029615312948486714,"score_gpt":0.22684745962375413,"score_spread":0.19723214667526742,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6981888739","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0015647748,0.0018332499,0.0014340164,0.009764,0.0044774488,0.00025569336,0.08687543,0.0058173956,0.8879781],"genre_scores_gemma":[0.0025483493,0.00069236936,0.00045883044,0.0004492702,0.00054345705,0.00008079514,0.017199377,0.0014050177,0.97662246],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977811,0.00016742625,0.00010919629,0.0002910438,0.0013567109,0.00029460544],"domain_scores_gemma":[0.9944125,0.00061888987,0.00030845334,0.0010778983,0.0024662188,0.0011161643],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0028083592,0.0013013863,0.0013868792,0.006525037,0.0018137167,0.010270192,0.0017228732,0.0021726151,0.64992845],"category_scores_gemma":[0.00905499,0.00061825686,0.0008689161,0.0056822877,0.0007272464,0.0032799044,0.0024709417,0.0024226776,0.5804718],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000035975158,0.000037961043,0.00013427898,0.000048016373,0.0000038703984,0.000011043965,0.00000977984,0.000055101882,0.000051436436,0.0014687862,0.9808896,0.0172541],"study_design_scores_gemma":[0.00003597807,0.000025326413,0.0018286095,0.0001152644,0.000008846149,0.000014675581,0.000043169814,0.00020255343,0.00053423387,0.0027630762,0.9944141,0.000014109276],"about_ca_topic_score_codex":0.014123278,"about_ca_topic_score_gemma":0.022075314,"teacher_disagreement_score":0.64992845,"about_ca_system_score_codex":0.0036145789,"about_ca_system_score_gemma":0.003990752,"threshold_uncertainty_score":0.49933457},"labels":[],"label_agreement":null},{"id":"W6981987124","doi":"","title":"Gestion des ressources en eau souterrraine : déterminants techniques et conflits d’usage à partir de trois exemples en France","year":2003,"lang":"fr","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nappe; Nova scotia; Prospection; Stage (stratigraphy)","score_opus":0.03464775704555522,"score_gpt":0.2696412506087027,"score_spread":0.23499349356314747,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6981987124","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9667732,0.001573987,0.0056439014,0.0019669977,0.000014629604,0.00002424604,0.00044608652,0.000048448746,0.023508517],"genre_scores_gemma":[0.995443,0.00027692487,0.0012629419,0.000037538663,0.000014431454,0.000015671487,0.00011932903,0.000023165594,0.0028070125],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.9961022,0.001994586,0.00017438973,0.0004734768,0.00087848667,0.0003768773],"domain_scores_gemma":[0.97212076,0.019718418,0.0030919586,0.0010977455,0.0033526167,0.0006185483],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0050631175,0.0003764828,0.0003965765,0.004138464,0.0011491171,0.006596215,0.00075225456,0.0013571997,0.0043896246],"category_scores_gemma":[0.0207309,0.00026918846,0.00041271804,0.0046157483,0.002043988,0.004336432,0.0015019008,0.001092778,0.00054165366],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000273055,0.0002530874,0.64704585,0.00021993836,0.00028714395,0.0005430678,0.13493247,0.003922572,0.002105358,0.08472594,0.0034405973,0.1222508],"study_design_scores_gemma":[0.000015564066,0.00010957297,0.84177417,0.00029752144,0.00013959252,0.00048371873,0.07755163,0.015620794,0.0021926165,0.018069588,0.04363038,0.000114905204],"about_ca_topic_score_codex":0.052415717,"about_ca_topic_score_gemma":0.047465667,"teacher_disagreement_score":0.052415717,"about_ca_system_score_codex":0.0036325075,"about_ca_system_score_gemma":0.0012950439,"threshold_uncertainty_score":0.104221284},"labels":[],"label_agreement":null},{"id":"W6982093053","doi":"","title":"“The grief that doesn’t speak”. Text Mining and Brain Structure","year":2018,"lang":"it","type":"article","venue":"IRIS Research product catalog (Sapienza University of Rome)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Emotive; Anxiety; Psychodrama","score_opus":0.052204529403024225,"score_gpt":0.27643597169927403,"score_spread":0.2242314422962498,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6982093053","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47914746,0.07061432,0.18147889,0.06615842,0.0059182975,0.0011173777,0.045578316,0.0042970283,0.14568993],"genre_scores_gemma":[0.8488361,0.01258488,0.0778641,0.0061155166,0.0015170783,0.00044709764,0.015920533,0.0006579466,0.036056735],"study_design_codex":"design_other","study_design_gemma":"observational","domain_scores_codex":[0.99849796,0.00059679657,0.00013970563,0.00038819425,0.00029292758,0.00008433845],"domain_scores_gemma":[0.9923028,0.0051798634,0.0010510057,0.0004892571,0.0007768061,0.00020032984],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0024089175,0.0005402989,0.00035897523,0.0031863055,0.001011588,0.0035020206,0.00070905895,0.0009783533,0.008323099],"category_scores_gemma":[0.013784755,0.00017616097,0.0006257703,0.0030336946,0.001598659,0.0035748086,0.0012124763,0.0012483365,0.0039053762],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00045769382,0.00013228851,0.058724985,0.003314895,0.00034765108,0.0012799904,0.0122536905,0.0010156652,0.007099051,0.033816576,0.11836801,0.7631895],"study_design_scores_gemma":[0.00007527098,0.00023831062,0.19565651,0.0035632248,0.00030345767,0.0055936035,0.02604143,0.01609968,0.010064071,0.16372696,0.57842207,0.00021543493],"about_ca_topic_score_codex":0.0031221418,"about_ca_topic_score_gemma":0.0060374527,"teacher_disagreement_score":0.008323099,"about_ca_system_score_codex":0.0007288015,"about_ca_system_score_gemma":0.0009840323,"threshold_uncertainty_score":0.027843535},"labels":[],"label_agreement":null},{"id":"W6982216448","doi":"","title":"Home Gadget Geeks (Audio) - Hani Mourra from Simple Podcast Press - HGG220","year":2015,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gadget; Thursday; Joins; Simple (philosophy); Scholarship","score_opus":0.01477517145838307,"score_gpt":0.18322647692963143,"score_spread":0.16845130547124837,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6982216448","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00051705743,0.0006064036,0.00069566834,0.0010105334,0.00096415705,0.00005736577,0.0037696958,0.004665419,0.9877137],"genre_scores_gemma":[0.00166391,0.0003042541,0.00020569042,0.00029084922,0.00021723601,0.000020658223,0.0013196125,0.0013738527,0.9946038],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99978274,0.000019553436,0.000006072422,0.00004299281,0.00010795268,0.000040618303],"domain_scores_gemma":[0.999263,0.000086712615,0.000028933755,0.00007958161,0.00021853273,0.0003231473],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00030483177,0.0007224256,0.00046733115,0.0010883684,0.0008892048,0.0031434856,0.00054976676,0.0009354629,0.8634369],"category_scores_gemma":[0.0015421787,0.0003133107,0.00027495046,0.000980521,0.0002666001,0.0026399975,0.0017356325,0.0010848131,0.78733325],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001781828,0.00001158623,0.00004766273,0.000035615507,8.3654515e-7,0.000018015613,0.000036240843,0.000009627461,0.00012238449,0.0006457919,0.9735771,0.025477333],"study_design_scores_gemma":[0.0000037439872,0.000005818733,0.00035784044,0.000024462968,8.370641e-7,0.00002091547,0.000043943193,0.00002557653,0.00007950523,0.00014192615,0.99929273,0.0000026082812],"about_ca_topic_score_codex":0.0039635217,"about_ca_topic_score_gemma":0.015085596,"teacher_disagreement_score":0.8634369,"about_ca_system_score_codex":0.0006365536,"about_ca_system_score_gemma":0.00046403406,"threshold_uncertainty_score":0.19479072},"labels":[],"label_agreement":null},{"id":"W6982259558","doi":"","title":"Hydraulic Model Studies of BCR Breakwater Performance for the Peru LNG Terminal","year":2007,"lang":"zh","type":"report","venue":"NPARC","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Terminal (telecommunication); Breakwater; Port (circuit theory); Flow (mathematics)","score_opus":0.11082361664948942,"score_gpt":0.30247225133124495,"score_spread":0.19164863468175553,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6982259558","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9659366,0.00007544892,0.0044147647,0.0007633568,0.000018315897,0.000039297836,0.002547634,0.00026978357,0.025934804],"genre_scores_gemma":[0.993375,0.00006392892,0.00043261776,0.0000162594,0.000004418206,0.00001877203,0.00075789756,0.00004931712,0.0052818228],"study_design_codex":"simulation_or_modeling","study_design_gemma":"simulation_or_modeling","domain_scores_codex":[0.99983954,0.0000462754,0.000006464723,0.00003178469,0.000026432182,0.00004943695],"domain_scores_gemma":[0.9991603,0.00043146164,0.0000658781,0.00006505894,0.00022760859,0.000049719853],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00053759245,0.00031131046,0.0005302515,0.0008556736,0.0006957077,0.0011666535,0.00079150667,0.0012013047,0.0082822405],"category_scores_gemma":[0.0022880319,0.00028185584,0.00062069675,0.0013202494,0.0004444664,0.0013310139,0.0004726622,0.0009377487,0.00073925377],"study_design_candidate":"simulation_or_modeling","study_design_consensus":"simulation_or_modeling","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016230522,0.00013479659,0.01073994,0.00006632931,0.000042872412,0.00014209766,0.00018344892,0.97065735,0.0021017776,0.005138823,0.0053717033,0.0052586095],"study_design_scores_gemma":[0.00005142711,0.00015169015,0.01170671,0.000009425724,0.000039008337,0.000025379506,0.0004905097,0.9830499,0.0013905052,0.0014029494,0.0016468395,0.00003558211],"about_ca_topic_score_codex":0.14959951,"about_ca_topic_score_gemma":0.10958391,"teacher_disagreement_score":0.14959951,"about_ca_system_score_codex":0.0023870685,"about_ca_system_score_gemma":0.0013578344,"threshold_uncertainty_score":0.29745746},"labels":[],"label_agreement":null},{"id":"W6982325086","doi":"","title":"Il paesaggio e le citta della costa est del Canada. Un viaggio tra luci, colori e materiali.","year":2011,"lang":"en","type":"article","venue":"IRIS Research product catalog (Sapienza University of Rome)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Natural (archaeology); Perception; Variety (cybernetics); Natural landscape; Identification (biology); Night sky; Artificial light","score_opus":0.0662576403440714,"score_gpt":0.2440375713406923,"score_spread":0.17777993099662087,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6982325086","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.016150251,0.063868105,0.0021868495,0.061353978,0.0055957646,0.00010163798,0.0049791434,0.00066895416,0.84509534],"genre_scores_gemma":[0.087251894,0.01941212,0.0024329417,0.00573257,0.00058281166,0.000047248373,0.0009668431,0.000436694,0.883137],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990995,0.00006912221,0.000016833148,0.00019440938,0.00034251995,0.00027763797],"domain_scores_gemma":[0.9989641,0.000097969445,0.00004511215,0.000070910006,0.00058930187,0.00023253179],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004843428,0.00094925374,0.00054412254,0.0020324828,0.009956135,0.008138343,0.00085303636,0.0019502345,0.07309345],"category_scores_gemma":[0.0012519754,0.00034522786,0.000410781,0.0032003634,0.003959789,0.0019650485,0.0025933525,0.0027274627,0.010088739],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001241387,0.00004642336,0.00899882,0.00045877855,0.000030805088,0.00095019105,0.010904367,0.0003298644,0.001492115,0.18307255,0.5558068,0.23778506],"study_design_scores_gemma":[0.0000020463247,0.0000022547172,0.0026443745,0.00009064116,0.0000030386345,0.000074706004,0.0010631848,0.000027662663,0.00008077391,0.0006790102,0.99532205,0.000010130878],"about_ca_topic_score_codex":0.95054835,"about_ca_topic_score_gemma":0.9832864,"teacher_disagreement_score":0.07309345,"about_ca_system_score_codex":0.031393982,"about_ca_system_score_gemma":0.0440157,"threshold_uncertainty_score":0.24452192},"labels":[],"label_agreement":null},{"id":"W6982469381","doi":"","title":"Influence des caractéristiques psycho-individuelles sur la nature, la direction et l'intensité de la&#13;\\nrelation unissant la satisfaction au travail et la satisfaction hors travail","year":2000,"lang":"fr","type":"dissertation","venue":"Papyrus : Institutional Repository (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Population; Job satisfaction; Research methodology; Statistical analysis","score_opus":0.005289661522288713,"score_gpt":0.2028771926589132,"score_spread":0.1975875311366245,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6982469381","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.97364163,0.00070244726,0.0021006572,0.0006940381,0.00003463596,0.00006823611,0.0002587972,0.000025341733,0.022474332],"genre_scores_gemma":[0.99347997,0.00042281338,0.0008745595,0.00014503457,0.000013349181,0.000040623596,0.00012580099,0.000021728407,0.004876064],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99900997,0.00038029623,0.000045244513,0.00021125008,0.00023657421,0.00011671635],"domain_scores_gemma":[0.99452484,0.0035156417,0.00075616775,0.0003060595,0.000416494,0.00048083908],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014724154,0.00027392243,0.0003115441,0.00029065728,0.0005909492,0.0025886944,0.00043472808,0.00050081685,0.017440172],"category_scores_gemma":[0.0054189814,0.00022618752,0.00031808324,0.00035395264,0.0010065531,0.0008805748,0.0007989256,0.0007126328,0.0011114145],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0028182254,0.0015998104,0.72903234,0.0012208474,0.0004970423,0.0010849984,0.026792033,0.0018001001,0.07092301,0.020647977,0.0029267913,0.14065687],"study_design_scores_gemma":[0.000026727028,0.00040226808,0.97844017,0.000067492685,0.000097182616,0.00021522673,0.008067605,0.0009440891,0.0029413362,0.0040715006,0.004691402,0.000034951358],"about_ca_topic_score_codex":0.005396719,"about_ca_topic_score_gemma":0.008861357,"teacher_disagreement_score":0.017440172,"about_ca_system_score_codex":0.0006451037,"about_ca_system_score_gemma":0.0012579119,"threshold_uncertainty_score":0.058343172},"labels":[],"label_agreement":null},{"id":"W6982481422","doi":"","title":"Inelastic performance of screw connected cold-formed steel strap braced walls","year":2009,"lang":"en","type":"dissertation","venue":"Open MIND","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Brace; Bracing; Ductility (Earth science); Seismic analysis; Braced frame; Seismic loading","score_opus":0.04308694452237854,"score_gpt":0.27039852309019724,"score_spread":0.2273115785678187,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6982481422","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9987955,0.00004734977,0.00046100657,0.0000028793777,0.000009927058,0.0000052665423,0.000054299104,0.000011687411,0.0006121468],"genre_scores_gemma":[0.9972434,0.00004205361,0.00046206044,0.0000050115254,0.0000012865435,0.000006625353,0.00017690867,0.000008752391,0.0020539055],"study_design_codex":"bench_or_experimental","study_design_gemma":"bench_or_experimental","domain_scores_codex":[0.99945825,0.000036350808,0.000036817306,0.000088027744,0.00028030228,0.00010021524],"domain_scores_gemma":[0.99943537,0.00006787703,0.00011822315,0.000076459044,0.0001739882,0.00012815415],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00041040775,0.00054855115,0.00035416544,0.0005127063,0.00028615972,0.00042435923,0.00081737724,0.0005859807,0.0031090702],"category_scores_gemma":[0.00077419635,0.0004468692,0.00031089757,0.0004152869,0.0006160203,0.0003712525,0.00070040737,0.0002927224,0.00083231024],"study_design_candidate":"bench_or_experimental","study_design_consensus":"bench_or_experimental","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008665794,0.0001167948,0.009286305,0.0001183002,0.000038757913,0.0006869258,0.0003325179,0.010077257,0.97057164,0.00030530733,0.00020332131,0.0073963376],"study_design_scores_gemma":[0.000039898627,0.003150798,0.07397535,0.00006423889,0.00006104819,0.00031263632,0.0009891887,0.021419674,0.89739066,0.00011566221,0.0024161267,0.00006470519],"about_ca_topic_score_codex":0.0011195462,"about_ca_topic_score_gemma":0.0032724598,"teacher_disagreement_score":0.0031090702,"about_ca_system_score_codex":0.00023061752,"about_ca_system_score_gemma":0.0002772596,"threshold_uncertainty_score":0.010400891},"labels":[],"label_agreement":null},{"id":"W6982926619","doi":"","title":"Land, sovereignty, and migration during an era of change: Manitoba, 1870s","year":2022,"lang":"en","type":"dissertation","venue":"Mspace (University of Manitoba)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; Hyporeflexia; Pretext; TSG101; Liquation","score_opus":0.035002870487872574,"score_gpt":0.20592642890973029,"score_spread":0.17092355842185772,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6982926619","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9187129,0.006607103,0.000084682855,0.016725492,0.00015990318,0.000020182095,0.00029627603,0.0000061151586,0.057387333],"genre_scores_gemma":[0.97454405,0.005237985,0.0001282521,0.0013851629,0.000051421008,0.000015301335,0.00012273023,0.000008615321,0.01850653],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959904,0.00008744812,0.000009496211,0.00003539189,0.00006475288,0.00020387245],"domain_scores_gemma":[0.99940574,0.00009772324,0.00006772687,0.000019543455,0.0001624454,0.00024682953],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00068473525,0.00020559318,0.00022917039,0.0010566496,0.012264284,0.0043000435,0.0005534811,0.000756395,0.0036203125],"category_scores_gemma":[0.0014443019,0.00020376204,0.00011010039,0.0035427914,0.008305403,0.0017351115,0.0022762257,0.0018356974,0.00020246563],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008014137,0.00009921152,0.095895246,0.00017531817,0.000022973176,0.0017524973,0.78292006,0.00020796586,0.000723989,0.069745965,0.0162555,0.03212113],"study_design_scores_gemma":[0.000007101642,0.000025048612,0.23309797,0.00041790484,0.000013881259,0.00017136468,0.6029021,0.000073646115,0.00013425961,0.002221418,0.16091228,0.000023071329],"about_ca_topic_score_codex":0.94120073,"about_ca_topic_score_gemma":0.97832334,"teacher_disagreement_score":0.058799267,"about_ca_system_score_codex":0.040325727,"about_ca_system_score_gemma":0.032461967,"threshold_uncertainty_score":0.29258502},"labels":[],"label_agreement":null},{"id":"W6982961717","doi":"","title":"La prise en compte du genre dans la problématique du harcèlement scolaire","year":2021,"lang":"fr","type":"book-chapter","venue":"Industrias Culturais (Universidade de Coimbra)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Poison control; Subject (documents); Voluntary sector","score_opus":0.029830835407051705,"score_gpt":0.21479635102821104,"score_spread":0.18496551562115934,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6982961717","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05818344,0.093472734,0.024093173,0.25793573,0.004401952,0.00016676767,0.00036624054,0.00006269839,0.56131727],"genre_scores_gemma":[0.6181877,0.090501495,0.016293181,0.010277994,0.0041522435,0.00028618338,0.00044144565,0.00016711866,0.2596927],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9981723,0.0009202045,0.00005761285,0.0002044381,0.0003812592,0.0002642592],"domain_scores_gemma":[0.99632794,0.0024449266,0.00024500466,0.000114943556,0.0005785469,0.0002886582],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022686848,0.0005426989,0.0006693903,0.0029669816,0.0079647675,0.011709724,0.0020977417,0.005961792,0.015823307],"category_scores_gemma":[0.00475991,0.00038119542,0.0003928686,0.0054922896,0.0125014195,0.0070793945,0.003092394,0.006143834,0.0014283403],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014074997,0.00003067178,0.0021521342,0.0002507402,0.0000069812845,0.00061265525,0.02045835,0.0006282887,0.0001142275,0.9048291,0.03861604,0.03228674],"study_design_scores_gemma":[0.0000071702784,0.000036395104,0.0042548976,0.0017342935,0.000013371159,0.0015855192,0.06953695,0.0017505266,0.00028984228,0.21013199,0.7106144,0.0000445846],"about_ca_topic_score_codex":0.05972107,"about_ca_topic_score_gemma":0.09912801,"teacher_disagreement_score":0.05972107,"about_ca_system_score_codex":0.009776395,"about_ca_system_score_gemma":0.00635657,"threshold_uncertainty_score":0.11874694},"labels":[],"label_agreement":null},{"id":"W6983243064","doi":"","title":"L'examen de qualité des évaluations fédérales : une méta-évaluation réussie?","year":2023,"lang":"fr","type":"other","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Université Laval","funders":"Université Laval","keywords":"Power (physics); Context (archaeology); Derogation","score_opus":0.11056867750628592,"score_gpt":0.30037685388814195,"score_spread":0.18980817638185604,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6983243064","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":"evaluation","model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":"evaluation","domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0102469735,0.9251532,0.03052685,0.018466081,0.002726977,0.0018367281,0.0018105991,0.00016228425,0.009070436],"genre_scores_gemma":[0.5899838,0.29812327,0.08296773,0.0130814705,0.0030138881,0.0076190275,0.0023740374,0.00046716374,0.0023695433],"study_design_codex":"meta_analysis","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.51679784,0.392472,0.043124676,0.0117258,0.03413629,0.0017433303],"domain_scores_gemma":[0.19668055,0.6999237,0.03589603,0.037855957,0.028393336,0.0012504206],"candidate_categories":["metaresearch"],"consensus_categories":["metaresearch"],"category_scores_codex":[0.35533848,0.0028174543,0.010207773,0.016509453,0.0021138417,0.016633851,0.005568607,0.0043961043,0.00644133],"category_scores_gemma":[0.6646647,0.0022837776,0.02323739,0.014910516,0.0054860036,0.011775768,0.005019699,0.0061578928,0.0006343062],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0033603648,0.00021049152,0.020719888,0.25005162,0.36023915,0.00015608873,0.0038578636,0.0039067427,0.00038441338,0.032757957,0.01021425,0.31414112],"study_design_scores_gemma":[0.0027792875,0.002054838,0.03241044,0.37752563,0.4224026,0.00043638286,0.0030249103,0.003988326,0.0023492526,0.0655054,0.087067515,0.00045552262],"about_ca_topic_score_codex":0.017876076,"about_ca_topic_score_gemma":0.01932833,"teacher_disagreement_score":0.98361427,"about_ca_system_score_codex":0.016385717,"about_ca_system_score_gemma":0.01657722,"threshold_uncertainty_score":0.79498243},"labels":[],"label_agreement":null},{"id":"W6984219123","doi":"","title":"CBCR 3 2007 05 04","year":2007,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Musical; Camouflage; Feature (linguistics); Photography","score_opus":0.010683152923374899,"score_gpt":0.18495365203081746,"score_spread":0.17427049910744255,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6984219123","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00040188257,0.0006846585,0.0002630282,0.003507432,0.0012313157,0.000052693656,0.002600304,0.0005387387,0.9907199],"genre_scores_gemma":[0.0013247461,0.00028503826,0.0001136054,0.00068098464,0.00008122977,0.000015069537,0.0010770765,0.00018831166,0.9962339],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991548,0.000082391154,0.000035995126,0.0001475039,0.0003951818,0.00018410526],"domain_scores_gemma":[0.99843615,0.0001282746,0.000040915238,0.00019297957,0.0008826423,0.00031894387],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0010299654,0.00057829014,0.0005767142,0.0017393155,0.002789852,0.01027825,0.0011452467,0.0037964769,0.71181655],"category_scores_gemma":[0.0027020846,0.0003692688,0.00046279875,0.0016475525,0.00079478417,0.0019260948,0.002169959,0.0028232196,0.6222782],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024631536,0.000021818503,0.00011504141,0.00007138419,0.0000021754686,0.000053201635,0.000061916704,0.000027848917,0.00016576012,0.009236585,0.9647217,0.025498044],"study_design_scores_gemma":[0.0000031502332,0.0000043363775,0.00028488526,0.00005367164,0.0000015482002,0.00002299617,0.00005647104,0.000019232424,0.0000816319,0.00045640234,0.9990121,0.000003624935],"about_ca_topic_score_codex":0.036865808,"about_ca_topic_score_gemma":0.08387943,"teacher_disagreement_score":0.28818345,"about_ca_system_score_codex":0.004293122,"about_ca_system_score_gemma":0.0034267907,"threshold_uncertainty_score":0.41105866},"labels":[],"label_agreement":null},{"id":"W6985096686","doi":"","title":"Medium practices","year":2011,"lang":"en","type":"article","venue":"UCA Research Online (University for the Creative Arts)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Relation (database); Meaning (existential); Visibility; Essentialism; Exploit; Field (mathematics)","score_opus":0.4285937006365081,"score_gpt":0.369382873956086,"score_spread":0.0592108266804221,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6985096686","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005211194,0.0014966252,0.006704068,0.004359199,0.0004307104,0.00007700401,0.000102166785,0.0001187716,0.98150027],"genre_scores_gemma":[0.3232541,0.0037711281,0.0118221305,0.00565164,0.0004043257,0.00042362523,0.00032333395,0.0004956165,0.6538541],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99394506,0.002057147,0.00030787644,0.0012964628,0.001375522,0.0010179349],"domain_scores_gemma":[0.9967084,0.000878686,0.000275472,0.001017362,0.00056983205,0.00055026845],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0044706734,0.00070539553,0.00033968614,0.0024939007,0.007834822,0.011713918,0.0020808142,0.0031796154,0.076238155],"category_scores_gemma":[0.008972174,0.00038902325,0.00047980895,0.00245882,0.008263036,0.01153253,0.01133021,0.0034928438,0.019455547],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000138299965,0.000023936464,0.00045077526,0.000062925705,0.0000036602291,0.00011666975,0.017579785,0.000037586444,0.00022221933,0.9293036,0.015828373,0.03635662],"study_design_scores_gemma":[0.0000038062317,0.00001444507,0.00037641238,0.0002328359,0.0000031035768,0.00013844651,0.007553011,0.000040156545,0.00021118505,0.050198384,0.94121873,0.000009423668],"about_ca_topic_score_codex":0.0061176848,"about_ca_topic_score_gemma":0.006678978,"teacher_disagreement_score":0.076238155,"about_ca_system_score_codex":0.0055879164,"about_ca_system_score_gemma":0.0040531578,"threshold_uncertainty_score":0.25504202},"labels":[],"label_agreement":null},{"id":"W6986538269","doi":"","title":"Pour un cinÃ©ma lÃ©ger et synchroneÂ !","year":2012,"lang":"fr","type":"book","venue":"Directory of Open access Books (OAPEN Foundation)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Point (geometry); Order (exchange)","score_opus":0.12070918660434368,"score_gpt":0.3570749964391253,"score_spread":0.23636580983478164,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6986538269","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0069652176,0.039763372,0.011831157,0.07652945,0.022829741,0.00013759012,0.00075818464,0.0016274545,0.8395579],"genre_scores_gemma":[0.01393995,0.005990928,0.0030322005,0.003292372,0.0014046816,0.00004539408,0.00021937385,0.0006384536,0.9714366],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99915755,0.000166583,0.000030323627,0.00018809355,0.0002990532,0.00015831982],"domain_scores_gemma":[0.9988667,0.0002491463,0.000072768526,0.00018259267,0.0003595561,0.00026921855],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010730942,0.0010873496,0.00053323846,0.0011870741,0.0039330767,0.009829703,0.0009826683,0.0027532815,0.16522463],"category_scores_gemma":[0.0044048927,0.00063123414,0.00064274983,0.0012217986,0.0025448762,0.010972134,0.0035901093,0.0064986553,0.0540331],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011102406,0.00004164141,0.0005707673,0.00028204176,0.000013867616,0.00033777618,0.008302493,0.00010075294,0.0018349875,0.17005505,0.6674236,0.15092608],"study_design_scores_gemma":[0.000002286111,0.000009502508,0.00021399709,0.00005819821,0.000002277922,0.00012323275,0.0007619052,0.00003145141,0.00017581948,0.0025021695,0.9961134,0.0000057362877],"about_ca_topic_score_codex":0.012632512,"about_ca_topic_score_gemma":0.02571697,"teacher_disagreement_score":0.16522463,"about_ca_system_score_codex":0.0031242545,"about_ca_system_score_gemma":0.0025667301,"threshold_uncertainty_score":0.55273145},"labels":[],"label_agreement":null},{"id":"W6986623504","doi":"","title":"The Puzzling Rollercoaster of the Psychological Thriller&#13;\\n ","year":2020,"lang":"en","type":"other","venue":"SUNY Digital Repository Support (State University of New York System)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Movie theater; Narrative; Subject (documents); Repetition (rhetorical device); Film studies; German; Focus (optics)","score_opus":0.025542510299246618,"score_gpt":0.18760013472174583,"score_spread":0.1620576244224992,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6986623504","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20219857,0.0072813923,0.009218514,0.093048334,0.0030160735,0.00005566114,0.00016626004,0.00016095061,0.6848542],"genre_scores_gemma":[0.9587447,0.0031522033,0.0016014255,0.005273035,0.0009273707,0.000035943318,0.000045565754,0.000157754,0.030062066],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982628,0.0007418475,0.000052478073,0.00035428477,0.00045439662,0.00013417446],"domain_scores_gemma":[0.9968279,0.0015325166,0.00041259496,0.0005628157,0.00037983162,0.0002844208],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002384245,0.00025820106,0.00018076075,0.00070262054,0.0045922245,0.010305358,0.0007008691,0.0014364674,0.004595174],"category_scores_gemma":[0.0065618246,0.00020945008,0.00019536597,0.00041507455,0.020587387,0.008860997,0.0040646503,0.003827344,0.00065244985],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005334065,0.000021235624,0.0034560969,0.00019040401,0.0000102631,0.0005779875,0.13494836,0.000084807485,0.0013419222,0.7706222,0.03749032,0.051203083],"study_design_scores_gemma":[0.000016168065,0.000060047605,0.015401078,0.0009763168,0.000013843268,0.0018735908,0.14161251,0.00077393383,0.0014909133,0.12922972,0.7084899,0.00006196282],"about_ca_topic_score_codex":0.0052186623,"about_ca_topic_score_gemma":0.012689575,"teacher_disagreement_score":0.010305358,"about_ca_system_score_codex":0.0026227604,"about_ca_system_score_gemma":0.001263528,"threshold_uncertainty_score":0.019029498},"labels":[],"label_agreement":null},{"id":"W6986841781","doi":"","title":"A rebirth and a funeral: the Cinémathèque Québécoise restores a long-lost actuality by Canadian film pioneer&#13;\\nLéo-Ernest Ouimet","year":2018,"lang":"en","type":"article","venue":"Papyrus : Institutional Repository (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); Perspective (graphical); Narrative; Meaning (existential); Identity (music)","score_opus":0.008799278889403612,"score_gpt":0.16005299043274826,"score_spread":0.15125371154334466,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6986841781","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.22826186,0.011839768,0.0017532854,0.27262583,0.008162905,0.00007190616,0.0011963269,0.00030710886,0.47578093],"genre_scores_gemma":[0.77237356,0.0024767988,0.0005901676,0.008962971,0.0005509832,0.000019101308,0.00021105578,0.00024670144,0.21456866],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984499,0.00038853707,0.000013671346,0.00015093446,0.00034466607,0.0006521939],"domain_scores_gemma":[0.99723595,0.00038592407,0.000120316436,0.0001756209,0.00096542144,0.0011167972],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019959556,0.0004667749,0.0003171004,0.0010709189,0.024763174,0.013472319,0.0014526277,0.0030544344,0.03653209],"category_scores_gemma":[0.006568495,0.00030657172,0.00029257147,0.001401876,0.009365592,0.0043263948,0.0029076375,0.005618294,0.0016505303],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019143046,0.00006213604,0.0051646587,0.00009984719,0.00003410549,0.0009576381,0.19049941,0.00020248299,0.00066508795,0.12806965,0.6165098,0.057543818],"study_design_scores_gemma":[0.000009920919,0.0000141248565,0.006536555,0.00015517166,0.000016349904,0.00014834852,0.112750255,0.00016109085,0.00019859879,0.0021433672,0.8778278,0.00003841175],"about_ca_topic_score_codex":0.94777215,"about_ca_topic_score_gemma":0.982739,"teacher_disagreement_score":0.052227855,"about_ca_system_score_codex":0.03841566,"about_ca_system_score_gemma":0.027006231,"threshold_uncertainty_score":0.2787264},"labels":[],"label_agreement":null},{"id":"W6986887984","doi":"","title":"Replaying the Past: Queer Canadian Documentary as Counter-Archive","year":2024,"lang":"en","type":"dissertation","venue":"Spectrum Research Repository (Concordia University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Concordia University","keywords":"Subject (documents); Circumstantial evidence; Ridiculous; Queer; Government (linguistics); Paraphernalia","score_opus":0.022946922048006413,"score_gpt":0.25386508080804565,"score_spread":0.23091815876003924,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6986887984","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5834601,0.009137117,0.0030057386,0.023608489,0.0007255289,0.00015032047,0.0012395558,0.00015333733,0.37851983],"genre_scores_gemma":[0.94775724,0.003149268,0.0013509608,0.0009414023,0.00008129201,0.000042116506,0.00029986785,0.00011409075,0.046263695],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980229,0.0006635492,0.000034552737,0.00020453641,0.00057294714,0.0005015151],"domain_scores_gemma":[0.99782455,0.0007257091,0.00020560472,0.00021005138,0.0006995332,0.0003346262],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001994243,0.00068404357,0.0003569092,0.0028568709,0.02976678,0.013679084,0.0018841325,0.0018275767,0.009462243],"category_scores_gemma":[0.004876725,0.00028776567,0.0002670117,0.004669952,0.01741096,0.0045337984,0.0033495687,0.0028130035,0.0005078108],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000058386806,0.000019256953,0.0031300243,0.000117559735,0.000012348191,0.001012304,0.86407715,0.00015831905,0.0007173188,0.09254325,0.018945016,0.019208977],"study_design_scores_gemma":[0.0000060680154,0.000014619768,0.0073618405,0.00029458103,0.000028629627,0.0003895487,0.6300458,0.00019739322,0.00053337,0.002266148,0.35881484,0.00004716525],"about_ca_topic_score_codex":0.94442475,"about_ca_topic_score_gemma":0.9793129,"teacher_disagreement_score":0.06657665,"about_ca_system_score_codex":0.06657665,"about_ca_system_score_gemma":0.035813514,"threshold_uncertainty_score":0.4830497},"labels":[],"label_agreement":null},{"id":"W6987063173","doi":"","title":"Screening Screens: Cinematic Spectatorship in the Desktop Film Noah","year":2020,"lang":"en","type":"article","venue":"Riviste UNIMI (Università degli studi di Milano)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Reading (process); Presentation (obstetrics); Set (abstract data type); Digital media; Close reading; Short Film","score_opus":0.06776471927082917,"score_gpt":0.21377219712331294,"score_spread":0.14600747785248377,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6987063173","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.85312885,0.000660182,0.0015435449,0.0041353563,0.00019336448,0.00003785764,0.00013597873,0.00006551552,0.14009933],"genre_scores_gemma":[0.99114263,0.00018830402,0.00028807888,0.00022984087,0.000060317452,0.000011302368,0.000031218748,0.00002868265,0.008019661],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.998985,0.00069245615,0.000012169881,0.00008840223,0.00010594266,0.00011603654],"domain_scores_gemma":[0.99532926,0.003432052,0.00038542727,0.0002678814,0.0002040838,0.000381374],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011877397,0.0003278408,0.00019607756,0.0005988314,0.0032216895,0.0038457774,0.0004447459,0.0008408397,0.0097154975],"category_scores_gemma":[0.0071717803,0.00020297013,0.00022120876,0.0004000724,0.0044777035,0.0023405878,0.003710218,0.0012218062,0.00044220625],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009836474,0.00016996406,0.025897877,0.00047394313,0.00007322664,0.0030012073,0.820555,0.0004226854,0.012997309,0.05113213,0.020281903,0.06401116],"study_design_scores_gemma":[0.00012320295,0.00065456994,0.12160446,0.0006034438,0.0001487769,0.0022430997,0.56615376,0.0015307652,0.006491244,0.01018824,0.29014242,0.00011604672],"about_ca_topic_score_codex":0.0058521964,"about_ca_topic_score_gemma":0.011526954,"teacher_disagreement_score":0.0097154975,"about_ca_system_score_codex":0.0010477154,"about_ca_system_score_gemma":0.0004422638,"threshold_uncertainty_score":0.03250158},"labels":[],"label_agreement":null},{"id":"W6987286605","doi":"","title":"The sound of government realism: The politics and aesthetics of NFB film music, 1939-1964","year":2024,"lang":"en","type":"dissertation","venue":"eScholarship@McGill (McGill)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; McGill University","keywords":"Politics; Government (linguistics); Sound (geography)","score_opus":0.022761393057947277,"score_gpt":0.22305130562665648,"score_spread":0.2002899125687092,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6987286605","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.118653126,0.008624554,0.000514902,0.03284279,0.0007303024,0.00002136055,0.00017842263,0.000021118803,0.8384134],"genre_scores_gemma":[0.9438267,0.0018376443,0.00013919524,0.0007891965,0.00025819923,0.000009838322,0.000029096405,0.00004154724,0.053068493],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.999263,0.00038906545,0.00001641849,0.000079847836,0.00011940087,0.0001322531],"domain_scores_gemma":[0.99917823,0.00047790608,0.00008645573,0.000054529755,0.00011899574,0.00008389436],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016326902,0.00025698586,0.0001693242,0.0010752222,0.0079673715,0.00451602,0.00032449618,0.0010835971,0.0095829535],"category_scores_gemma":[0.0039532646,0.00016590332,0.00010322421,0.0011614066,0.010493368,0.0019247056,0.0012065547,0.0023620706,0.00055256346],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025638554,0.000049461407,0.0029969148,0.000107912034,0.000010583487,0.00028841628,0.20761925,0.00022718293,0.0006049782,0.66375625,0.07222996,0.051852737],"study_design_scores_gemma":[0.000033126442,0.000043383723,0.033561476,0.00048104278,0.000011777222,0.00020990935,0.08272333,0.00020566666,0.00048420497,0.03438031,0.84784055,0.000025279618],"about_ca_topic_score_codex":0.07298233,"about_ca_topic_score_gemma":0.14307784,"teacher_disagreement_score":0.9270177,"about_ca_system_score_codex":0.011129415,"about_ca_system_score_gemma":0.0014246391,"threshold_uncertainty_score":0.14511508},"labels":[],"label_agreement":null},{"id":"W6987482331","doi":"","title":"The study of the development of a synchronistic light cinema at the National Film Board of Canada (NFB), in Montréal","year":2006,"lang":"fr","type":"other","venue":"OpenGrey (Institut de l'Information Scientifique et Technique)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Film industry; On board","score_opus":0.014532767546618662,"score_gpt":0.22308648975158718,"score_spread":0.2085537222049685,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6987482331","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.76785445,0.0041599553,0.0026947255,0.010230357,0.00021604865,0.00031187825,0.0020410793,0.000096797885,0.21239479],"genre_scores_gemma":[0.9440591,0.001389271,0.00083621795,0.00019001981,0.000022737871,0.00003344329,0.0002123768,0.000038976017,0.05321787],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9988771,0.0002452813,0.000016478269,0.00019111893,0.00031837076,0.0003516994],"domain_scores_gemma":[0.9975822,0.0005017526,0.0002768528,0.000075976764,0.0008125664,0.0007506085],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.0010187571,0.00030120704,0.00017917671,0.0020288397,0.009294952,0.0064589498,0.0014969668,0.0006500172,0.013138065],"category_scores_gemma":[0.0058964356,0.0003654684,0.0001586583,0.003169772,0.004395378,0.0016130483,0.0017493998,0.0009958062,0.00041745225],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019079805,0.0001451292,0.087761626,0.00048310618,0.00006418144,0.0019922915,0.5800933,0.0010748631,0.004091162,0.090001695,0.053565487,0.1805363],"study_design_scores_gemma":[0.000017222801,0.000058374553,0.3100609,0.00027954928,0.00003379449,0.00024812607,0.23837806,0.0007215018,0.0008347917,0.0013611858,0.44793287,0.000073640076],"about_ca_topic_score_codex":0.9827764,"about_ca_topic_score_gemma":0.9938974,"teacher_disagreement_score":0.9907051,"about_ca_system_score_codex":0.07001775,"about_ca_system_score_gemma":0.045572087,"threshold_uncertainty_score":0.5080167},"labels":[],"label_agreement":null},{"id":"W6987695976","doi":"","title":"The “Universal Language of Images”: Interdisciplinary Assemblages in Postwar Experimental Cinema.","year":2023,"lang":"en","type":"dissertation","venue":"Spectrum Research Repository (Concordia University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"Smithsonian Center for Folklife and Cultural Heritage; Mitacs; Smithsonian Institution","keywords":"Exhibition; Movie theater; Ethnography; Pavilion; Grammar; Discipline; Hollywood; Popularity; Visual culture; Visual language","score_opus":0.028317133468630486,"score_gpt":0.29874479795256015,"score_spread":0.2704276644839297,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6987695976","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.65026003,0.011156514,0.019729601,0.0171073,0.00095251284,0.00045756754,0.0002654408,0.00016349668,0.29990754],"genre_scores_gemma":[0.986515,0.0011788668,0.002696525,0.00041840263,0.00011767063,0.00018662968,0.00005004241,0.00007371889,0.008763098],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9928035,0.0055966857,0.0001625125,0.0005711467,0.0005073996,0.00035882927],"domain_scores_gemma":[0.9887694,0.008543002,0.0005873472,0.0010743941,0.0005980033,0.0004278481],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009583412,0.0006201734,0.00039762663,0.0029775682,0.012145179,0.00942218,0.0018250706,0.0016252409,0.0044346876],"category_scores_gemma":[0.015171113,0.00045556595,0.00023705619,0.002013841,0.045764755,0.010590721,0.009353659,0.0028974959,0.0002906121],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022419767,0.000017479791,0.00058962917,0.00011713612,0.0000032994874,0.00021328342,0.8957865,0.000027264812,0.0005691665,0.09363941,0.0014953384,0.0075190095],"study_design_scores_gemma":[0.000014930671,0.00005710513,0.0030411575,0.0004784127,0.000011827408,0.00048751742,0.76086146,0.0001816948,0.0015935118,0.021389393,0.21186149,0.000021446798],"about_ca_topic_score_codex":0.0059039225,"about_ca_topic_score_gemma":0.014473853,"teacher_disagreement_score":0.012145179,"about_ca_system_score_codex":0.005618896,"about_ca_system_score_gemma":0.0021072289,"threshold_uncertainty_score":0.050682545},"labels":[],"label_agreement":null},{"id":"W6987734565","doi":"","title":"Time does tell: on the archival potential of films","year":2013,"lang":"en","type":"dissertation","venue":"eScholarship@McGill (McGill)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Social Sciences and Humanities Research Council of Canada; McGill University","keywords":"Queer; Repertoire; Relation (database); Space (punctuation); Embodied cognition; Assemblage (archaeology); Romance; Style (visual arts)","score_opus":0.015567267702033597,"score_gpt":0.20415686363437258,"score_spread":0.18858959593233898,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6987734565","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19863243,0.02559092,0.00771046,0.054825168,0.0023802528,0.00011272716,0.00029098915,0.00011906327,0.71033794],"genre_scores_gemma":[0.9486325,0.012407563,0.0026104513,0.0032797116,0.0012484129,0.000102526814,0.00010252779,0.00018183324,0.03143447],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99347925,0.004843142,0.00016536262,0.00031324488,0.00075063965,0.00044843095],"domain_scores_gemma":[0.97844875,0.01724663,0.0010495534,0.0016315161,0.0010550992,0.00056842493],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006525361,0.00042188508,0.0003222131,0.002138727,0.008780648,0.018883727,0.0012458178,0.0021975636,0.010588038],"category_scores_gemma":[0.025655951,0.00039433478,0.00028786284,0.0020180235,0.015585719,0.020444013,0.008472836,0.00394616,0.0007212768],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017384831,0.000045064382,0.0020199954,0.00030835412,0.00002050659,0.0006767091,0.47246358,0.00011598866,0.00069600565,0.4617448,0.015070125,0.046664976],"study_design_scores_gemma":[0.000033493914,0.000100961115,0.0021248893,0.0015438375,0.000042712294,0.00082680996,0.36490852,0.00025961606,0.0011219142,0.06298624,0.5660102,0.00004083771],"about_ca_topic_score_codex":0.002839342,"about_ca_topic_score_gemma":0.0055133644,"teacher_disagreement_score":0.018883727,"about_ca_system_score_codex":0.002983585,"about_ca_system_score_gemma":0.0011656559,"threshold_uncertainty_score":0.035420537},"labels":[],"label_agreement":null},{"id":"W6988137855","doi":"","title":"40 Years of Canadian Cinema : Reflecting Light","year":2015,"lang":"en","type":"book","venue":"E-Artexte (Artexte)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Movie theater; National cinema; Relevance (law); Point (geometry)","score_opus":0.05466737438549145,"score_gpt":0.24623674615168448,"score_spread":0.19156937176619304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6988137855","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009282274,0.14975534,0.0018685891,0.08186913,0.009186459,0.00007042598,0.0029250968,0.00027308473,0.7447696],"genre_scores_gemma":[0.1279622,0.11084357,0.0025521354,0.007794341,0.0015585826,0.00004784519,0.0018205089,0.00029839037,0.74712235],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998381,0.0001390172,0.000026144906,0.00013172255,0.0010164903,0.0003055348],"domain_scores_gemma":[0.99845004,0.0001445344,0.000037794307,0.000056859688,0.00091406156,0.00039653503],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016289738,0.00094666425,0.00034627377,0.0036196315,0.009144114,0.0099899955,0.0013644029,0.0014316128,0.034192182],"category_scores_gemma":[0.0033895967,0.0003665583,0.00038215052,0.0052321814,0.0045513366,0.0031494624,0.0020042325,0.002212019,0.003692516],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023446348,0.000009523145,0.000621403,0.00019373052,0.000007498957,0.000075824166,0.005982777,0.0001809232,0.00017072205,0.12203364,0.78592277,0.08477765],"study_design_scores_gemma":[0.0000010447457,0.000001589978,0.001249851,0.00012226995,0.0000032489545,0.000023502915,0.0017140589,0.000045837856,0.000041818872,0.0013372932,0.99545103,0.000008540424],"about_ca_topic_score_codex":0.9799212,"about_ca_topic_score_gemma":0.9922381,"teacher_disagreement_score":0.08823565,"about_ca_system_score_codex":0.08823565,"about_ca_system_score_gemma":0.08650948,"threshold_uncertainty_score":0.6401974},"labels":[],"label_agreement":null},{"id":"W6990165191","doi":"","title":"Crisis or Opportunity? Public Funding and Business Strategies of Italian Cinemas in the Face of Covid-19","year":2024,"lang":"en","type":"book-chapter","venue":"IrInSubria (University of Insubria)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Exhibition; Government (linguistics); Legislature; State (computer science); Closure (psychology); Face (sociological concept); Subject (documents); Quarter (Canadian coin)","score_opus":0.14747498982362298,"score_gpt":0.2572180028823775,"score_spread":0.10974301305875453,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6990165191","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.47634348,0.004764079,0.00094810553,0.14483802,0.0006648112,0.00020390136,0.00018483239,0.00009223728,0.37196043],"genre_scores_gemma":[0.9799258,0.0014420068,0.00018026031,0.002178275,0.00043824504,0.00007469078,0.000050864346,0.000021336034,0.015688367],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99408543,0.002907403,0.00010314675,0.0002509883,0.00062141585,0.002031637],"domain_scores_gemma":[0.98703915,0.0054783598,0.0027924676,0.0004393991,0.00085425953,0.0033962715],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0065314816,0.00034921215,0.00024807584,0.0024696635,0.006224247,0.015257167,0.0012911778,0.003525525,0.0118333325],"category_scores_gemma":[0.019352632,0.00032155422,0.00020978246,0.0023673614,0.006670631,0.0060264147,0.005492967,0.0026411354,0.0013104122],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00041109964,0.0005273152,0.037748214,0.0007129276,0.00003166795,0.0034683659,0.4003316,0.0004891037,0.0016906802,0.31564546,0.113810964,0.12513267],"study_design_scores_gemma":[0.00004576852,0.00014914466,0.053547084,0.0006445559,0.00001784928,0.00054263027,0.36972567,0.00078820135,0.00039641117,0.008302488,0.56579036,0.00004982982],"about_ca_topic_score_codex":0.014595453,"about_ca_topic_score_gemma":0.015149841,"teacher_disagreement_score":0.015257167,"about_ca_system_score_codex":0.00983343,"about_ca_system_score_gemma":0.008242406,"threshold_uncertainty_score":0.07134682},"labels":[],"label_agreement":null},{"id":"W6991944206","doi":"","title":"An investigation into Québécois documentary filmmaking and the communication between neoliberalism and the aesthetic tactics employed by Richard Brouillette in his political documentary: Encirclement: How Neoliberalism Ensnares Democracy (2008).","year":2012,"lang":"en","type":"dissertation","venue":"Queen Margaret University eTheses Repository","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Neoliberalism (international relations); Politics; Battle; Democracy; Identity (music); Documentary film","score_opus":0.010477560914778916,"score_gpt":0.21532421440020508,"score_spread":0.20484665348542616,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6991944206","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58756524,0.008227586,0.0023564133,0.036066227,0.001107941,0.00017046602,0.0007366461,0.000087914064,0.3636816],"genre_scores_gemma":[0.9568897,0.0022076967,0.00076884864,0.0021707145,0.00008949054,0.000045571713,0.00010644072,0.000040230403,0.03768123],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9981415,0.0009520449,0.000027254948,0.00015308168,0.00040984308,0.0003163591],"domain_scores_gemma":[0.99443984,0.0030926052,0.00032626325,0.00019892804,0.0015329258,0.00040952643],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023619698,0.00048464438,0.0001935611,0.0015297658,0.016058398,0.007939819,0.00122718,0.0015916547,0.006879313],"category_scores_gemma":[0.006046433,0.00025609726,0.00021980978,0.0023122313,0.008334903,0.0022310184,0.0012210946,0.002946576,0.00033787746],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000099310026,0.000082881015,0.009012747,0.00028452068,0.00002291315,0.0013464731,0.8311144,0.00011932112,0.0022210686,0.074426785,0.050013956,0.03125559],"study_design_scores_gemma":[0.000012282849,0.00003764826,0.021205848,0.00065263343,0.000024592808,0.00044009296,0.48751363,0.00027903667,0.0011532652,0.0010842865,0.4875469,0.000049721446],"about_ca_topic_score_codex":0.86073244,"about_ca_topic_score_gemma":0.9644199,"teacher_disagreement_score":0.13926756,"about_ca_system_score_codex":0.04327596,"about_ca_system_score_gemma":0.013224178,"threshold_uncertainty_score":0.31399053},"labels":[],"label_agreement":null},{"id":"W6992359322","doi":"","title":"Les sorcières de Hollywood : chasse aux rouges et listes noires","year":2006,"lang":"fr","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Economic shortage; Consumption (sociology)","score_opus":0.041625827088009375,"score_gpt":0.2611691215743567,"score_spread":0.2195432944863473,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6992359322","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5135022,0.015935533,0.0027438893,0.009493296,0.00089905364,0.000079331556,0.0017480863,0.00011691417,0.45548177],"genre_scores_gemma":[0.7625552,0.006084695,0.0015749877,0.0004668548,0.0002529498,0.000031302538,0.0006228433,0.00009491228,0.22831614],"study_design_codex":"design_other","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99956495,0.00009905751,0.000010742019,0.00007639352,0.00012526187,0.00012365739],"domain_scores_gemma":[0.99884963,0.00048331823,0.00019973931,0.00004714228,0.00019424087,0.00022603468],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006314191,0.00025955934,0.00017744896,0.0018486724,0.003079381,0.0037299513,0.0003856575,0.00056915765,0.027603138],"category_scores_gemma":[0.002358828,0.00021714489,0.00010433684,0.0019424122,0.0020318492,0.002345085,0.0010093398,0.0013082162,0.0018056219],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0007313062,0.00014102213,0.04130015,0.0010139243,0.00003520228,0.0017516335,0.21273299,0.00053545437,0.0037218465,0.27810523,0.13066413,0.3292671],"study_design_scores_gemma":[0.000016018299,0.000071780894,0.11228893,0.0004632402,0.000015742013,0.00040972975,0.05631105,0.00023869326,0.0010276879,0.0057333824,0.8233851,0.000038610637],"about_ca_topic_score_codex":0.06651045,"about_ca_topic_score_gemma":0.22805259,"teacher_disagreement_score":0.06651045,"about_ca_system_score_codex":0.002918585,"about_ca_system_score_gemma":0.0014669521,"threshold_uncertainty_score":0.13224661},"labels":[],"label_agreement":null},{"id":"W6992694438","doi":"","title":"In The Long Shadow Of The Pines","year":2015,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Shadow (psychology); Introspection; Gloom; Dingo","score_opus":0.012411166692719255,"score_gpt":0.18404244525233765,"score_spread":0.1716312785596184,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6992694438","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0594508,0.03437862,0.0006642451,0.40740412,0.0045165047,0.00003203628,0.0018393961,0.00020784888,0.49150637],"genre_scores_gemma":[0.5102703,0.014371651,0.00039185665,0.0730568,0.0019055844,0.000028672743,0.00052936806,0.00026272435,0.399183],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9978903,0.0003786341,0.00002620303,0.0002017355,0.00066754635,0.00083556375],"domain_scores_gemma":[0.9974274,0.0004280739,0.00018613542,0.00015416223,0.00093283545,0.0008714466],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0015899955,0.00047038702,0.0004716118,0.0014488533,0.019401044,0.0105774235,0.00086261844,0.0028520513,0.028826352],"category_scores_gemma":[0.0051916335,0.00027872314,0.00015250665,0.0021926537,0.0096717095,0.0058791456,0.0030014808,0.0054792203,0.0033579872],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007758427,0.00002226442,0.0036503007,0.00008355534,0.000009366695,0.00075252855,0.040437687,0.00007681843,0.00034404395,0.065563984,0.85585934,0.033122614],"study_design_scores_gemma":[0.0000039566125,0.0000057562447,0.006410921,0.00025390513,0.0000030792685,0.0001412497,0.038082033,0.000027865435,0.000092846436,0.0029176935,0.9520401,0.000020581769],"about_ca_topic_score_codex":0.88684386,"about_ca_topic_score_gemma":0.95307577,"teacher_disagreement_score":0.97117364,"about_ca_system_score_codex":0.026474318,"about_ca_system_score_gemma":0.02800791,"threshold_uncertainty_score":0.22764504},"labels":[],"label_agreement":null},{"id":"W6994335570","doi":"","title":"(Un)homely cinema","year":2011,"lang":"en","type":"dissertation","venue":"eScholarship@McGill (McGill)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"","keywords":"Uncanny; Trope (literature); Movie theater; Sign (mathematics); Space (punctuation)","score_opus":0.030777524141775033,"score_gpt":0.2174405822456441,"score_spread":0.18666305810386907,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6994335570","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03444838,0.0039014057,0.004099201,0.004285627,0.0008439555,0.000033637658,0.00018905537,0.000090329064,0.95210826],"genre_scores_gemma":[0.7899467,0.005158135,0.002282535,0.0012768467,0.0009289015,0.000047173457,0.00019796436,0.00010414235,0.20005772],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99955195,0.00021059006,0.000010411922,0.00005290254,0.000084825755,0.00008929002],"domain_scores_gemma":[0.9994905,0.00014153356,0.000058118057,0.000066637826,0.00013132939,0.00011190088],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005868454,0.00019434653,0.00013380247,0.00066619297,0.0017286218,0.0048792292,0.000300842,0.0004925336,0.019581478],"category_scores_gemma":[0.0017367267,0.000096579024,0.000104214036,0.00056171644,0.0021631257,0.0022876519,0.0015876052,0.000988079,0.0019598308],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000038705846,0.000033495107,0.0012237212,0.00013341369,0.000004321923,0.00018482476,0.0320162,0.00009432537,0.0006608977,0.8435541,0.050938644,0.07111738],"study_design_scores_gemma":[0.000003252208,0.000019356226,0.002805503,0.0002151896,0.000005113349,0.00021643973,0.012453115,0.0001524711,0.0003806409,0.01834741,0.9653945,0.0000069814246],"about_ca_topic_score_codex":0.002800875,"about_ca_topic_score_gemma":0.0040389425,"teacher_disagreement_score":0.019581478,"about_ca_system_score_codex":0.001026257,"about_ca_system_score_gemma":0.0006497199,"threshold_uncertainty_score":0.06550652},"labels":[],"label_agreement":null},{"id":"W6994356450","doi":"","title":"Deanna Templeton","year":2020,"lang":"fr","type":"other","venue":"Industrias Culturais (Universidade de Coimbra)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Power (physics); Quarter (Canadian coin); Data source; George (robot)","score_opus":0.04503289523147638,"score_gpt":0.22670025949445022,"score_spread":0.18166736426297383,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6994356450","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013495095,0.056716263,0.0013171316,0.17076002,0.12934604,0.00011407295,0.0019690227,0.00071934063,0.6377086],"genre_scores_gemma":[0.00436096,0.008335111,0.00037054863,0.009056254,0.007178756,0.000051238687,0.00024697496,0.0003076486,0.9700926],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990989,0.00013827381,0.000042912056,0.00022386038,0.0003804222,0.000115730916],"domain_scores_gemma":[0.9980995,0.00030942375,0.00010560424,0.00013577969,0.00084341504,0.0005062052],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0011172637,0.00078382145,0.00067236053,0.0013474239,0.002599825,0.0045615863,0.00078446936,0.0018894902,0.30361685],"category_scores_gemma":[0.006480712,0.0004413779,0.00030518012,0.001014772,0.0009827623,0.0046021827,0.003664598,0.002934063,0.1961973],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000005144519,0.0000028399515,0.000044078224,0.00003411449,3.517166e-7,0.00001226462,0.000085788524,0.000008677673,0.000029267685,0.002318568,0.98442256,0.0130362995],"study_design_scores_gemma":[5.21466e-7,0.0000012636924,0.00006059228,0.000047597674,2.307561e-7,0.000021839884,0.00004339206,0.00000467328,0.000018998902,0.00016969831,0.99962986,0.0000013726516],"about_ca_topic_score_codex":0.005364451,"about_ca_topic_score_gemma":0.008951481,"teacher_disagreement_score":0.6963831,"about_ca_system_score_codex":0.0021358521,"about_ca_system_score_gemma":0.0032518143,"threshold_uncertainty_score":0.99330604},"labels":[],"label_agreement":null},{"id":"W6995290477","doi":"","title":"Interchange","year":2019,"lang":"en","type":"article","venue":"Journal of International Crisis and Risk Communication Research","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Depiction; Reflection (computer programming); Subject (documents); Photography; Meditation; Architecture","score_opus":0.10677638309891924,"score_gpt":0.3649216615096354,"score_spread":0.25814527841071616,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6995290477","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0017420126,0.0019159098,0.0021594157,0.0059667802,0.0034923118,0.000106946085,0.004472131,0.0022627332,0.9778817],"genre_scores_gemma":[0.014053768,0.0018489156,0.002759433,0.0036625643,0.0010047577,0.000105038795,0.003572811,0.0012412203,0.9717514],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990478,0.00024185129,0.00005791166,0.00015025742,0.0003526165,0.0001495335],"domain_scores_gemma":[0.99917585,0.00013057819,0.00005689462,0.00018897497,0.0002579877,0.00018960859],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010153953,0.00075610925,0.000295588,0.0021764734,0.0024256848,0.0057703024,0.000973867,0.0016906471,0.31065014],"category_scores_gemma":[0.0032580162,0.0003524445,0.00040099604,0.0018791605,0.0010040867,0.004734906,0.0036629357,0.0018885604,0.15030503],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041723226,0.000012966661,0.0001774603,0.00011046496,0.0000018850185,0.00007147937,0.0009417703,0.000013843952,0.00029838286,0.034468178,0.90840197,0.055459883],"study_design_scores_gemma":[0.0000016905852,0.000003064631,0.00014145645,0.00002843809,6.892747e-7,0.00005156402,0.00013302639,0.000012585386,0.00010805731,0.0005485848,0.9989687,0.0000021278854],"about_ca_topic_score_codex":0.004876156,"about_ca_topic_score_gemma":0.008687974,"teacher_disagreement_score":0.31065014,"about_ca_system_score_codex":0.0013149712,"about_ca_system_score_gemma":0.0012877887,"threshold_uncertainty_score":0.9832739},"labels":[],"label_agreement":null},{"id":"W6995413313","doi":"","title":"Cultural Matrix","year":2017,"lang":"en","type":"article","venue":"Scholar Works  (Boise State University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Matrix (chemical analysis); Quarter (Canadian coin); Context (archaeology); Period (music)","score_opus":0.0270525616598617,"score_gpt":0.22704343137466343,"score_spread":0.19999086971480173,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6995413313","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.035565015,0.000578363,0.007941294,0.003739265,0.0010964071,0.000604993,0.0076653427,0.00017073046,0.9426385],"genre_scores_gemma":[0.50137734,0.0017366259,0.026783561,0.0018847615,0.0002894981,0.0016963955,0.011311613,0.00030097272,0.45461923],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989794,0.00034911223,0.000080759804,0.00014805407,0.00025702448,0.00018563271],"domain_scores_gemma":[0.99903345,0.00012333096,0.00005159432,0.0001069515,0.0004928348,0.00019185782],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00075689616,0.00043142377,0.00025339713,0.0012379722,0.003490516,0.0035848662,0.00064464606,0.00051700656,0.10741544],"category_scores_gemma":[0.002969379,0.00011110378,0.0002042931,0.0021867787,0.0011082735,0.0012109644,0.0019826281,0.0008938718,0.02071534],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021966736,0.00009239072,0.004654016,0.00033880846,0.000017198525,0.0010165025,0.024176259,0.00049917377,0.0017461284,0.46398667,0.2788996,0.22435366],"study_design_scores_gemma":[0.000013198292,0.000027023063,0.0028103376,0.00012021347,0.0000055882474,0.0003598038,0.015189316,0.00024144682,0.00028615672,0.010659186,0.9702728,0.000014951245],"about_ca_topic_score_codex":0.015475006,"about_ca_topic_score_gemma":0.019171325,"teacher_disagreement_score":0.89258456,"about_ca_system_score_codex":0.0024291663,"about_ca_system_score_gemma":0.0028613857,"threshold_uncertainty_score":0.35934043},"labels":[],"label_agreement":null},{"id":"W6996087188","doi":"","title":"Racial diversity's journey to constancy : initiatives for redressing the colour imbalance in documentary filmaking at the National Film Board of Canada","year":2001,"lang":"en","type":"dissertation","venue":"eScholarship@McGill (McGill)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill University; Assembly of First Nations","funders":"","keywords":"Redress; Diversity (politics); Action (physics); Racism; Documentary film; People of color; Natural (archaeology)","score_opus":0.037254477388479965,"score_gpt":0.26127763763007844,"score_spread":0.22402316024159846,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6996087188","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.67744,0.002908885,0.0018222539,0.11146383,0.0002567754,0.00014481574,0.00013417902,0.000036126952,0.20579314],"genre_scores_gemma":[0.98676467,0.00097169133,0.0005466934,0.0017795884,0.000030104491,0.000018249479,0.000024745385,0.000012903588,0.009851275],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99583566,0.001396977,0.000042939628,0.00018065367,0.0009047616,0.0016389632],"domain_scores_gemma":[0.994414,0.0009823848,0.00054404355,0.00012590738,0.001284576,0.002649163],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0043059066,0.00016446483,0.00019323418,0.0012242724,0.019224834,0.0123442765,0.0013946713,0.0013923906,0.0041882973],"category_scores_gemma":[0.00995098,0.00016253264,0.00012726759,0.0020957564,0.008316553,0.0025009352,0.0041362206,0.002710839,0.0001725992],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00018464625,0.00039997482,0.08320815,0.00025113733,0.000034439283,0.00089966366,0.3213506,0.0010293871,0.0015475828,0.34589386,0.07644533,0.16875526],"study_design_scores_gemma":[0.00002891955,0.000065404325,0.14774646,0.0005351543,0.000033778153,0.00013423669,0.4846099,0.0010333625,0.0008036021,0.0153501285,0.34959966,0.00005934948],"about_ca_topic_score_codex":0.93795896,"about_ca_topic_score_gemma":0.9649808,"teacher_disagreement_score":0.070622005,"about_ca_system_score_codex":0.070622005,"about_ca_system_score_gemma":0.112156615,"threshold_uncertainty_score":0.51240087},"labels":[],"label_agreement":null},{"id":"W6996868059","doi":"","title":"Studio D : a feminist voice in the National Film Board of Canada","year":2016,"lang":"en","type":"article","venue":"Homo Politicus (Academy of Humanities and Economics in Lodz)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"University of Northern British Columbia; McGill University; Yale University","keywords":"Studio; Agency (philosophy); Feminism","score_opus":0.056657633168930806,"score_gpt":0.23444135817756814,"score_spread":0.17778372500863734,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6996868059","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.031556938,0.017672988,0.0007769616,0.29572454,0.0047454173,0.00010270429,0.0013777569,0.0001255529,0.6479172],"genre_scores_gemma":[0.28179944,0.005313168,0.0006328402,0.050629087,0.00058853487,0.00009127515,0.0002851104,0.00027935684,0.66038126],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9962657,0.00044471992,0.000061408704,0.0005229669,0.0010925576,0.0016127424],"domain_scores_gemma":[0.9971704,0.0006599686,0.000087506705,0.000066510285,0.0008038621,0.0012118212],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019780442,0.00059982564,0.00047862635,0.0015604255,0.04119001,0.014749144,0.0021754287,0.0073485565,0.034705915],"category_scores_gemma":[0.0042161886,0.0005492286,0.0002923459,0.0029750466,0.008331416,0.0030651838,0.0042432733,0.0072360067,0.0015877336],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005369655,0.000030448782,0.0020512864,0.000116109375,0.000010559682,0.0009598837,0.053002838,0.00014387988,0.00063342595,0.24604449,0.6752654,0.021688],"study_design_scores_gemma":[0.0000031451489,0.000003063891,0.0016216696,0.00007978275,0.0000036367885,0.000045082023,0.022459218,0.000054106014,0.00012062377,0.00093485386,0.97465646,0.00001827173],"about_ca_topic_score_codex":0.9823973,"about_ca_topic_score_gemma":0.99222445,"teacher_disagreement_score":0.1172995,"about_ca_system_score_codex":0.1172995,"about_ca_system_score_gemma":0.10956851,"threshold_uncertainty_score":0.8510714},"labels":[],"label_agreement":null},{"id":"W6996952723","doi":"","title":"20th Century Fox Home Entertainment Warning Screen 1999-2005 VHS Canada","year":2014,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Entertainment; The Internet","score_opus":0.005494154419110851,"score_gpt":0.15700231689583125,"score_spread":0.1515081624767204,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6996952723","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.029575864,0.0024276478,0.0007046784,0.012935644,0.002684372,0.00022095587,0.112450555,0.0011632019,0.83783704],"genre_scores_gemma":[0.040546678,0.0009761216,0.00030909877,0.002045347,0.00011138184,0.00003454752,0.012033451,0.00013504789,0.9438083],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99897146,0.000013449712,0.000016741742,0.00006253799,0.00063916296,0.00029662997],"domain_scores_gemma":[0.99719065,0.00009122937,0.000062184554,0.000049659902,0.0022140788,0.00039230703],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00049173663,0.00036026773,0.00025443255,0.002004594,0.0032983988,0.0035089264,0.0010873543,0.0014419373,0.09298929],"category_scores_gemma":[0.0027365412,0.00032327647,0.0003286087,0.0017430052,0.0005322782,0.00073100167,0.0010641427,0.0014407041,0.016862573],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051581796,0.000023730374,0.005652295,0.00006257287,0.0000056627346,0.00009186176,0.0002938699,0.00017104033,0.00020698585,0.0032706142,0.9629236,0.027246188],"study_design_scores_gemma":[0.000010641999,0.00001049385,0.03751866,0.00009884424,0.00000844505,0.000030211177,0.0007785029,0.00021399726,0.00037801772,0.00015785672,0.96077627,0.000018073255],"about_ca_topic_score_codex":0.9877466,"about_ca_topic_score_gemma":0.99511164,"teacher_disagreement_score":0.09298929,"about_ca_system_score_codex":0.02905537,"about_ca_system_score_gemma":0.051752914,"threshold_uncertainty_score":0.31108016},"labels":[],"label_agreement":null},{"id":"W6998774581","doi":"","title":"Attending, listening, taking time: the quietly radical ethical practice of the filmmaker Jenny Gilbertson","year":2023,"lang":"en","type":"dissertation","venue":"Stirling Online Research Repository (University of Stirling)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Film director; Indigenous; Narrative; Negotiation; The arctic; Politics; Autoethnography; Citizen journalism","score_opus":0.0624179747587235,"score_gpt":0.3264802299888577,"score_spread":0.26406225523013416,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6998774581","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3558301,0.026276309,0.0038755743,0.43591967,0.004352149,0.00015591977,0.000041356077,0.00014030946,0.17340855],"genre_scores_gemma":[0.91064525,0.0067832805,0.0022179193,0.026399098,0.00084090844,0.000096821335,0.00001477423,0.0001633233,0.052838646],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.98622847,0.01052161,0.00015047625,0.0009390946,0.0011644165,0.0009959502],"domain_scores_gemma":[0.9879004,0.0066499924,0.00073724444,0.00039858365,0.001365726,0.0029480923],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.009093016,0.00044437486,0.00037019118,0.00083209015,0.032174416,0.0127377985,0.0020149988,0.0042070155,0.0026987663],"category_scores_gemma":[0.016341,0.00048589424,0.00016419486,0.0005446235,0.042620655,0.007251671,0.0055931173,0.007907257,0.0006178198],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002078317,0.000027782537,0.0005764455,0.000060974722,0.0000047878075,0.0007928511,0.9385421,0.000037804904,0.0005447531,0.023056302,0.02848113,0.007854203],"study_design_scores_gemma":[0.0000090324365,0.000031878524,0.0007401196,0.00028434052,0.0000051526563,0.000545273,0.68491584,0.000082628576,0.00042156313,0.0044052484,0.30852458,0.000034382392],"about_ca_topic_score_codex":0.076762594,"about_ca_topic_score_gemma":0.14695826,"teacher_disagreement_score":0.076762594,"about_ca_system_score_codex":0.0133837415,"about_ca_system_score_gemma":0.008864435,"threshold_uncertainty_score":0.15263158},"labels":[],"label_agreement":null},{"id":"W6999056899","doi":"","title":"‘Canadian History in Film’ Excerpts from a Roundtable Session on ‘Canadian History in Film’ organized by the <i>Canadian Historical Review</i> at the annual meeting of the Canadian Historical Association, 27 May 2000, University of Alberta, Edmonton, Alberta","year":2016,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Session (web analytics); Event (particle physics); George (robot); Period (music)","score_opus":0.015207442244752565,"score_gpt":0.17230908648717017,"score_spread":0.1571016442424176,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6999056899","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0139550725,0.08520256,0.0011323948,0.07635429,0.065349095,0.0005780428,0.044763993,0.0003455831,0.7123189],"genre_scores_gemma":[0.18063088,0.0864983,0.0033453628,0.030425388,0.02389934,0.0011637104,0.030541847,0.0011131542,0.642382],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992317,0.00012294015,0.000024892868,0.00006771501,0.00033066294,0.00022207665],"domain_scores_gemma":[0.9982773,0.00061971904,0.00007068739,0.000054794426,0.00071658375,0.00026081866],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007704565,0.0015688742,0.00057493435,0.0076452265,0.009646481,0.0036802078,0.0011533464,0.0015240569,0.06751435],"category_scores_gemma":[0.003454597,0.00043939808,0.0004065014,0.016135423,0.001978772,0.0014976441,0.0015480188,0.0025062892,0.004099351],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022504359,0.0000055240316,0.000062930936,0.00020272977,0.0000031884776,0.000065768654,0.0039577237,0.00002006487,0.00014058131,0.0034282506,0.9861097,0.0059812423],"study_design_scores_gemma":[0.0000040147606,0.0000020491316,0.0018774081,0.00020425525,0.0000043149425,0.000040172174,0.0029876782,0.0000075022263,0.000054274577,0.00013976582,0.99467033,0.0000082774595],"about_ca_topic_score_codex":0.85797256,"about_ca_topic_score_gemma":0.9616636,"teacher_disagreement_score":0.14202744,"about_ca_system_score_codex":0.022876766,"about_ca_system_score_gemma":0.011827999,"threshold_uncertainty_score":0.28572768},"labels":[],"label_agreement":null},{"id":"W6999081302","doi":"","title":"Capitalism and its Discontents: An Interview with MIke Hoolboom","year":2020,"lang":"en","type":"article","venue":"Own your potential (DEAKIN)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Fusible alloy; Proteogenomics; Hyporeflexia; Diafiltration; Pretext","score_opus":0.08851498186929026,"score_gpt":0.23091226438008475,"score_spread":0.14239728251079448,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6999081302","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.18941365,0.02084716,0.0005148234,0.7171265,0.0029267236,0.000073194155,0.00016200874,0.00002772497,0.06890824],"genre_scores_gemma":[0.84286463,0.011714588,0.00047918627,0.088961415,0.0011367326,0.00009750823,0.000051759274,0.00014909364,0.054545086],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9954399,0.0024479267,0.000086672306,0.0003775765,0.0007390065,0.0009088791],"domain_scores_gemma":[0.99195427,0.0049416097,0.00054429786,0.00010180472,0.0006062748,0.0018517213],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0049723815,0.00035237646,0.0004949546,0.0009276643,0.017245589,0.009271556,0.0011274628,0.0045959223,0.005022856],"category_scores_gemma":[0.011419787,0.00067546905,0.0002215019,0.0013680343,0.011485378,0.0059567355,0.0029440694,0.011119694,0.0005829356],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047399393,0.000102629914,0.002383662,0.00009807717,0.000011185291,0.001225659,0.699798,0.00007490956,0.0005537465,0.033048928,0.25018713,0.01246864],"study_design_scores_gemma":[0.0000100003435,0.00002400482,0.004116563,0.00036712526,0.000005313022,0.0003215395,0.49740812,0.000114914,0.00013818694,0.0018080088,0.49563763,0.000048681322],"about_ca_topic_score_codex":0.17823546,"about_ca_topic_score_gemma":0.24101785,"teacher_disagreement_score":0.17823546,"about_ca_system_score_codex":0.013580548,"about_ca_system_score_gemma":0.0075740037,"threshold_uncertainty_score":0.35439605},"labels":[],"label_agreement":null},{"id":"W6999571695","doi":"","title":"Dancing into the Future: The Practical Esthetics of a Materialist Sublime in Jeremy Shaw's <i>Quantification Trilogy</i> (2014–2018)","year":2024,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sublime; Materialism; Taste; Ideal (ethics); Ridiculous","score_opus":0.03191287150398258,"score_gpt":0.2376389428710296,"score_spread":0.20572607136704701,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W6999571695","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09273256,0.013894713,0.0049207998,0.25229183,0.0067820246,0.000046351735,0.00014225925,0.00011729468,0.6290721],"genre_scores_gemma":[0.8859075,0.0021165316,0.0008887179,0.011362715,0.0012251531,0.00005146633,0.000036807327,0.0002943386,0.09811681],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9972542,0.0017534866,0.000051431558,0.00028105607,0.00031270098,0.00034718934],"domain_scores_gemma":[0.997471,0.0012783258,0.00021684862,0.0002253278,0.00036228015,0.00044623416],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0049414984,0.0005060399,0.00029867233,0.0013320905,0.017023552,0.011646313,0.0010801655,0.003977006,0.013009673],"category_scores_gemma":[0.010953036,0.0003182452,0.00021292268,0.0009366286,0.02961877,0.011105762,0.0063660187,0.008454173,0.00097611034],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005093563,0.000017476843,0.00030458957,0.000048944345,0.000004388002,0.00026964807,0.2556101,0.000053248954,0.0002180916,0.6664855,0.06506974,0.011867304],"study_design_scores_gemma":[0.000014559463,0.000023594195,0.0009074028,0.00024696585,0.00000642541,0.000291235,0.15075299,0.000117828735,0.0003413877,0.062078588,0.78519106,0.000028066404],"about_ca_topic_score_codex":0.018638413,"about_ca_topic_score_gemma":0.04512346,"teacher_disagreement_score":0.018638413,"about_ca_system_score_codex":0.0074578756,"about_ca_system_score_gemma":0.0034791185,"threshold_uncertainty_score":0.054111004},"labels":[],"label_agreement":null},{"id":"W7000391935","doi":"","title":"Facing Black Star, sous la direction de Thierry Gervais et Vincent Lavoie, Toronto, IMC Books, The Image Centre, Cambridge, The MIT Press, 2023, 304 p.","year":2024,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Image (mathematics); Feature (linguistics); Relation (database); Variable (mathematics)","score_opus":0.007356298627423861,"score_gpt":0.17345209577208948,"score_spread":0.1660957971446656,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7000391935","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006200011,0.83525336,0.0014729751,0.03301034,0.0074144364,0.00002356214,0.0015356967,0.00024331201,0.120426305],"genre_scores_gemma":[0.014322693,0.2923303,0.0021822262,0.0051445165,0.004556361,0.00004347015,0.0012006862,0.000445024,0.67977476],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993524,0.0000951599,0.000028303908,0.00013101756,0.0003042986,0.00008885041],"domain_scores_gemma":[0.9990338,0.00023184053,0.00008799473,0.000046819296,0.00041910552,0.00018039667],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007915568,0.0013949223,0.00086325937,0.0023827527,0.0018108003,0.004585657,0.0011415314,0.0016860828,0.07762933],"category_scores_gemma":[0.0020701096,0.00096500764,0.00043250262,0.0053023705,0.0019471461,0.004493062,0.0011476728,0.0025594146,0.036244463],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001850202,0.000004154505,0.0001802506,0.00028091975,0.0000049297023,0.000047308644,0.0007786032,0.000045429468,0.00012043656,0.009625393,0.95348996,0.035404075],"study_design_scores_gemma":[0.000002317007,0.0000033356882,0.0010544739,0.00021208527,0.0000030357828,0.000061931656,0.00033282052,0.000017826434,0.000039880782,0.00082579715,0.9974406,0.0000059915346],"about_ca_topic_score_codex":0.36438736,"about_ca_topic_score_gemma":0.5787078,"teacher_disagreement_score":0.36438736,"about_ca_system_score_codex":0.0084077045,"about_ca_system_score_gemma":0.008772352,"threshold_uncertainty_score":0.7245328},"labels":[],"label_agreement":null},{"id":"W7000539227","doi":"","title":"Evan Lieberman (Cinematographer)","year":2014,"lang":"en","type":"article","venue":"EngagedScholarship @ Cleveland State University (Cleveland State University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"American film; Studio; Feature film; Screenwriting; Film studies; Film director; Motion picture; Atlanta","score_opus":0.025702479081912616,"score_gpt":0.1839596009287591,"score_spread":0.15825712184684648,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7000539227","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0038396032,0.04619819,0.005371398,0.049018055,0.042671334,0.00026047073,0.0012279373,0.0018605005,0.8495525],"genre_scores_gemma":[0.012482302,0.007970857,0.0012275738,0.008156893,0.0031300832,0.00010233509,0.0003445979,0.0002944628,0.9662909],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99944097,0.00007872768,0.000022931672,0.000150118,0.00023351614,0.00007382336],"domain_scores_gemma":[0.9990995,0.00009502709,0.000056696317,0.000044138338,0.00041305274,0.00029163103],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00060438557,0.00062991044,0.0003084495,0.00093314535,0.0012920253,0.0024399825,0.0007461129,0.0011732274,0.26961693],"category_scores_gemma":[0.0023539506,0.0002637375,0.00015053037,0.0003867884,0.00035531798,0.002182215,0.0016213029,0.0014764766,0.119494386],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014043706,0.000014280761,0.00012785506,0.0000879717,8.6296e-7,0.00014221622,0.00022743257,0.000031060994,0.00059717894,0.0023072283,0.9420147,0.054435134],"study_design_scores_gemma":[0.0000014044614,0.0000048241154,0.00021885314,0.00005626438,6.297376e-7,0.00040953432,0.00014336707,0.00003230292,0.00013593826,0.00013866212,0.9988555,0.0000027403642],"about_ca_topic_score_codex":0.002717299,"about_ca_topic_score_gemma":0.0054165013,"teacher_disagreement_score":0.26961693,"about_ca_system_score_codex":0.0010676291,"about_ca_system_score_gemma":0.0009800041,"threshold_uncertainty_score":0.90195847},"labels":[],"label_agreement":null},{"id":"W7000601415","doi":"","title":"Fridge Festival (2003)","year":2013,"lang":"en","type":"other","venue":"York University Digital Library (York University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"York University","keywords":"Stopwatch; Barrel (horology); Window (computing); Component (thermodynamics)","score_opus":0.015249943360119771,"score_gpt":0.14184215136316516,"score_spread":0.12659220800304538,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7000601415","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0025541766,0.0030304966,0.0009191848,0.0050031533,0.009704112,0.00021539154,0.030924808,0.0014425297,0.9462062],"genre_scores_gemma":[0.005489671,0.00072304223,0.00039170418,0.00034542842,0.0005308678,0.00006918663,0.006842246,0.0005460358,0.9850618],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995603,0.000053811465,0.000015780504,0.00007466908,0.00015949908,0.00013592097],"domain_scores_gemma":[0.99891293,0.000060073504,0.000038797283,0.0000778856,0.00041835223,0.0004919855],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.001216355,0.001061804,0.00049670355,0.0018286495,0.0043822243,0.0066387756,0.0011542422,0.0017054261,0.5518207],"category_scores_gemma":[0.0018331165,0.00043299806,0.0006754011,0.001528681,0.0005142204,0.0022714864,0.0027060308,0.0017331633,0.3275546],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000047201404,0.0000132820505,0.00011638768,0.000041287796,0.0000016859569,0.000035044737,0.00008500062,0.000015508014,0.00006133925,0.0009000826,0.98959315,0.009089966],"study_design_scores_gemma":[0.000006326449,0.0000079680785,0.001107421,0.00004864269,0.0000012706915,0.000016593935,0.0001317299,0.000012047272,0.00004915575,0.00018084193,0.99843377,0.0000042546494],"about_ca_topic_score_codex":0.039471354,"about_ca_topic_score_gemma":0.1521576,"teacher_disagreement_score":0.5518207,"about_ca_system_score_codex":0.002901873,"about_ca_system_score_gemma":0.0026593315,"threshold_uncertainty_score":0.6392734},"labels":[],"label_agreement":null},{"id":"W7000875516","doi":"","title":"Het Nederlandse film- en bioscoopbedrijf in mobilisatietijd (september 1939 - december 1939)","year":2018,"lang":"nl","type":"dissertation","venue":"Utrecht University Repository (Utrecht University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Fortress (chess); Quarter (Canadian coin); Homogeneous","score_opus":0.013164277828272897,"score_gpt":0.19273295190910117,"score_spread":0.17956867408082827,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7000875516","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05921113,0.009319523,0.0014558631,0.013349193,0.004284116,0.00011817129,0.0017069563,0.00009362598,0.9104615],"genre_scores_gemma":[0.3864359,0.005161153,0.0010276691,0.0020635803,0.00045808186,0.0001661558,0.000738963,0.00015417705,0.60379434],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993338,0.00020336462,0.000036793874,0.000114985196,0.00012837867,0.0001825398],"domain_scores_gemma":[0.99967,0.00013066932,0.000036887956,0.000022627717,0.000050317445,0.0000894505],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008077325,0.00042490204,0.00018394516,0.0006501938,0.004344316,0.0041561886,0.00044384698,0.0010766078,0.029834056],"category_scores_gemma":[0.0017209272,0.0002076606,0.0001603766,0.0010282756,0.0036768944,0.0021408836,0.0019645933,0.002795977,0.0036120191],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003059685,0.00009134327,0.0039893086,0.00036328976,0.000010310072,0.0011707386,0.19967666,0.00014933445,0.0019280397,0.5394525,0.18950284,0.06335975],"study_design_scores_gemma":[0.000004131067,0.000010386274,0.003063149,0.000109734974,0.0000022003944,0.00007185952,0.010657831,0.000009051435,0.00039240325,0.0012413309,0.9844305,0.0000074190693],"about_ca_topic_score_codex":0.07696474,"about_ca_topic_score_gemma":0.13228634,"teacher_disagreement_score":0.07696474,"about_ca_system_score_codex":0.006354492,"about_ca_system_score_gemma":0.0023727799,"threshold_uncertainty_score":0.1530335},"labels":[],"label_agreement":null},{"id":"W7001274754","doi":"","title":"Interview with Lisa Marr","year":2019,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The arts; Work (physics); Echo (communications protocol); Movie theater; Short Film","score_opus":0.011248096605839959,"score_gpt":0.17195500629239233,"score_spread":0.16070690968655238,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7001274754","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.014911718,0.0067630187,0.00032477087,0.8912266,0.0055093598,0.000114886025,0.0007223045,0.00012563753,0.080301695],"genre_scores_gemma":[0.12553588,0.0064966283,0.0005855315,0.51639295,0.002525052,0.0006817062,0.00033367466,0.00019692666,0.34725174],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99790895,0.0008550944,0.00006579365,0.00025287995,0.00042637638,0.0004910263],"domain_scores_gemma":[0.9951068,0.0017931584,0.0003715939,0.000095249394,0.0011456629,0.0014876066],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0038636061,0.00048820092,0.0007786742,0.0010980541,0.010589781,0.004243126,0.0010968696,0.0061788955,0.047018167],"category_scores_gemma":[0.012224301,0.00063005666,0.0002658085,0.0014502812,0.0021446927,0.004025314,0.002518871,0.012559513,0.015332659],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003416883,0.000044925688,0.0007035577,0.000087797394,0.0000024470637,0.0008175274,0.016883476,0.00002822007,0.00013380522,0.0027433732,0.97212166,0.0063990173],"study_design_scores_gemma":[0.0000074613463,0.000022658276,0.0014453608,0.00022406486,0.0000026704174,0.0005702443,0.042640854,0.0000709242,0.00008421887,0.0004957708,0.9544115,0.000024313813],"about_ca_topic_score_codex":0.02498941,"about_ca_topic_score_gemma":0.038218215,"teacher_disagreement_score":0.047018167,"about_ca_system_score_codex":0.00617034,"about_ca_system_score_gemma":0.0071464516,"threshold_uncertainty_score":0.15729147},"labels":[],"label_agreement":null},{"id":"W7001594108","doi":"","title":"La inserción profesional docente en Quebec y en Colombia : ¿qué podemos compartir y aprender?","year":2014,"lang":"en","type":"article","venue":"LA Referencia (Red Federada de Repositorios Institucionales de Publicaciones Científicas)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Field (mathematics); Subject (documents)","score_opus":0.024096225515093793,"score_gpt":0.23746642594471684,"score_spread":0.21337020042962304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7001594108","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.80639046,0.00595558,0.002006047,0.017719533,0.00017322894,0.00014587826,0.0008283472,0.0000794414,0.16670154],"genre_scores_gemma":[0.9795877,0.0012562682,0.0005043018,0.00041875185,0.000013497868,0.000034034983,0.00012143541,0.000011065971,0.018053018],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.99855906,0.00041276417,0.00003559432,0.00018642143,0.0002847539,0.0005213973],"domain_scores_gemma":[0.9959073,0.00056333316,0.00042940406,0.00015757381,0.0015760816,0.0013662892],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012399105,0.00030390898,0.00027864528,0.001989065,0.008041582,0.005167209,0.0010125273,0.00070076325,0.007948666],"category_scores_gemma":[0.004113391,0.0001630811,0.00013208027,0.0021730307,0.0052815946,0.0014463761,0.0020102493,0.0012063081,0.00036938005],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00016651224,0.00017709682,0.35858938,0.000569392,0.000059309095,0.002180985,0.28601906,0.00085035997,0.0017174484,0.091091774,0.039103713,0.21947497],"study_design_scores_gemma":[0.000015562913,0.0000751819,0.4327223,0.0006956151,0.000059169357,0.00024249071,0.29980677,0.00050255744,0.00086022785,0.0014749798,0.2634559,0.000089306515],"about_ca_topic_score_codex":0.97319174,"about_ca_topic_score_gemma":0.9879097,"teacher_disagreement_score":0.05266811,"about_ca_system_score_codex":0.05266811,"about_ca_system_score_gemma":0.052447252,"threshold_uncertainty_score":0.3821357},"labels":[],"label_agreement":null},{"id":"W7002170175","doi":"","title":"11 Movies We'll Be Watching In Hell","year":2017,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Set (abstract data type); Table (database); Parallax; Service (business)","score_opus":0.01489571390447649,"score_gpt":0.19141661771103688,"score_spread":0.17652090380656038,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7002170175","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010707473,0.00047410154,0.00019679627,0.0009311729,0.00085260504,0.000045441382,0.0071273805,0.00067226606,0.9886296],"genre_scores_gemma":[0.0037604016,0.00079073623,0.00023256028,0.00037116167,0.00030476062,0.000034156856,0.0050782664,0.00062902103,0.98879904],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995968,0.00006394789,0.000015846608,0.000054427728,0.0001536843,0.00011528362],"domain_scores_gemma":[0.99827933,0.00013624158,0.000074541254,0.00015764408,0.00046294733,0.0008893451],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00051335845,0.0008646745,0.00033377606,0.001837229,0.0027606664,0.0046412577,0.00074381346,0.0009579869,0.7448961],"category_scores_gemma":[0.002549132,0.00029106604,0.00041372134,0.0026147063,0.00058767514,0.0042685,0.003546003,0.0015665435,0.55530864],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023814391,0.000031971133,0.00039003175,0.000079065874,0.0000023611144,0.000036478417,0.00012068806,0.00002130352,0.00008427755,0.002043057,0.9679976,0.029169422],"study_design_scores_gemma":[0.0000040138784,0.0000067755163,0.0018467344,0.00009246838,0.0000015269437,0.000035849935,0.00032107384,0.000025136433,0.00009259386,0.00038560823,0.9971831,0.0000051562474],"about_ca_topic_score_codex":0.012664282,"about_ca_topic_score_gemma":0.047110047,"teacher_disagreement_score":0.7448961,"about_ca_system_score_codex":0.001152178,"about_ca_system_score_gemma":0.0013542598,"threshold_uncertainty_score":0.36387473},"labels":[],"label_agreement":null},{"id":"W7002447433","doi":"","title":"New advancements on single fiber tensile test of natural fibers","year":2010,"lang":"en","type":"article","venue":"NPARC","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"National Research Council Canada","keywords":"Bast fibre; Ultimate tensile strength; Fiber; Natural fiber; Scanning electron microscope; Tensile testing; Optical microscope","score_opus":0.01879625789239206,"score_gpt":0.21819966176631556,"score_spread":0.1994034038739235,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7002447433","genre_codex":"methods","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4619595,0.0086680995,0.516487,0.0005138979,0.00075129804,0.0003257386,0.0008530849,0.0010562092,0.009385156],"genre_scores_gemma":[0.63593215,0.004933222,0.35242507,0.00022012788,0.00029408815,0.0002631043,0.00052740885,0.00010202124,0.0053027705],"study_design_codex":"bench_or_experimental","study_design_gemma":"bench_or_experimental","domain_scores_codex":[0.9973884,0.00046108427,0.00016123633,0.00055522047,0.0013638305,0.00007018272],"domain_scores_gemma":[0.9963102,0.00079658825,0.0003952134,0.0004271259,0.0019165827,0.00015428974],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00243645,0.0007315553,0.00066863,0.0022346685,0.00035131988,0.0005035542,0.00081403187,0.00086990144,0.0009946395],"category_scores_gemma":[0.002469815,0.00036541666,0.00040867648,0.0010843301,0.0007060509,0.001278797,0.0005499631,0.0010205548,0.0003551509],"study_design_candidate":"bench_or_experimental","study_design_consensus":"bench_or_experimental","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001748379,0.00009339471,0.0050553405,0.00030717332,0.00003494961,0.00019368727,0.00014087596,0.00081154914,0.9244989,0.0011420342,0.00040535434,0.06714196],"study_design_scores_gemma":[0.0000246388,0.0014976425,0.022454793,0.000090530724,0.000080870996,0.0017860709,0.00018611285,0.028422892,0.93084186,0.0013285439,0.013120094,0.00016590866],"about_ca_topic_score_codex":0.00095163396,"about_ca_topic_score_gemma":0.0019692886,"teacher_disagreement_score":0.00243645,"about_ca_system_score_codex":0.00037756897,"about_ca_system_score_gemma":0.00040283895,"threshold_uncertainty_score":0.012885332},"labels":[],"label_agreement":null},{"id":"W7006460261","doi":"","title":"[Turtle Creek Chorale: Bert Martin at Gala Festival VII]","year":2004,"lang":"en","type":"other","venue":"The Portal to Texas History (University of North Texas)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"White (mutation); Photography; Work (physics)","score_opus":0.022327947111546884,"score_gpt":0.18406890694600755,"score_spread":0.16174095983446068,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7006460261","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022554311,0.0034525672,0.0004443321,0.012338846,0.0039483123,0.000084825726,0.0022686291,0.00056368706,0.97464335],"genre_scores_gemma":[0.009172666,0.00072926626,0.0001911137,0.0016938406,0.00033027722,0.000028804254,0.00047244175,0.00019887676,0.9871826],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998616,0.000021805507,0.0000025796762,0.000023674165,0.000031543485,0.000058676942],"domain_scores_gemma":[0.99976176,0.000016738855,0.000011824749,0.00001474204,0.000070679715,0.00012425217],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00033304596,0.0007149071,0.0002162189,0.0007602369,0.006424297,0.00281555,0.0007407202,0.001702289,0.2860732],"category_scores_gemma":[0.00059312506,0.00033002056,0.00025689718,0.0008341499,0.0006247087,0.0018099275,0.0018337545,0.0021110303,0.06998809],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010933695,0.0000046366126,0.00006956925,0.000012621901,6.1083364e-7,0.00008309096,0.00023392546,0.000012532219,0.00004009958,0.0013821056,0.99436545,0.0037844914],"study_design_scores_gemma":[0.0000016374237,0.000002052039,0.000538351,0.000019273235,3.6068386e-7,0.00003676,0.00036314028,0.0000072550242,0.000017766311,0.00008623278,0.9989242,0.0000028838767],"about_ca_topic_score_codex":0.08500151,"about_ca_topic_score_gemma":0.3503612,"teacher_disagreement_score":0.2860732,"about_ca_system_score_codex":0.0019156995,"about_ca_system_score_gemma":0.0011748144,"threshold_uncertainty_score":0.9570102},"labels":[],"label_agreement":null},{"id":"W7006592203","doi":"","title":"Unravelling family fictions: stories we tell, daughter rite and my life without me","year":2019,"lang":"en","type":"article","venue":"Figshare","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rite of passage; Movie theater; Daughter; Freudian slip; Rite; Order (exchange); Power (physics); Human sexuality","score_opus":0.06458128621805974,"score_gpt":0.23515706136041906,"score_spread":0.17057577514235933,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7006592203","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.23760226,0.046824183,0.0067641614,0.14844939,0.0051776534,0.00013767538,0.0008126423,0.0001576855,0.5540744],"genre_scores_gemma":[0.9151892,0.01679413,0.0017812683,0.005728453,0.0013099,0.000119460645,0.00023761412,0.00019567483,0.058644235],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99742186,0.0019231858,0.000032576925,0.0001401737,0.00027184555,0.00021043589],"domain_scores_gemma":[0.99541414,0.003484483,0.00028606705,0.00015117561,0.0002706089,0.00039347727],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0023789485,0.00083963556,0.00038581435,0.0017464061,0.011813649,0.007739038,0.000987998,0.0021231691,0.00702292],"category_scores_gemma":[0.008816036,0.00035122308,0.00025222663,0.0017964288,0.014893611,0.00707853,0.003061066,0.0037453244,0.0010664612],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003136576,0.000017126513,0.00087906356,0.00012394862,0.000010587888,0.00095065264,0.7705907,0.00008264841,0.00019203982,0.13725674,0.07481981,0.015045333],"study_design_scores_gemma":[0.0000034025657,0.000010787921,0.001042088,0.00033706983,0.0000054254333,0.00058730773,0.29129612,0.000061823135,0.00016735091,0.0065866956,0.6998909,0.0000110167675],"about_ca_topic_score_codex":0.024109567,"about_ca_topic_score_gemma":0.05230257,"teacher_disagreement_score":0.024109567,"about_ca_system_score_codex":0.007782881,"about_ca_system_score_gemma":0.0019032619,"threshold_uncertainty_score":0.056468964},"labels":[],"label_agreement":null},{"id":"W7008089774","doi":"","title":"Bilgamesh, un ballet-opéra en deux actes.&#13;\\nSymbiose d’un genre oublié, une mythologie archaïque et une langue morte","year":2013,"lang":"fr","type":"other","venue":"Papyrus : Institutional Repository (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Subject (documents); Focus (optics); Derogation; Context (archaeology)","score_opus":0.00944546786241451,"score_gpt":0.1738972729160465,"score_spread":0.164451805053632,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7008089774","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0035807288,0.026101505,0.005950185,0.044872694,0.005266381,0.000061211955,0.0008967296,0.00055372395,0.91271687],"genre_scores_gemma":[0.057148002,0.008411872,0.0031594557,0.004822166,0.00079079444,0.00006589717,0.00039167795,0.00068068487,0.92452943],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99897087,0.00033721307,0.000034473167,0.00017123892,0.00031965078,0.0001667092],"domain_scores_gemma":[0.9994228,0.00016211126,0.00004136773,0.000085899395,0.00014038513,0.00014759284],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009337567,0.0008497682,0.0003632705,0.0014084673,0.0065679876,0.006591251,0.0009062004,0.0024008628,0.071032956],"category_scores_gemma":[0.0026259553,0.00042985068,0.0003413084,0.0017490333,0.008527043,0.006004125,0.0031816456,0.0034998413,0.013359478],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000043683223,0.000015634563,0.000238216,0.000102371916,0.0000048316574,0.00008120264,0.005215414,0.000063582476,0.00015573957,0.4720915,0.47319672,0.048791207],"study_design_scores_gemma":[0.0000059504127,0.000005627949,0.00046206603,0.00012213747,0.0000026668295,0.00004872984,0.0009319346,0.000042675052,0.00017042157,0.019257993,0.97894204,0.000007842958],"about_ca_topic_score_codex":0.10189074,"about_ca_topic_score_gemma":0.1994652,"teacher_disagreement_score":0.10189074,"about_ca_system_score_codex":0.0065130387,"about_ca_system_score_gemma":0.0050231013,"threshold_uncertainty_score":0.23762894},"labels":[],"label_agreement":null},{"id":"W7009863714","doi":"","title":"Film Music - Documentary Film","year":2023,"lang":"en","type":"article","venue":"Huddersfield Research Portal (University of Huddersfield)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Centre for Interdisciplinary Research in Music Media and Technology","funders":"","keywords":"Documentary film; Timeline; Documentary evidence; Key (lock); Film director; Thematic map","score_opus":0.1222091404301678,"score_gpt":0.2814076064007827,"score_spread":0.15919846597061493,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7009863714","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.056821622,0.04176124,0.0031671505,0.01624358,0.0045516454,0.00024733265,0.0018797595,0.000098346856,0.8752293],"genre_scores_gemma":[0.70623195,0.037629634,0.0041384385,0.00458173,0.0036815705,0.00027344044,0.001896949,0.00026727896,0.24129908],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99904853,0.00043461248,0.000053727214,0.00012887862,0.0002316954,0.000102628575],"domain_scores_gemma":[0.998214,0.0009595834,0.00019713261,0.00017349739,0.0003250496,0.00013070181],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010270384,0.00041888634,0.0001660353,0.0019934562,0.0027474326,0.005305233,0.00049697777,0.00092534965,0.019936366],"category_scores_gemma":[0.00462551,0.00014986712,0.00013826133,0.0026247106,0.0025275345,0.0032919575,0.0015924938,0.0013977601,0.0016007357],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00030897575,0.00008850978,0.003037746,0.0021349136,0.000023607503,0.00095923664,0.1072319,0.00015674811,0.0036357478,0.43269065,0.22608699,0.22364493],"study_design_scores_gemma":[0.0000056128324,0.000044333145,0.006804319,0.0009937627,0.0000082882,0.00051093654,0.024188232,0.000039514394,0.00084150146,0.005467995,0.9610846,0.000010976362],"about_ca_topic_score_codex":0.0060460917,"about_ca_topic_score_gemma":0.011901831,"teacher_disagreement_score":0.019936366,"about_ca_system_score_codex":0.0023325223,"about_ca_system_score_gemma":0.0010877288,"threshold_uncertainty_score":0.06669372},"labels":[],"label_agreement":null},{"id":"W7011644020","doi":"","title":"The National Film Board and Canada’s Post-Second World War Foreign Policy","year":2003,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Foreign policy; World War II; First world war; Foreign relations; International relations","score_opus":0.018989307752357607,"score_gpt":0.2104789665020638,"score_spread":0.1914896587497062,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7011644020","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42830786,0.013223383,0.00028931434,0.210679,0.0012308517,0.00007759729,0.0026095668,0.000047847487,0.34353462],"genre_scores_gemma":[0.93476176,0.0028393925,0.00009918055,0.005837393,0.00024668942,0.000015863108,0.00034590883,0.00002784277,0.05582598],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99701285,0.00026599862,0.00005080019,0.00017160327,0.0007273534,0.0017713862],"domain_scores_gemma":[0.98798066,0.0025880104,0.00094125664,0.00015561594,0.004528514,0.0038058888],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002602914,0.00032652853,0.0003888923,0.0028003291,0.009474206,0.014715589,0.0011736227,0.0035936367,0.02381367],"category_scores_gemma":[0.017360162,0.00027928894,0.00034429508,0.0036199219,0.0034687947,0.0025553983,0.0016504248,0.0047986405,0.00056233595],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00091716193,0.00042588185,0.14299077,0.00032139904,0.00017624942,0.001062115,0.01597318,0.003043961,0.0005749314,0.4237543,0.3353308,0.07542922],"study_design_scores_gemma":[0.0001255404,0.000089276706,0.37924722,0.0006552118,0.00019180177,0.00016423615,0.058372498,0.0019896715,0.0008903128,0.01285595,0.5452923,0.00012596206],"about_ca_topic_score_codex":0.990396,"about_ca_topic_score_gemma":0.9949508,"teacher_disagreement_score":0.12854515,"about_ca_system_score_codex":0.12854515,"about_ca_system_score_gemma":0.12525538,"threshold_uncertainty_score":0.9326647},"labels":[],"label_agreement":null},{"id":"W7011700466","doi":"","title":"\\n Animation Express — Canada 2009, 221 minutes (version DVD), 344 minutes (version Blue-Ray)","year":2010,"lang":"ru","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Animation; Photography; Computer animation; Line drawings","score_opus":0.00622471363620522,"score_gpt":0.14383342851773498,"score_spread":0.13760871488152976,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7011700466","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00079614966,0.0007842361,0.0005455314,0.0015141413,0.0033468301,0.00019691019,0.015725814,0.0018956211,0.9751948],"genre_scores_gemma":[0.001373968,0.0003503969,0.00037876153,0.00018713962,0.00014565124,0.000042104948,0.0033042282,0.0004688777,0.993749],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99978393,0.00001331693,0.0000042551083,0.00002649239,0.00010831374,0.0000635854],"domain_scores_gemma":[0.9994566,0.000043429456,0.000010982446,0.000025304023,0.00028927843,0.00017444149],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00024011507,0.0012650182,0.0007318377,0.0011261753,0.002958024,0.0033689223,0.0010803095,0.0012928378,0.8261775],"category_scores_gemma":[0.0011158085,0.00050929555,0.0005407048,0.0015506446,0.00038161429,0.0008911569,0.001209035,0.0011982208,0.56845886],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018496708,0.000007726232,0.000033753713,0.000018142548,6.8364534e-7,0.000005983005,0.000007972332,0.000028123668,0.000066600434,0.00019915652,0.9892106,0.010402718],"study_design_scores_gemma":[0.000013183626,0.000006025735,0.0007774995,0.00003797212,0.0000020405055,0.00000954197,0.000048466303,0.00011244266,0.00007011751,0.00014493367,0.9987716,0.0000061464334],"about_ca_topic_score_codex":0.40424424,"about_ca_topic_score_gemma":0.7149917,"teacher_disagreement_score":0.8261775,"about_ca_system_score_codex":0.0034980308,"about_ca_system_score_gemma":0.0047668833,"threshold_uncertainty_score":0.8037826},"labels":[],"label_agreement":null},{"id":"W7012912341","doi":"","title":"The Fast Runner","year":2010,"lang":"en","type":"article","venue":"Insecta mundi","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indigenous; Storytelling; Feature film; Legend; EPIC; Movie theater; Filmmaking; Front (military); Video production","score_opus":0.01923152562499514,"score_gpt":0.20915210568397555,"score_spread":0.1899205800589804,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7012912341","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022287792,0.004145672,0.0015099118,0.019183073,0.008453038,0.0000778897,0.0003679514,0.0004425142,0.9435322],"genre_scores_gemma":[0.0986083,0.0025006249,0.0014781458,0.005147873,0.00087739836,0.00004445207,0.00032407892,0.00053469,0.8904845],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989273,0.00019482723,0.000023787681,0.00023389881,0.00026497128,0.00035524502],"domain_scores_gemma":[0.999032,0.000067675595,0.000038557933,0.00008691916,0.00024485632,0.0005299565],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00081574096,0.0008483681,0.0003102107,0.00087200606,0.013633956,0.0073709455,0.0009005153,0.002106058,0.09068076],"category_scores_gemma":[0.0021537994,0.00035641858,0.00033854376,0.00062437594,0.0030365025,0.0056975703,0.005695782,0.003915962,0.017268369],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008464483,0.00006225339,0.0012435721,0.00013993582,0.000009828832,0.0010401424,0.03680979,0.000049027414,0.0016624359,0.08860899,0.79295653,0.07733288],"study_design_scores_gemma":[0.0000023764264,0.00001557697,0.0005785121,0.00007990082,0.000002386918,0.00029574882,0.008207172,0.000018185152,0.00014702191,0.00075425336,0.98988956,0.000009401262],"about_ca_topic_score_codex":0.035781715,"about_ca_topic_score_gemma":0.10405772,"teacher_disagreement_score":0.09068076,"about_ca_system_score_codex":0.0029555976,"about_ca_system_score_gemma":0.0032888532,"threshold_uncertainty_score":0.30335736},"labels":[],"label_agreement":null},{"id":"W7012950101","doi":"","title":"Francos in Film","year":2017,"lang":"en","type":"article","venue":"DigitalCommons (California Polytechnic State University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Schedule; Film festival; Movie theater; Documentary film","score_opus":0.026310297728064796,"score_gpt":0.2100227551426628,"score_spread":0.18371245741459802,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7012950101","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.042552143,0.014259542,0.00028948582,0.045206707,0.004345834,0.000044117514,0.002393022,0.00013535836,0.89077365],"genre_scores_gemma":[0.26567373,0.008967046,0.00056508195,0.005684301,0.001416233,0.000037261067,0.001647533,0.00017897699,0.7158299],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99926454,0.00018604181,0.000022905684,0.00008902112,0.00018662824,0.0002508844],"domain_scores_gemma":[0.99865925,0.00019363333,0.000104301456,0.00007528963,0.00038240477,0.0005850907],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00094088604,0.00048711154,0.00022405549,0.001015597,0.0069156503,0.0051664053,0.0003825019,0.00094375096,0.113668054],"category_scores_gemma":[0.0021194657,0.0001316545,0.0002561534,0.0015226238,0.0009682383,0.0017885631,0.0013947815,0.0011927277,0.008681105],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000928165,0.000039005143,0.0036912763,0.0001492052,0.000009365877,0.0004142157,0.0052174944,0.00004389416,0.0004597878,0.03813306,0.8936853,0.058064632],"study_design_scores_gemma":[0.000003646614,0.00001054558,0.0059146914,0.00010363039,0.0000028313536,0.000095017545,0.0035048134,0.000019818479,0.0000669989,0.00032288145,0.98994946,0.0000055540145],"about_ca_topic_score_codex":0.1235648,"about_ca_topic_score_gemma":0.2892666,"teacher_disagreement_score":0.1235648,"about_ca_system_score_codex":0.0046136915,"about_ca_system_score_gemma":0.0022174814,"threshold_uncertainty_score":0.38025755},"labels":[],"label_agreement":null},{"id":"W7013183730","doi":"","title":"Thinking Places","year":2016,"lang":"en","type":"book","venue":"Infoscience (Ecole Polytechnique Fédérale de Lausanne)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Shot (pellet); Space (punctuation); Sequence (biology); Movie theater","score_opus":0.02201849534981593,"score_gpt":0.23034595455866114,"score_spread":0.2083274592088452,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7013183730","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000792834,0.0035213602,0.0021235335,0.0047915736,0.0037026445,0.00003158949,0.00022037032,0.000242369,0.98457366],"genre_scores_gemma":[0.01934998,0.003960678,0.002205909,0.0017251795,0.0008715034,0.000041769414,0.00045204893,0.0003128043,0.9710802],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99935275,0.00016567469,0.000027694123,0.00011461469,0.00022081712,0.00011848516],"domain_scores_gemma":[0.9993492,0.00013713479,0.00003481263,0.000097163866,0.00016592772,0.00021580997],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00046420173,0.0009605322,0.00026973468,0.0014651769,0.0035675908,0.0071330597,0.0010275871,0.0015003585,0.15220739],"category_scores_gemma":[0.0017463905,0.0003482945,0.00052252156,0.0016002663,0.0030524663,0.00702158,0.0036429167,0.003349207,0.038025472],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029893865,0.000018261679,0.0001013978,0.000103765575,0.000003218733,0.00013878748,0.003100451,0.00009382962,0.00022021624,0.47298947,0.4548463,0.06835451],"study_design_scores_gemma":[0.0000019036032,0.0000027984438,0.00004997177,0.000060300114,8.3008786e-7,0.00006267027,0.00046054355,0.00001811073,0.000064382984,0.009335145,0.9899406,0.0000027010205],"about_ca_topic_score_codex":0.0033848141,"about_ca_topic_score_gemma":0.007956901,"teacher_disagreement_score":0.15220739,"about_ca_system_score_codex":0.0034909472,"about_ca_system_score_gemma":0.0018124223,"threshold_uncertainty_score":0.5091845},"labels":[],"label_agreement":null},{"id":"W7013189935","doi":"","title":"Thinking Places","year":2015,"lang":"en","type":"article","venue":"Infoscience (Ecole Polytechnique Fédérale de Lausanne)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Shot (pellet); Space (punctuation); Sequence (biology); Movie theater","score_opus":0.04797419750707739,"score_gpt":0.25377270434217186,"score_spread":0.20579850683509449,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7013189935","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005598181,0.0018854594,0.0056409906,0.016442204,0.0051410026,0.00010013705,0.0008118495,0.00043240207,0.9639478],"genre_scores_gemma":[0.16856252,0.0032447276,0.010071912,0.0065308074,0.001782441,0.00020399404,0.0019563707,0.000802346,0.8068449],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99831545,0.0006240559,0.00006804375,0.00025163166,0.00036509853,0.0003756903],"domain_scores_gemma":[0.9975815,0.00039937702,0.0001739169,0.00031099067,0.0005124402,0.0010218592],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011839388,0.00097570365,0.00026456406,0.00147883,0.0063413517,0.007514879,0.001286287,0.0020452908,0.15647097],"category_scores_gemma":[0.0042322245,0.00036445697,0.0005998928,0.0016305005,0.0039893007,0.006796263,0.0060892506,0.003950372,0.027057633],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010124819,0.000043546883,0.00067500625,0.00014380665,0.000008915029,0.00038787274,0.01604466,0.00013131236,0.00047868944,0.44627726,0.45910895,0.07659877],"study_design_scores_gemma":[0.0000049618616,0.000009172978,0.00032367333,0.00007770545,0.0000020142961,0.000110283734,0.0039856774,0.00003327634,0.00013328345,0.0106598195,0.9846527,0.0000075400403],"about_ca_topic_score_codex":0.004165876,"about_ca_topic_score_gemma":0.008721152,"teacher_disagreement_score":0.15647097,"about_ca_system_score_codex":0.0040982105,"about_ca_system_score_gemma":0.0020434714,"threshold_uncertainty_score":0.5234475},"labels":[],"label_agreement":null},{"id":"W7015064237","doi":"","title":"Soundtrack Boxing Day","year":2007,"lang":"en","type":"other","venue":"UNSWorks (University of New South Wales, Sydney, Australia)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Narrative; Documentary film; Filmmaking; Period (music); Popular music; Video recording; Order (exchange); Feature film; Action (physics)","score_opus":0.07568410656999061,"score_gpt":0.2377205349419618,"score_spread":0.1620364283719712,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015064237","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013265932,0.00027686992,0.0010911425,0.00093350076,0.0013577823,0.0002013271,0.0035028388,0.00063929043,0.9787313],"genre_scores_gemma":[0.07188591,0.00061232987,0.0026208388,0.000649866,0.0005787088,0.00019759023,0.0050479798,0.0005295669,0.91787726],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993912,0.000092874594,0.000022320917,0.000109743,0.00027759883,0.00010627327],"domain_scores_gemma":[0.9989858,0.00014756237,0.000048631497,0.00019582632,0.00031590616,0.00030626036],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007087664,0.00027475576,0.00025358153,0.00078460353,0.0019919712,0.0033670573,0.0005458338,0.0005715096,0.24586596],"category_scores_gemma":[0.0021975113,0.00017488685,0.00025412513,0.00076454476,0.00041811055,0.0016376185,0.0021314917,0.0010679272,0.04496845],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002910271,0.00016288935,0.0016562713,0.00018088904,0.000007754499,0.00028237377,0.0027948888,0.00009948361,0.00230415,0.021518208,0.8142602,0.15644193],"study_design_scores_gemma":[0.000008916561,0.000054045457,0.008653234,0.000049579812,0.0000021341032,0.00008797141,0.00084486074,0.000067474735,0.00065185333,0.0005414335,0.98902905,0.000009353463],"about_ca_topic_score_codex":0.0063761827,"about_ca_topic_score_gemma":0.018322729,"teacher_disagreement_score":0.24586596,"about_ca_system_score_codex":0.0011107335,"about_ca_system_score_gemma":0.0010614262,"threshold_uncertainty_score":0.82250357},"labels":[],"label_agreement":null},{"id":"W7015224112","doi":"","title":"Scorched Palimpsests and Transnational Experiments: Denis Villeneuve's <i>Incendies</i>","year":2024,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Field (mathematics); Period (music); Volume (thermodynamics); Joint (building)","score_opus":0.03155345591258517,"score_gpt":0.22960123210387215,"score_spread":0.198047776191287,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015224112","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.65969634,0.005954871,0.009027045,0.049492046,0.0008193005,0.00023532043,0.0004608517,0.00007747455,0.2742367],"genre_scores_gemma":[0.9669885,0.0015830772,0.0034198985,0.0026357258,0.00019405436,0.00028695405,0.00014522056,0.00007820058,0.024668427],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9962843,0.0028153928,0.000073670875,0.00038531725,0.00031338245,0.00012797813],"domain_scores_gemma":[0.97234464,0.022823809,0.0008869459,0.002573554,0.0009090116,0.00046207925],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007855748,0.00042686373,0.00046974022,0.00053182844,0.0029131449,0.0041456157,0.0011290115,0.0025105665,0.013766124],"category_scores_gemma":[0.032503262,0.00025855703,0.00029597516,0.0008442485,0.0050937277,0.005304808,0.0037184318,0.0026915695,0.0008251706],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.001444103,0.001906544,0.010904784,0.00040519313,0.00014458013,0.00078671955,0.083817296,0.0012785787,0.004407928,0.77012116,0.030903002,0.093880184],"study_design_scores_gemma":[0.0007298895,0.0015385648,0.04642288,0.0010450648,0.00022683102,0.000888847,0.1276017,0.0067963824,0.009739808,0.55319166,0.251616,0.00020249374],"about_ca_topic_score_codex":0.012315248,"about_ca_topic_score_gemma":0.018918129,"teacher_disagreement_score":0.013766124,"about_ca_system_score_codex":0.0016996533,"about_ca_system_score_gemma":0.00095857575,"threshold_uncertainty_score":0.046052217},"labels":[],"label_agreement":null},{"id":"W7015468064","doi":"","title":"‘Surrender pronto, or we’ll level Toronto!’ Guerre immaginarie a confronto nel cinema americano di fine millennio","year":2008,"lang":"it","type":"book-chapter","venue":"CINECA IRIS Institutional Research information system (University of Urbino)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Object (grammar); Context (archaeology); Feature (linguistics)","score_opus":0.16086026340884507,"score_gpt":0.27549007387513663,"score_spread":0.11462981046629156,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015468064","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016520508,0.022171933,0.0010920435,0.13438852,0.011569554,0.00002911995,0.00032406548,0.0001916905,0.82858104],"genre_scores_gemma":[0.020265922,0.006090832,0.000616098,0.011840305,0.0011652538,0.000021717384,0.00010455577,0.00019587575,0.95969945],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993771,0.0001370531,0.000015382082,0.00010793317,0.00020271736,0.0001598804],"domain_scores_gemma":[0.9993838,0.00013133041,0.000029234136,0.00007241358,0.00022458013,0.0001586403],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00067771785,0.000651528,0.0002870004,0.00084916473,0.005456624,0.006157096,0.00061738095,0.002795295,0.05265021],"category_scores_gemma":[0.0022148916,0.0004466844,0.00020308435,0.0011016357,0.0038010816,0.0045010564,0.0018313767,0.0054535717,0.012882283],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000065041854,0.000004753457,0.00013520815,0.00002669495,0.0000016997697,0.000027015054,0.002334211,0.000021105703,0.00006868778,0.1322376,0.84996,0.015176555],"study_design_scores_gemma":[8.588462e-7,0.0000011923717,0.0002070093,0.000029404464,8.094749e-7,0.000017414473,0.00040922168,0.000013441536,0.000023769622,0.0017243465,0.9975695,0.0000030460885],"about_ca_topic_score_codex":0.28998768,"about_ca_topic_score_gemma":0.5943357,"teacher_disagreement_score":0.28998768,"about_ca_system_score_codex":0.009180611,"about_ca_system_score_gemma":0.007667536,"threshold_uncertainty_score":0.57659954},"labels":[],"label_agreement":null},{"id":"W7015532168","doi":"","title":"Supplement : Joseph Kosuth's The Second Investigation in Vancouver (1969) : Art on TV","year":2015,"lang":"en","type":"book","venue":"E-Artexte (Artexte)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exhibition; Relation (database); Object (grammar); Key (lock); Entertainment; White (mutation); Clothing","score_opus":0.03379937908918712,"score_gpt":0.22309221676072244,"score_spread":0.18929283767153532,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015532168","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005560581,0.04604508,0.00065843936,0.11142079,0.10608517,0.0001374652,0.004587388,0.0002625513,0.7252425],"genre_scores_gemma":[0.035448555,0.018761657,0.00041962878,0.021726517,0.032465074,0.00010938051,0.0013991509,0.00028622695,0.88938385],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993154,0.00009744676,0.000028352297,0.00011105911,0.00034147175,0.00010631995],"domain_scores_gemma":[0.9983064,0.00048300374,0.00008160364,0.00010519647,0.0007565396,0.00026723603],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004435496,0.0009965469,0.0004833376,0.002775828,0.0079935435,0.004263479,0.0009054676,0.0024907745,0.058927238],"category_scores_gemma":[0.0029100801,0.00032480134,0.00033432705,0.0028082738,0.0019920347,0.0017059523,0.0026548568,0.003378696,0.014736954],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000073675956,0.000006218081,0.000099937766,0.000047161353,0.0000013062999,0.000052744323,0.00088707,0.0000073281017,0.00006898142,0.0023347344,0.9925931,0.0038939584],"study_design_scores_gemma":[0.000001183913,0.000002749136,0.0009731979,0.00009720603,0.0000013126725,0.000046685574,0.0006556043,0.000006503442,0.000055489894,0.0002710415,0.99788433,0.0000048044694],"about_ca_topic_score_codex":0.2887206,"about_ca_topic_score_gemma":0.5909554,"teacher_disagreement_score":0.2887206,"about_ca_system_score_codex":0.009486345,"about_ca_system_score_gemma":0.004657364,"threshold_uncertainty_score":0.5740801},"labels":[],"label_agreement":null},{"id":"W7015928231","doi":"","title":"Twenty-Five Years of the <i>Canadian Journal of Film Studies/Revue canadienne d'études cinématographiques</i>","year":2018,"lang":"fr","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); Subject (documents); Period (music); Field (mathematics)","score_opus":0.03380146474307448,"score_gpt":0.2119467238598565,"score_spread":0.17814525911678203,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7015928231","genre_codex":"other","genre_gemma":"editorial","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"editorial","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09911886,0.2894487,0.0012815502,0.14018114,0.033636466,0.00030242064,0.013065365,0.0002131047,0.42275238],"genre_scores_gemma":[0.40733647,0.12633753,0.0013966644,0.01486681,0.010899393,0.00025137165,0.007005214,0.0003198869,0.4315866],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9980506,0.00026866273,0.00009233152,0.00020175097,0.00095624925,0.00043044187],"domain_scores_gemma":[0.9904441,0.0011887322,0.00065348856,0.0004016328,0.003314482,0.003997575],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035205297,0.00061565964,0.0006485104,0.006342605,0.0060290145,0.00856756,0.0010301641,0.0016737068,0.033459567],"category_scores_gemma":[0.00894825,0.00032974916,0.00035073457,0.008214676,0.0035485209,0.0022593848,0.0037230153,0.002221994,0.0038330024],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002480072,0.00024334896,0.013449588,0.0013185396,0.000073445364,0.0005520567,0.034528185,0.00016500657,0.0017505668,0.048975375,0.68188477,0.21681108],"study_design_scores_gemma":[0.0000038623584,0.00001599458,0.030658888,0.00033383543,0.000010163807,0.000054580898,0.0060712025,0.00001444104,0.00014553755,0.00032620836,0.96235114,0.000014126614],"about_ca_topic_score_codex":0.27856535,"about_ca_topic_score_gemma":0.6426248,"teacher_disagreement_score":0.27856535,"about_ca_system_score_codex":0.012083047,"about_ca_system_score_gemma":0.019283054,"threshold_uncertainty_score":0.55388784},"labels":[],"label_agreement":null},{"id":"W7017577767","doi":"","title":"Canadian Cinema Since the 1980s: At the Heart of the World","year":2012,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Feature (linguistics); German; Government (linguistics)","score_opus":0.025594862879246654,"score_gpt":0.2022345175518603,"score_spread":0.17663965467261367,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7017577767","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2266407,0.14033426,0.0011470398,0.1538266,0.004190459,0.00008769671,0.009198355,0.00017647512,0.46439838],"genre_scores_gemma":[0.8934177,0.03320114,0.00062883366,0.0046364395,0.0012149243,0.000017452017,0.0015059136,0.00011748075,0.06526016],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99808323,0.00014986603,0.000030844425,0.00023394535,0.00088394823,0.0006182343],"domain_scores_gemma":[0.9930355,0.0005155171,0.00057817,0.00016069713,0.0036789784,0.0020310797],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016608537,0.0005457199,0.00036511337,0.0036952114,0.009422207,0.011025439,0.0010884404,0.0017727502,0.02999904],"category_scores_gemma":[0.007860364,0.00030284113,0.00024336299,0.008213285,0.0052429414,0.003574768,0.001977379,0.0030780814,0.0011958007],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00040011972,0.00012800333,0.05287278,0.0012614147,0.00010833808,0.000688173,0.06671659,0.00034460746,0.00095923286,0.14113025,0.45845336,0.27693722],"study_design_scores_gemma":[0.000008470198,0.000015217867,0.12742522,0.00061072176,0.000041439976,0.00017975403,0.02116018,0.0000917888,0.0002496392,0.0017093071,0.8484594,0.00004874578],"about_ca_topic_score_codex":0.9706532,"about_ca_topic_score_gemma":0.98976374,"teacher_disagreement_score":0.06706231,"about_ca_system_score_codex":0.06706231,"about_ca_system_score_gemma":0.0584093,"threshold_uncertainty_score":0.4865734},"labels":[],"label_agreement":null},{"id":"W7017744138","doi":"","title":"Beyond Love and Death: Defining Abject Aesthetics in 1980s and 1990s Anglo-Canadian Cinema","year":2024,"lang":"en","type":"dissertation","venue":"QSpace (Queen's University Library)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Materiality (auditing); Narrative; Mythology; Everyday Aesthetics; Human sexuality; Depiction; Film theory; Liminality","score_opus":0.008468849527329013,"score_gpt":0.17847412385575162,"score_spread":0.1700052743284226,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7017744138","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.50020343,0.013350907,0.0027122234,0.012017217,0.00055719184,0.00011631929,0.00023826209,0.00008006852,0.47072437],"genre_scores_gemma":[0.97985613,0.0025882828,0.0005696773,0.000588552,0.000062895844,0.000034923152,0.000057807094,0.000039403756,0.016202472],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99717146,0.0009913621,0.00005577973,0.00021877857,0.0007525626,0.0008101184],"domain_scores_gemma":[0.99734575,0.0007800592,0.00024730532,0.00010267051,0.0008906852,0.0006336404],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027270827,0.0008354083,0.00035018727,0.004617254,0.024338352,0.009925167,0.0010839273,0.0017338572,0.0034417196],"category_scores_gemma":[0.004348732,0.00035434208,0.00025630512,0.0030879783,0.025659023,0.0037536283,0.004292429,0.0037055712,0.00023295077],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004134195,0.000012164438,0.0018747207,0.00007523858,0.0000052571527,0.00025172043,0.90255755,0.000058371705,0.00047434052,0.08136346,0.004310789,0.008975032],"study_design_scores_gemma":[0.0000066184834,0.00001980827,0.016544499,0.00045302618,0.000017719412,0.0004604303,0.719615,0.00016352037,0.0003471992,0.0048665907,0.25745708,0.000048541635],"about_ca_topic_score_codex":0.89201754,"about_ca_topic_score_gemma":0.9378121,"teacher_disagreement_score":0.10798246,"about_ca_system_score_codex":0.06633839,"about_ca_system_score_gemma":0.019715644,"threshold_uncertainty_score":0.48132098},"labels":[],"label_agreement":null},{"id":"W7017749171","doi":"","title":"Beyond the decline: Revaluing Montreal's movie palaces","year":2016,"lang":"en","type":"dissertation","venue":"eScholarship@McGill (McGill)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"McGill University","funders":"Concordia University; McGill University","keywords":"Movie theater; Narrative; Meaning (existential); Expansive; Reading (process); Value (mathematics); The arts; Film studies; Relation (database)","score_opus":0.020146625294085015,"score_gpt":0.23186112420907856,"score_spread":0.21171449891499355,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7017749171","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.58697605,0.0029199729,0.0019964452,0.019066181,0.00079093315,0.00014956284,0.00037762523,0.00017110286,0.38755217],"genre_scores_gemma":[0.92394364,0.00089464436,0.0005184185,0.0010628781,0.00013767007,0.000030795072,0.00013456843,0.00009968151,0.07317769],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9990219,0.00024155872,0.000015062158,0.00011778292,0.00029570548,0.0003080251],"domain_scores_gemma":[0.99861646,0.00023963966,0.00007879946,0.00012014772,0.0004710669,0.00047393166],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016212302,0.0003111075,0.00017178763,0.00094725384,0.012601242,0.008981239,0.0016390005,0.0009163709,0.0097776875],"category_scores_gemma":[0.004361577,0.00016380391,0.00022186738,0.0011960862,0.008758348,0.0033548945,0.00388216,0.0023452132,0.00040501874],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013429309,0.000090419824,0.011354228,0.00021138304,0.000022666867,0.0019976988,0.55045867,0.0005218045,0.0025082019,0.27388966,0.057221334,0.10158968],"study_design_scores_gemma":[0.000014303407,0.00007234502,0.022558076,0.00021010848,0.000012381566,0.00015288837,0.17289187,0.0002598096,0.0006932734,0.0043218266,0.79876685,0.000046254914],"about_ca_topic_score_codex":0.73808336,"about_ca_topic_score_gemma":0.8992647,"teacher_disagreement_score":0.26191664,"about_ca_system_score_codex":0.0285085,"about_ca_system_score_gemma":0.020066125,"threshold_uncertainty_score":0.5269182},"labels":[],"label_agreement":null},{"id":"W70188528","doi":"","title":"A History of Russian Cinema","year":2009,"lang":"en","type":"article","venue":"Canadian Slavonic Papers","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Politics; Russian history; Slavic languages; History; Russian culture; Art history; Classics; Literature; Art; Political science; Ancient history; Law","score_opus":0.021146044816557345,"score_gpt":0.18286319001844908,"score_spread":0.16171714520189173,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W70188528","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002390264,0.67169183,0.0012221803,0.015413069,0.0106977895,0.000027200698,0.00043118608,0.00018145934,0.297945],"genre_scores_gemma":[0.07723559,0.3891825,0.0027174659,0.0048456546,0.006170607,0.00006371777,0.0005926585,0.00044865606,0.51874316],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991015,0.00030196013,0.00006265503,0.00018728542,0.00024050998,0.00010616185],"domain_scores_gemma":[0.99956423,0.00014093316,0.00005865804,0.000037049853,0.00012978543,0.00006932903],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00069307483,0.0007851222,0.00048966595,0.002213257,0.002008359,0.0043264255,0.00055364944,0.0012955676,0.032720007],"category_scores_gemma":[0.0019338707,0.00047490295,0.00030408258,0.0016631666,0.0013259925,0.0046123844,0.0015660505,0.0022330137,0.015516243],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000045388526,0.000026352442,0.00045405063,0.00072367117,0.000010852795,0.00020008639,0.0071594613,0.0001301272,0.00050660037,0.104820415,0.69218886,0.1937341],"study_design_scores_gemma":[7.9787316e-7,0.000005741357,0.0003716453,0.0003754519,0.0000015217204,0.00011302999,0.0004862032,0.000015336296,0.0000489527,0.0014932515,0.99708503,0.0000031276927],"about_ca_topic_score_codex":0.006185089,"about_ca_topic_score_gemma":0.007828464,"teacher_disagreement_score":0.032720007,"about_ca_system_score_codex":0.0026326878,"about_ca_system_score_gemma":0.0012623625,"threshold_uncertainty_score":0.10945928},"labels":[],"label_agreement":null},{"id":"W7019859145","doi":"","title":"Hot docs a prescription for reality ; an Interview with Sean Farnel, Former Director of programming at Hot Docs Canadian International Documentary Festival","year":2012,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Medical prescription; Work (physics); Interview","score_opus":0.0745035347600876,"score_gpt":0.2770699722575439,"score_spread":0.2025664374974563,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7019859145","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0062572034,0.00623582,0.0004939881,0.9310763,0.004738321,0.000039095474,0.00030699107,0.000036793794,0.050815623],"genre_scores_gemma":[0.1981451,0.009478796,0.0013748516,0.44174567,0.00287154,0.00019305956,0.00019666577,0.0004167073,0.34557766],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9963811,0.0013352213,0.00008292127,0.00029050713,0.0009801906,0.0009301443],"domain_scores_gemma":[0.98905295,0.003812289,0.00035232215,0.00020181408,0.0022984697,0.004282288],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005211014,0.0005209838,0.00039301862,0.0009313218,0.033010293,0.010855819,0.0014322966,0.007892724,0.012870598],"category_scores_gemma":[0.014841066,0.0006790277,0.00026173625,0.0017026642,0.012475562,0.0073967306,0.002371417,0.013610027,0.0017398131],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011029666,0.000010780577,0.00045287874,0.000031871812,0.0000016259962,0.00012967108,0.02356884,0.000032111213,0.000089761714,0.016022945,0.95577294,0.0038754656],"study_design_scores_gemma":[0.0000039968454,0.0000034229372,0.0010349505,0.00009920446,0.0000016341969,0.00004644824,0.07606513,0.000030417723,0.000054526692,0.001034868,0.9216008,0.000024604638],"about_ca_topic_score_codex":0.83138365,"about_ca_topic_score_gemma":0.92926943,"teacher_disagreement_score":0.16861635,"about_ca_system_score_codex":0.034158446,"about_ca_system_score_gemma":0.04338548,"threshold_uncertainty_score":0.33921868},"labels":[],"label_agreement":null},{"id":"W7019912785","doi":"","title":"The \"I\"s of Quebec Cinema: The Paradigm of Autoethnography in the Building of National Cinema (1938-1968)","year":2020,"lang":"en","type":"dissertation","venue":"Spectrum Research Repository (Concordia University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Autoethnography; Movie theater; Subjectivity; Identity (music); Negotiation; National identity; Politics; Mediation; Embodied cognition; Materiality (auditing); Objectification","score_opus":0.04467646828015944,"score_gpt":0.27770285154188484,"score_spread":0.2330263832617254,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7019912785","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.27696875,0.02946952,0.034833446,0.05675187,0.0024531973,0.00079749373,0.000931015,0.0002461011,0.5975486],"genre_scores_gemma":[0.91315085,0.0055679926,0.004760172,0.0035921906,0.00022029599,0.0003009846,0.00014708965,0.00012964089,0.07213089],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99499524,0.0038315891,0.00005247012,0.00035738284,0.0003353369,0.0004280202],"domain_scores_gemma":[0.99373144,0.0041790977,0.00025657093,0.00043256706,0.00085396017,0.0005462364],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005603507,0.0005189627,0.0003137265,0.002405987,0.0158569,0.009049332,0.0013701955,0.0021679848,0.0048200777],"category_scores_gemma":[0.007838789,0.00034233375,0.00023594429,0.0017979916,0.027715862,0.004736924,0.0028162892,0.0029045925,0.0003860807],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040559957,0.000030642786,0.002167893,0.00014173635,0.000009772033,0.00039050853,0.7788245,0.00022705115,0.0005195518,0.1736953,0.01610182,0.027850738],"study_design_scores_gemma":[0.000010531797,0.00003818901,0.0061411625,0.0011739895,0.000015429843,0.00041883969,0.39926192,0.000604246,0.00071095873,0.014107376,0.5774597,0.00005766726],"about_ca_topic_score_codex":0.7183094,"about_ca_topic_score_gemma":0.7878943,"teacher_disagreement_score":0.2816906,"about_ca_system_score_codex":0.043670602,"about_ca_system_score_gemma":0.020008523,"threshold_uncertainty_score":0.566699},"labels":[],"label_agreement":null},{"id":"W7021113237","doi":"","title":"Native Americans on Film: Conversations, Teaching, and Theory. Edited by M. Elise Marubbio and Eric L. Buffalohead.","year":2014,"lang":"en","type":"article","venue":"eScholarship (California Digital Library)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Metis; Narrative","score_opus":0.012759551437011333,"score_gpt":0.19872571681294543,"score_spread":0.1859661653759341,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7021113237","genre_codex":"review","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.046861313,0.45433283,0.00086834637,0.13485393,0.008320482,0.0000438633,0.00042927478,0.00010196072,0.35418797],"genre_scores_gemma":[0.44403172,0.35395536,0.0011115866,0.0073202224,0.0055000614,0.00011970998,0.00025461402,0.00009928252,0.18760747],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993542,0.00043812703,0.000017499018,0.000045715286,0.00008032516,0.00006415903],"domain_scores_gemma":[0.9985122,0.0008837692,0.00011066253,0.000053266467,0.00018790089,0.00025205954],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009533282,0.0005066137,0.00034164678,0.0011885065,0.00533858,0.0047889384,0.00047338888,0.0013587899,0.015187736],"category_scores_gemma":[0.0028730186,0.00040633074,0.000119836135,0.0020640858,0.0031731473,0.00405147,0.0016451847,0.0020570464,0.0017327648],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054657143,0.00013725835,0.002416733,0.0007247026,0.000019636902,0.00047965973,0.23913947,0.000060346545,0.00071369717,0.053580076,0.5104387,0.1922352],"study_design_scores_gemma":[0.000007638754,0.000023936684,0.009580635,0.0012556879,0.000014112425,0.0003220807,0.1800196,0.00005609834,0.00026394654,0.007429743,0.8010102,0.000016256814],"about_ca_topic_score_codex":0.028626582,"about_ca_topic_score_gemma":0.053149827,"teacher_disagreement_score":0.028626582,"about_ca_system_score_codex":0.0014949327,"about_ca_system_score_gemma":0.002218141,"threshold_uncertainty_score":0.056919932},"labels":[],"label_agreement":null},{"id":"W7023249077","doi":"","title":"Passio Creative","year":2017,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Passion; Identity (music); Film director; Meaning (existential)","score_opus":0.039589285464233605,"score_gpt":0.2248580188538977,"score_spread":0.1852687333896641,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7023249077","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0049535492,0.0047792215,0.0036267564,0.04094949,0.014188801,0.00008529493,0.00028697267,0.0018705619,0.92925936],"genre_scores_gemma":[0.041307736,0.0035177846,0.0028071178,0.010713587,0.0044201873,0.000117969816,0.0003238835,0.001581271,0.93521047],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998823,0.00027427543,0.00003731047,0.00016980633,0.0004739917,0.0002215814],"domain_scores_gemma":[0.99776304,0.0004152929,0.0001103008,0.00035839103,0.0003273214,0.0010256683],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012349848,0.00088920404,0.0002754332,0.0013974353,0.0049805585,0.012215074,0.0009820706,0.0029940829,0.196679],"category_scores_gemma":[0.004965674,0.0003969349,0.000540677,0.00076747884,0.003271687,0.007310363,0.0070575243,0.004022138,0.055199333],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033197346,0.000054882825,0.00020892537,0.00011271979,0.0000051805287,0.0002456904,0.003709445,0.000025478572,0.0005383231,0.0483491,0.86751795,0.07919911],"study_design_scores_gemma":[0.0000054014927,0.000010396538,0.00021336922,0.00008398631,0.0000026216767,0.00024584023,0.0013820616,0.000028370114,0.00023592403,0.004938391,0.992847,0.000006651145],"about_ca_topic_score_codex":0.0011510563,"about_ca_topic_score_gemma":0.0039830417,"teacher_disagreement_score":0.196679,"about_ca_system_score_codex":0.0015834626,"about_ca_system_score_gemma":0.0017306438,"threshold_uncertainty_score":0.6579568},"labels":[],"label_agreement":null},{"id":"W7023683880","doi":"","title":"Playing with our emotions: genre, realism and reflexivity in the films of Lars von Trier","year":2008,"lang":"en","type":"other","venue":"Library and Archives Canada (Government of Canada)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Reflexivity; Emotive; Dialectic; Realism; Order (exchange)","score_opus":0.011961077043198145,"score_gpt":0.16783152133887252,"score_spread":0.15587044429567437,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7023683880","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2645547,0.016784985,0.002687316,0.03586903,0.0016864984,0.00004568535,0.00017711853,0.00007140528,0.67812324],"genre_scores_gemma":[0.93022066,0.0072121276,0.0008818451,0.0029452613,0.000776553,0.000031481843,0.000063668806,0.00016314392,0.057705224],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99840945,0.001098224,0.00003535028,0.00012305357,0.00024209445,0.00009191761],"domain_scores_gemma":[0.9977514,0.001641612,0.00019529954,0.0000951235,0.00016670574,0.00014979164],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0018309098,0.0003127398,0.00017769057,0.0013725857,0.0025411113,0.007964915,0.00033032463,0.00075272133,0.0028048707],"category_scores_gemma":[0.004754022,0.0001590893,0.00020426216,0.001079556,0.0067122355,0.0028305207,0.0016744863,0.0020761094,0.00036630398],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022128555,0.000068363624,0.00317576,0.00044445094,0.000042823394,0.0015398298,0.6079159,0.00028194807,0.0029288172,0.2823182,0.05243874,0.04862393],"study_design_scores_gemma":[0.000032387183,0.00006275151,0.013027242,0.0008259768,0.000033580647,0.0015796436,0.2698662,0.00047605604,0.0018863562,0.038506392,0.6736295,0.000073859075],"about_ca_topic_score_codex":0.0054871226,"about_ca_topic_score_gemma":0.00789845,"teacher_disagreement_score":0.007964915,"about_ca_system_score_codex":0.0021517652,"about_ca_system_score_gemma":0.0005043828,"threshold_uncertainty_score":0.015612304},"labels":[],"label_agreement":null},{"id":"W7024578483","doi":"","title":"Sherbrooke, ville de cinéma-s, 1896-2002. \\n Sherbrooke, ville de cinémas, 1896-2002, Antoine Sirois et Serge Malouin, Sherbrooke : Éditions G.G.C. Ltée, 2002, 174 pages","year":2003,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Line drawings; Exhibition","score_opus":0.010753619691889225,"score_gpt":0.17599343317106275,"score_spread":0.16523981347917352,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7024578483","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0047432007,0.34998018,0.0015376281,0.009402514,0.0057813437,0.000057108842,0.025860948,0.00041014384,0.6022269],"genre_scores_gemma":[0.03101758,0.080681205,0.001287835,0.0005763824,0.0006135389,0.000046869365,0.004246643,0.00026669793,0.8812632],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99963045,0.000044280638,0.000018320368,0.00008840174,0.00015622172,0.00006227182],"domain_scores_gemma":[0.99952173,0.00008892964,0.00006052722,0.000028635404,0.00019737017,0.00010286959],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004322063,0.0010145652,0.00044227982,0.0019654236,0.0019963365,0.004869145,0.00067674194,0.0012431524,0.2215846],"category_scores_gemma":[0.0017285494,0.00046033246,0.00017658577,0.005345912,0.00064589974,0.003684004,0.0010234929,0.0015031835,0.0427822],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008035227,0.000013265858,0.00061778486,0.0003506441,0.0000065349386,0.00014102625,0.0009789852,0.000092095695,0.00032532215,0.009303478,0.90591234,0.08217813],"study_design_scores_gemma":[0.0000030239073,0.0000026283342,0.0023016888,0.00015404641,0.0000018579753,0.00007096437,0.0002668981,0.000013966281,0.000119718316,0.00017988343,0.9968815,0.000003989708],"about_ca_topic_score_codex":0.17113271,"about_ca_topic_score_gemma":0.44124827,"teacher_disagreement_score":0.8288673,"about_ca_system_score_codex":0.005403098,"about_ca_system_score_gemma":0.0024913752,"threshold_uncertainty_score":0.74127436},"labels":[],"label_agreement":null},{"id":"W7025012295","doi":"","title":"Sur la piste du western et du country. \\n Cow-boy dans l’âme de Bernard Arcand et Serge Bouchard, Les Éditions de l'Homme, 235 p. \\n Cow-boy dans l’âme, Exposition présentée au Musée de la civilisation, Québec, du 10 avril 2002 au 15 mars 2003","year":2002,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Exposition (narrative); Context (archaeology); Meaning (existential); Subject (documents); Perspective (graphical)","score_opus":0.007062745173752635,"score_gpt":0.16461591927168315,"score_spread":0.15755317409793052,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7025012295","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007841445,0.6300301,0.0013897987,0.07364575,0.006718407,0.000019649327,0.0010649851,0.000102328835,0.27918753],"genre_scores_gemma":[0.1570616,0.22270775,0.0019831785,0.011765921,0.0029711656,0.000065353954,0.0006402707,0.0002832386,0.6025216],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999653,0.000091222595,0.0000116499505,0.000046312627,0.00011224659,0.000085487794],"domain_scores_gemma":[0.9995912,0.0001170436,0.000031425283,0.000025725143,0.00018069796,0.00005391278],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005580298,0.00081065105,0.00039281335,0.0017056032,0.003999794,0.003539149,0.00053588697,0.0010104275,0.017380256],"category_scores_gemma":[0.0014468107,0.00038386075,0.00026147236,0.0037882568,0.004219752,0.0027631815,0.0010936857,0.0018650274,0.0026515773],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051884486,0.000012701497,0.0021086321,0.0002988267,0.000016556462,0.00023369439,0.013850003,0.00012580228,0.00029083376,0.106981285,0.7794961,0.09653377],"study_design_scores_gemma":[0.0000026816344,0.0000032967905,0.006967638,0.00035359862,0.000004293966,0.00007277828,0.0025497575,0.000028816352,0.00006842882,0.0022203154,0.9877216,0.0000068547915],"about_ca_topic_score_codex":0.78173757,"about_ca_topic_score_gemma":0.91837054,"teacher_disagreement_score":0.21826243,"about_ca_system_score_codex":0.008712097,"about_ca_system_score_gemma":0.007735677,"threshold_uncertainty_score":0.43909562},"labels":[],"label_agreement":null},{"id":"W7025497671","doi":"","title":"We, the Bad : Facing hard choices in Saskatchewan farmland","year":2023,"lang":"en","type":"other","venue":"University Library (University of Saskatchewan)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Government (linguistics); Work (physics); Production (economics); Perspective (graphical); Agriculture","score_opus":0.01554347238448591,"score_gpt":0.16528432001482632,"score_spread":0.1497408476303404,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7025497671","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72646886,0.0019795748,0.00058516505,0.054577675,0.0003089084,0.00014746017,0.009431027,0.000097548356,0.20640379],"genre_scores_gemma":[0.50066036,0.002734094,0.0011902434,0.012648074,0.00004738728,0.00021778821,0.0026677218,0.00013404842,0.4797002],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996106,0.000088059045,0.000009363476,0.000042935182,0.00004305922,0.00020601458],"domain_scores_gemma":[0.99860436,0.00020139584,0.00007889701,0.000061896506,0.00019783246,0.00085559604],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005475283,0.0002406002,0.00027423547,0.00057140604,0.00641241,0.004204174,0.00085615675,0.0013387327,0.05909548],"category_scores_gemma":[0.0014171496,0.00035175856,0.00019235439,0.0016701951,0.0013901937,0.001664684,0.0022661176,0.002126196,0.0052419985],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00039241355,0.0006592037,0.22522357,0.0002223157,0.00008782604,0.003890899,0.030786151,0.0010733516,0.0013636409,0.020545961,0.59243083,0.12332378],"study_design_scores_gemma":[0.00007076059,0.00008583271,0.37685326,0.00051568827,0.000036129426,0.00036833496,0.25496668,0.00083172525,0.00032535888,0.008322426,0.35752544,0.000098329554],"about_ca_topic_score_codex":0.9084712,"about_ca_topic_score_gemma":0.98666835,"teacher_disagreement_score":0.09152877,"about_ca_system_score_codex":0.013365356,"about_ca_system_score_gemma":0.029208602,"threshold_uncertainty_score":0.19769406},"labels":[],"label_agreement":null},{"id":"W7026917164","doi":"","title":"From the Atelier Tovar: Selected Writings","year":2003,"lang":"en","type":"book","venue":"E-Artexte (Artexte)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Treasure; Film director; Selection (genetic algorithm); Cover (algebra)","score_opus":0.020377337266634907,"score_gpt":0.20385946379891245,"score_spread":0.18348212653227755,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7026917164","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0022585604,0.03701307,0.0009673373,0.019875571,0.07058616,0.00015413086,0.0020603912,0.0005382562,0.8665465],"genre_scores_gemma":[0.0031508522,0.009800317,0.00033119283,0.0019574938,0.0068628704,0.0000426003,0.00070575066,0.00038198972,0.976767],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994832,0.00006344539,0.000020911737,0.00005575804,0.00033524766,0.000041328905],"domain_scores_gemma":[0.99830014,0.00034959856,0.00005463793,0.00008875905,0.00084993336,0.00035692359],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00044478464,0.0008070413,0.00049737847,0.0027543774,0.0026858682,0.004741501,0.000595516,0.00062434084,0.099250115],"category_scores_gemma":[0.003230336,0.00028856876,0.00024324468,0.0025948035,0.0006932314,0.0015720534,0.0012664595,0.0017234867,0.057705887],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000033706785,0.0000053934637,0.00001682447,0.000025531925,4.7549898e-7,0.00003736088,0.00013966352,0.0000109142,0.00009765915,0.0011110222,0.9845084,0.014043445],"study_design_scores_gemma":[6.970606e-7,0.0000017295578,0.00013768226,0.00005734417,3.772152e-7,0.000047119356,0.00011213233,0.00000749145,0.00004155597,0.00020455793,0.99938715,0.0000021275],"about_ca_topic_score_codex":0.015780177,"about_ca_topic_score_gemma":0.047714002,"teacher_disagreement_score":0.099250115,"about_ca_system_score_codex":0.0029716925,"about_ca_system_score_gemma":0.0022770478,"threshold_uncertainty_score":0.3320247},"labels":[],"label_agreement":null},{"id":"W7027022950","doi":"","title":"On Brittain and Spotton’s 'Memorandum'","year":2014,"lang":"en","type":"review","venue":"DigitalCommons - WayneState (Wayne State University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Series (stratigraphy); Context (archaeology); Work (physics)","score_opus":0.041189343964774555,"score_gpt":0.22691212211798598,"score_spread":0.18572277815321142,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7027022950","genre_codex":"editorial","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00007483106,0.1295241,0.00026060722,0.36221522,0.49699384,0.00007244427,0.0007761729,0.000112738475,0.009970009],"genre_scores_gemma":[0.002077132,0.12040043,0.0009916504,0.4893541,0.26464167,0.00065627,0.0012493131,0.00019057863,0.12043881],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9967219,0.00054020516,0.00039230363,0.00046276403,0.0015260011,0.00035673488],"domain_scores_gemma":[0.9878777,0.0044596787,0.0011671116,0.0005354843,0.0048519727,0.0011080022],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.007588965,0.002496052,0.0026660631,0.005041246,0.0036095714,0.0072976598,0.004617751,0.00787655,0.034942452],"category_scores_gemma":[0.0333702,0.0009638857,0.0019494847,0.0042348118,0.0045986366,0.009088407,0.007417903,0.013651685,0.03396519],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000003295427,0.0000020695584,0.000005521044,0.00005313222,0.0000013764595,0.0000080157615,0.000011483472,0.0000031123147,0.0000056680683,0.00043364134,0.9961333,0.0033393723],"study_design_scores_gemma":[0.000007399854,0.0000041531393,0.00009344383,0.00053366984,0.000004104042,0.000031356885,0.000037735386,0.000006488867,0.000016550808,0.0011206407,0.99813783,0.000006579772],"about_ca_topic_score_codex":0.019737946,"about_ca_topic_score_gemma":0.022970729,"teacher_disagreement_score":0.034942452,"about_ca_system_score_codex":0.005621387,"about_ca_system_score_gemma":0.01292271,"threshold_uncertainty_score":0.116894126},"labels":[],"label_agreement":null},{"id":"W7027225189","doi":"","title":"Canon disorders: gendered perspectives on literature and film in Canada and de United States","year":2007,"lang":"en","type":"article","venue":"RIUR (Universidad de La Rioja)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Human sexuality; Subject (documents); Variety (cybernetics); Globalization; Subjectivity; Literary criticism; Power (physics)","score_opus":0.006450627230252009,"score_gpt":0.1952365310316842,"score_spread":0.1887859038014322,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7027225189","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2550496,0.1098602,0.0007780695,0.092171304,0.0040808027,0.000117890435,0.00088583335,0.00008484222,0.53697145],"genre_scores_gemma":[0.8646101,0.055953696,0.0007841701,0.006236687,0.00062424585,0.00009798799,0.0002596442,0.0001074844,0.071326],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9972819,0.0006834032,0.00006710596,0.00021810363,0.0008293437,0.00092021085],"domain_scores_gemma":[0.99608934,0.0013433931,0.00021484625,0.0000951722,0.0012362736,0.0010210318],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020754496,0.0007773097,0.0006837056,0.0081181135,0.038543127,0.017679675,0.0019465819,0.002969506,0.0063113044],"category_scores_gemma":[0.0048217527,0.00035109688,0.00025657896,0.013094704,0.019097712,0.0031949985,0.0050318744,0.0038458211,0.0002727245],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006309042,0.000044084172,0.002931854,0.00033774038,0.00001879802,0.001686535,0.7304122,0.00016659437,0.00051672704,0.16849057,0.0599093,0.035422496],"study_design_scores_gemma":[0.0000040320874,0.000009773246,0.0063722404,0.0007178287,0.000014829521,0.00021755775,0.5196132,0.00008489593,0.00019666235,0.0033046042,0.46943521,0.000029216253],"about_ca_topic_score_codex":0.9826166,"about_ca_topic_score_gemma":0.9939468,"teacher_disagreement_score":0.14886649,"about_ca_system_score_codex":0.14886649,"about_ca_system_score_gemma":0.12201129,"threshold_uncertainty_score":0.98719424},"labels":[],"label_agreement":null},{"id":"W7028123008","doi":"","title":"Élaboration de méthodes innovantes pour caractériser l'essentialité génétique et l‘optimisation métabolique de souches réduites d'Escherichia coli","year":2023,"lang":"fr","type":"dissertation","venue":"Knowledge UdeS (Institutional Deposit of the University of Sherbrooke)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Fonds de Recherche du Québec - Santé; Université de Sherbrooke","keywords":"Context (archaeology); Medium term","score_opus":0.022425402373971167,"score_gpt":0.24153500799061078,"score_spread":0.2191096056166396,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7028123008","genre_codex":"methods","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.13836196,0.005553663,0.8422193,0.0006712666,0.0005197887,0.00088103133,0.001038128,0.0025732522,0.008181555],"genre_scores_gemma":[0.17625907,0.00561073,0.79722744,0.0003456346,0.000042098516,0.00091908005,0.0017156352,0.00070594833,0.01717439],"study_design_codex":"bench_or_experimental","study_design_gemma":"bench_or_experimental","domain_scores_codex":[0.99804974,0.00040510963,0.00015847023,0.00051817915,0.0007160113,0.00015250882],"domain_scores_gemma":[0.99831885,0.0006361484,0.00019349442,0.00030388474,0.00049020455,0.0000573413],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022575734,0.0013868245,0.0013657017,0.0014872921,0.0005155361,0.0017506076,0.00105641,0.0014667106,0.003428108],"category_scores_gemma":[0.0029397795,0.0008963848,0.0019810796,0.0013400619,0.0007788601,0.0011243386,0.0010765063,0.0021084887,0.002338352],"study_design_candidate":"bench_or_experimental","study_design_consensus":"bench_or_experimental","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002051398,0.00017594948,0.00080110086,0.0007884486,0.000069094815,0.00017600083,0.0003160221,0.0033117805,0.9049076,0.0017603904,0.0004575723,0.08703078],"study_design_scores_gemma":[0.00003742092,0.00029761627,0.0013863082,0.00007575305,0.00006814664,0.00017466667,0.00012369454,0.010417134,0.96247107,0.00066203583,0.024219451,0.00006675583],"about_ca_topic_score_codex":0.003255642,"about_ca_topic_score_gemma":0.004673455,"teacher_disagreement_score":0.003428108,"about_ca_system_score_codex":0.0008861746,"about_ca_system_score_gemma":0.0015462871,"threshold_uncertainty_score":0.011939347},"labels":[],"label_agreement":null},{"id":"W7028598404","doi":"","title":"Gendered screen Canadian women filmmakers","year":2010,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":3,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"","score_opus":0.025777771122884235,"score_gpt":0.19849967736718985,"score_spread":0.1727219062443056,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7028598404","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.769092,0.002209455,0.00023607019,0.013579875,0.0003443893,0.000077064244,0.006211219,0.000032124117,0.20821773],"genre_scores_gemma":[0.9312046,0.0011129932,0.00011893941,0.0009809255,0.00007669352,0.000022744558,0.00074908446,0.00003870862,0.06569536],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.9984516,0.00015528058,0.00002576138,0.0001725074,0.00043357373,0.00076128636],"domain_scores_gemma":[0.9937604,0.00085054943,0.0005637401,0.00018233494,0.0031202433,0.0015226674],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013714816,0.00034054703,0.00031692,0.0035136733,0.008052232,0.0061633,0.0007528293,0.0011813049,0.032403618],"category_scores_gemma":[0.008299534,0.00025186306,0.00021914495,0.0041218637,0.0017858963,0.001431109,0.0013397288,0.0015834664,0.0015031483],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0016618008,0.00031955857,0.32184896,0.00032411763,0.00008894232,0.0014546697,0.27527672,0.0002876056,0.0038233355,0.063948266,0.23097143,0.09999467],"study_design_scores_gemma":[0.000030549978,0.000056470704,0.52997243,0.00025460537,0.000046644192,0.00026462984,0.22621018,0.00020549248,0.0010486055,0.0012506297,0.240556,0.000103791055],"about_ca_topic_score_codex":0.97182155,"about_ca_topic_score_gemma":0.98650616,"teacher_disagreement_score":0.032403618,"about_ca_system_score_codex":0.027813295,"about_ca_system_score_gemma":0.018853337,"threshold_uncertainty_score":0.20180053},"labels":[],"label_agreement":null},{"id":"W7029163920","doi":"","title":"Image and Identity: Reflections on Canadian Film and Culture","year":2016,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":6,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Image (mathematics); Photography; Line (geometry); Reflection (computer programming); Feature (linguistics)","score_opus":0.029894875587442967,"score_gpt":0.2333318867151066,"score_spread":0.20343701112766363,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7029163920","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.31704396,0.023979628,0.0010726125,0.1642965,0.0014896593,0.000053869568,0.0005842428,0.000046492314,0.491433],"genre_scores_gemma":[0.9644728,0.0055303196,0.00028248437,0.0034085023,0.0001851435,0.000015010652,0.00006564492,0.000059631515,0.025980527],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9969524,0.0007955134,0.000057944442,0.000276476,0.00068878784,0.0012287141],"domain_scores_gemma":[0.9940479,0.0023223239,0.00026025763,0.00016079978,0.0020683117,0.0011404983],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035765432,0.00077337865,0.0005659048,0.004569843,0.03993692,0.023240117,0.0020862105,0.004272107,0.0142078465],"category_scores_gemma":[0.0094822375,0.0004407516,0.00033276636,0.007928428,0.031046325,0.0059417733,0.005040878,0.0068939785,0.00035176726],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008765052,0.000027416763,0.0027781064,0.00012519785,0.000014808824,0.00043416212,0.7369683,0.000104853134,0.00037142567,0.20393533,0.030899541,0.02425324],"study_design_scores_gemma":[0.000009214964,0.000011581358,0.0073984005,0.0002867368,0.00002058798,0.00013733785,0.72564244,0.00007995116,0.0003035203,0.0056851963,0.26037765,0.000047445497],"about_ca_topic_score_codex":0.9840888,"about_ca_topic_score_gemma":0.9892965,"teacher_disagreement_score":0.129344,"about_ca_system_score_codex":0.129344,"about_ca_system_score_gemma":0.07443261,"threshold_uncertainty_score":0.9384608},"labels":[],"label_agreement":null},{"id":"W7029607072","doi":"","title":"John Porter's CineScenes: Documentary Portraits of Alternative Film Scenes : Toronto and Beyond : 1978-2015","year":2016,"lang":"en","type":"book","venue":"E-Artexte (Artexte)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Portrait; Documentary film; Movie theater; Documentary evidence; Object (grammar); Feature film; Painting","score_opus":0.014014195486235793,"score_gpt":0.23034073067073083,"score_spread":0.21632653518449504,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7029607072","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08622725,0.13350822,0.0012396533,0.03931512,0.0056689284,0.00013296565,0.012980242,0.00025331008,0.72067434],"genre_scores_gemma":[0.48722476,0.071092725,0.00093146,0.0015864173,0.00107378,0.00005499968,0.0031955778,0.00031047378,0.4345298],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99975556,0.00003855974,0.000007320476,0.000031719705,0.000080106074,0.00008678432],"domain_scores_gemma":[0.99950457,0.00012504355,0.00004793964,0.000025896936,0.000115596304,0.00018101827],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00037845585,0.00077022344,0.00015966145,0.0030977363,0.005671952,0.0045160586,0.000563869,0.000939145,0.027125143],"category_scores_gemma":[0.0011730096,0.00028533099,0.0001663508,0.0058177607,0.0023718388,0.0016274824,0.00138167,0.0017462042,0.0014749645],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000076617434,0.000017123302,0.001957246,0.00058956526,0.000017629576,0.0007170672,0.1332391,0.00024163979,0.00087822526,0.04924784,0.76378095,0.04923704],"study_design_scores_gemma":[0.0000026749542,0.0000047422764,0.0096121635,0.00037625406,0.000010379107,0.000107464846,0.027821345,0.000032255233,0.00019808949,0.000339825,0.96148515,0.000009612644],"about_ca_topic_score_codex":0.8191749,"about_ca_topic_score_gemma":0.96315247,"teacher_disagreement_score":0.18082511,"about_ca_system_score_codex":0.022254182,"about_ca_system_score_gemma":0.01238701,"threshold_uncertainty_score":0.36378002},"labels":[],"label_agreement":null},{"id":"W7029666801","doi":"","title":"Le Canada franÃ§ais face Ã  sa destinÃ©e : la survivance confrontÃ©e au discours nationaliste des manuels scolaires, 1870-1880","year":2012,"lang":"fr","type":"other","venue":"Library and Archives Canada (Government of Canada)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Face (sociological concept); Narrative; Identity (music); Criticism; Negotiation","score_opus":0.006594701089421586,"score_gpt":0.1484861866007599,"score_spread":0.14189148551133832,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7029666801","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12701458,0.0385396,0.0006007193,0.08454667,0.0013394756,0.000051106304,0.018455043,0.00011963975,0.72933316],"genre_scores_gemma":[0.28484264,0.015280917,0.0006071599,0.0019964818,0.00022035588,0.000026374717,0.0027519674,0.0001001236,0.694174],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994615,0.000025587853,0.000009317918,0.000052577525,0.00021227414,0.00023874317],"domain_scores_gemma":[0.99934703,0.00007483941,0.000060414808,0.000016890857,0.0003373878,0.00016346616],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00037036525,0.00030577715,0.00019944881,0.0017605276,0.009170441,0.0044932854,0.00058486057,0.0015036775,0.036548767],"category_scores_gemma":[0.0021120252,0.0002807308,0.00021073333,0.004800178,0.0017915511,0.001462908,0.0013210858,0.0023600368,0.001787398],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011277208,0.000035973382,0.031063208,0.00030528076,0.000030562955,0.0007146589,0.027666684,0.00039398263,0.0003191944,0.21485505,0.60669476,0.11780781],"study_design_scores_gemma":[0.0000038205435,0.0000036600206,0.04314532,0.00016062013,0.0000072288467,0.000071177,0.0077696554,0.00006900679,0.0001422341,0.0014050339,0.94720805,0.000014190223],"about_ca_topic_score_codex":0.9905556,"about_ca_topic_score_gemma":0.99733764,"teacher_disagreement_score":0.054766223,"about_ca_system_score_codex":0.054766223,"about_ca_system_score_gemma":0.086669765,"threshold_uncertainty_score":0.3973586},"labels":[],"label_agreement":null},{"id":"W7029695736","doi":"","title":"La démarche de Dominic Gagnon : un cinéma direct au temps des médias socionumériques?","year":2022,"lang":"fr","type":"other","venue":"Archipelago (University of Quebec in Montreal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Perspective (graphical); ESPACE; Domain (mathematical analysis)","score_opus":0.02150470486232967,"score_gpt":0.20835539116521495,"score_spread":0.1868506863028853,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7029695736","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.48690954,0.0072049,0.008599054,0.011453733,0.00036337285,0.00013873524,0.0000869464,0.000040544026,0.4852032],"genre_scores_gemma":[0.96460265,0.0021157581,0.001161367,0.0004415916,0.00007390026,0.000055187556,0.000031766893,0.000029518364,0.031488344],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99839336,0.000789314,0.000034447978,0.00030747455,0.00024288376,0.00023249647],"domain_scores_gemma":[0.99764,0.0012259283,0.00023213922,0.00023098427,0.0003602953,0.0003106455],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001857509,0.00036624548,0.00026767646,0.001514821,0.0047637466,0.008734181,0.0006857292,0.0009017882,0.005915958],"category_scores_gemma":[0.0045250817,0.00021462626,0.00021833698,0.0013055849,0.013480275,0.0070175417,0.0048178667,0.0023546473,0.00031424317],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000034953093,0.000024794486,0.006702689,0.00016520212,0.0000074471122,0.0005206534,0.4496016,0.00011294258,0.0014421013,0.5077282,0.0016270891,0.032032263],"study_design_scores_gemma":[0.0000118409,0.00007181791,0.023242643,0.0010602052,0.000022675771,0.0009517244,0.42807943,0.0005090602,0.0014442975,0.058428932,0.48612788,0.000049551443],"about_ca_topic_score_codex":0.025357112,"about_ca_topic_score_gemma":0.040543254,"teacher_disagreement_score":0.025357112,"about_ca_system_score_codex":0.006195523,"about_ca_system_score_gemma":0.0040680566,"threshold_uncertainty_score":0.050419092},"labels":[],"label_agreement":null},{"id":"W7030214922","doi":"","title":"Magnetic Sequences : Exchanges and collaboration in the Canadian video milieu in the 1970s","year":2020,"lang":"en","type":"book","venue":"E-Artexte (Artexte)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Frontier; TRACE (psycholinguistics); Narrative; Interoperability; Period (music)","score_opus":0.02566696847937346,"score_gpt":0.22258477271980173,"score_spread":0.19691780424042826,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7030214922","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.25121728,0.012468906,0.0016882422,0.023198795,0.0005366284,0.00011934364,0.00093603256,0.00011147882,0.7097233],"genre_scores_gemma":[0.89576113,0.0053565134,0.0009139895,0.00072699704,0.00009836658,0.000051746,0.00025542983,0.000087332664,0.09674849],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99603444,0.0008353678,0.00007776989,0.0004258233,0.0012719582,0.0013547208],"domain_scores_gemma":[0.99660045,0.00082076713,0.00021430069,0.00015046737,0.0009037315,0.0013103317],"candidate_categories":["sts"],"consensus_categories":[],"category_scores_codex":[0.002600395,0.00056769646,0.00036708947,0.005148794,0.036515534,0.013916232,0.0020502156,0.0019740947,0.016608294],"category_scores_gemma":[0.007617002,0.0004895801,0.00023348264,0.009997979,0.016648857,0.0053271065,0.0062758946,0.0022938226,0.0009273271],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":true,"about_ca_system_consensus":true,"study_design_scores_codex":[0.00010330696,0.00003665896,0.0032427402,0.00013368901,0.000011534625,0.0007445411,0.47189656,0.00035683345,0.0004092714,0.38040283,0.04322682,0.09943524],"study_design_scores_gemma":[0.000014474231,0.000022900522,0.012836325,0.00028652215,0.000010800298,0.00017832675,0.2144209,0.00022831603,0.0002602258,0.0074896505,0.76420313,0.00004845152],"about_ca_topic_score_codex":0.9836105,"about_ca_topic_score_gemma":0.9939346,"teacher_disagreement_score":0.96348447,"about_ca_system_score_codex":0.13866737,"about_ca_system_score_gemma":0.12950082,"threshold_uncertainty_score":0.99902374},"labels":[],"label_agreement":null},{"id":"W7030398471","doi":"","title":"Maudite Poutine, 95 min., 2016, Canada, Noir et blanc, Version originale française","year":2019,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Dysgeusia; Liquation; Diafiltration; Emperipolesis; Triacetin; Fusible alloy","score_opus":0.0042548233971908215,"score_gpt":0.14235882719278603,"score_spread":0.1381040037955952,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7030398471","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003713559,0.40326148,0.0043228352,0.07406244,0.06874619,0.00021659755,0.0284041,0.0015666825,0.415706],"genre_scores_gemma":[0.04480893,0.11497624,0.0027356022,0.004701826,0.0098294355,0.00028442903,0.0066866335,0.0016357165,0.81434125],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99697006,0.000384947,0.0001956415,0.0006719757,0.0014869526,0.00029044662],"domain_scores_gemma":[0.9960777,0.00077376724,0.00015856307,0.00031305046,0.002482431,0.00019457683],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002383738,0.001720019,0.0016385284,0.004088693,0.0056462307,0.0094332015,0.001531582,0.0023264706,0.15634105],"category_scores_gemma":[0.01133037,0.0007160935,0.00068226416,0.0064819097,0.0027643628,0.003548034,0.0019448255,0.00394751,0.044357806],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008115562,0.000016687112,0.0003402139,0.0003594088,0.000019707202,0.00006177227,0.0005182349,0.00018918166,0.00018487348,0.035979174,0.9279638,0.0342858],"study_design_scores_gemma":[0.000008992153,0.000003789293,0.001038764,0.00024635938,0.000004291412,0.000042735915,0.00011831969,0.00006740816,0.00011056061,0.0011300119,0.99721694,0.00001177597],"about_ca_topic_score_codex":0.56076837,"about_ca_topic_score_gemma":0.5657834,"teacher_disagreement_score":0.43923163,"about_ca_system_score_codex":0.024091281,"about_ca_system_score_gemma":0.01638205,"threshold_uncertainty_score":0.8836367},"labels":[],"label_agreement":null},{"id":"W7030526631","doi":"","title":"Nové tělo? Hranice těla ve filmech Davida Cronenberga","year":2011,"lang":"en","type":"dissertation","venue":"Digital Repository (National Repository of Grey Literature)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Dualism; Human body; Posthuman; Perception; Postmodernism; Dead body; Interpretation (philosophy); Point (geometry)","score_opus":0.01571517204615072,"score_gpt":0.21945747003173624,"score_spread":0.20374229798558552,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7030526631","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011212647,0.0488861,0.0008517391,0.07678588,0.008783841,0.00006463645,0.0007449489,0.00012599013,0.8525441],"genre_scores_gemma":[0.06512695,0.0198463,0.00051462953,0.0026284265,0.00093974645,0.000029263032,0.00018236275,0.00009362581,0.91063863],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996815,0.00007637875,0.0000075459143,0.0000588779,0.0001052789,0.00007061165],"domain_scores_gemma":[0.9995178,0.00010673072,0.000030092382,0.000019165716,0.00015467578,0.00017148879],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00048812252,0.00028219383,0.0002958595,0.0007150392,0.002348243,0.003521288,0.00028857647,0.00069349934,0.093693264],"category_scores_gemma":[0.0015603297,0.0001494376,0.00010484928,0.0005405121,0.0010905676,0.0018150606,0.0009037688,0.001499742,0.018426921],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000623036,0.000048241378,0.000801197,0.0002380344,0.000004616917,0.0001635492,0.0025553906,0.00010925751,0.00059039646,0.08740257,0.8239323,0.0840922],"study_design_scores_gemma":[0.0000021015726,0.0000068046297,0.00094905717,0.0001405485,9.37799e-7,0.000057065172,0.0011489333,0.000039930947,0.0001466733,0.001390517,0.9961128,0.0000045927704],"about_ca_topic_score_codex":0.03565601,"about_ca_topic_score_gemma":0.07699013,"teacher_disagreement_score":0.093693264,"about_ca_system_score_codex":0.0036876425,"about_ca_system_score_gemma":0.002314897,"threshold_uncertainty_score":0.3134352},"labels":[],"label_agreement":null},{"id":"W7030709910","doi":"","title":"Boys in the Trees","year":2016,"lang":"en","type":"other","venue":"RMIT Research Repository (RMIT University Library)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hallucinating; Hollywood; Movie theater; Proscription; Feeling; Categorization; Meaning (existential); Best practice","score_opus":0.04369182554422598,"score_gpt":0.24217324550716757,"score_spread":0.19848141996294158,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7030709910","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.095236436,0.0025375367,0.0015550769,0.02816801,0.0032248409,0.00013971113,0.0011134074,0.00037497512,0.86765015],"genre_scores_gemma":[0.28890556,0.0015411617,0.0011871413,0.0034820372,0.0003286468,0.00005067728,0.00030678857,0.0001959384,0.704002],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993655,0.00015978966,0.000012852502,0.00009638669,0.00016563006,0.0001998377],"domain_scores_gemma":[0.9995042,0.00004666629,0.000041341875,0.000025671003,0.000093623865,0.00028839227],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00049946556,0.00040153996,0.00041405356,0.0006291524,0.008176572,0.0028246213,0.00061924226,0.0008866067,0.15816735],"category_scores_gemma":[0.0011008951,0.00021348863,0.00022241191,0.00060519256,0.0018052557,0.0016456963,0.0024199295,0.002524829,0.0211122],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009885119,0.00028666077,0.015280885,0.00026345288,0.00001726823,0.003855048,0.17959422,0.000088197456,0.0022091311,0.13162984,0.4995657,0.16711085],"study_design_scores_gemma":[0.0000034458765,0.000053517342,0.0066615227,0.00016077673,0.000004204113,0.0006908718,0.07310595,0.000028792518,0.00018990833,0.0018452208,0.917248,0.000007771448],"about_ca_topic_score_codex":0.009112763,"about_ca_topic_score_gemma":0.035995603,"teacher_disagreement_score":0.15816735,"about_ca_system_score_codex":0.0011993194,"about_ca_system_score_gemma":0.0010291188,"threshold_uncertainty_score":0.5291225},"labels":[],"label_agreement":null},{"id":"W7036789769","doi":"","title":"Dealing with relatives: Population-scale pedigrees in human genetics","year":2021,"lang":"en","type":"dissertation","venue":"eScholarship@McGill (McGill)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"McGill University","funders":"Canadian Institutes of Health Research; Canada Research Chairs; Fonds de Recherche du Québec - Santé; Alfred P. Sloan Foundation","keywords":"Pedigree chart; Human genetic variation; Sampling bias; Bayesian probability; Genetic diversity; Genetic data; Population genetics; Diversity (politics)","score_opus":0.025148459149684922,"score_gpt":0.24007614039691852,"score_spread":0.2149276812472336,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7036789769","genre_codex":"methods","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.040863164,0.009404936,0.93412834,0.010208168,0.00015775001,0.000044001375,0.0003357108,0.0002501967,0.0046077245],"genre_scores_gemma":[0.52783597,0.015939523,0.44791824,0.0015865179,0.0007428393,0.00015495476,0.00058499,0.00015874986,0.005078274],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.9972692,0.0020816235,0.000068260786,0.00029097634,0.00022836795,0.00006160413],"domain_scores_gemma":[0.9776444,0.019634305,0.00090450986,0.0010042709,0.00044643643,0.00036611082],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.006715355,0.00040875713,0.00070662104,0.0021477463,0.0011262917,0.002340127,0.00094567856,0.0010938805,0.002850689],"category_scores_gemma":[0.037543863,0.0007402954,0.0006518293,0.0035797907,0.0025627424,0.004938435,0.0016136088,0.0022547087,0.00033581673],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040065304,0.000050278653,0.026608888,0.00021457761,0.00014983246,0.00043385115,0.002582811,0.08925052,0.0002659388,0.63712275,0.008995373,0.23428516],"study_design_scores_gemma":[0.000016157095,0.000013943344,0.004982653,0.0001421013,0.000043205775,0.00030056149,0.00033124664,0.079658926,0.0000774924,0.90016735,0.014236826,0.000029600458],"about_ca_topic_score_codex":0.014166145,"about_ca_topic_score_gemma":0.018091876,"teacher_disagreement_score":0.014166145,"about_ca_system_score_codex":0.0013791807,"about_ca_system_score_gemma":0.0014896968,"threshold_uncertainty_score":0.035514653},"labels":[],"label_agreement":null},{"id":"W7036826521","doi":"","title":"Cinema at the Periphery","year":2010,"lang":"en","type":"article","venue":"ENLIGHTEN (Jurnal Bimbingan dan Konseling Islam)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Filmmaking; Criticism; Representation (politics); Narrative; National cinema; Key (lock); Film industry","score_opus":0.018169029806890336,"score_gpt":0.21521369530022746,"score_spread":0.19704466549333713,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7036826521","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008036843,0.008593267,0.0013802329,0.014024537,0.01140437,0.000042649022,0.00026301187,0.00031647927,0.9559387],"genre_scores_gemma":[0.19832198,0.010753791,0.001999438,0.0084447,0.009426037,0.00007353701,0.0004602274,0.00076603726,0.7697543],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995369,0.00015347106,0.000011183454,0.00009780543,0.00008695768,0.00011369892],"domain_scores_gemma":[0.99930346,0.00012984058,0.000036758174,0.00007367121,0.00019263157,0.00026356222],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006159354,0.0007540898,0.00022473068,0.0012406518,0.0044353483,0.008104747,0.0005641179,0.0011739531,0.0763605],"category_scores_gemma":[0.0012570801,0.00024632207,0.00027392426,0.0007083491,0.0030267208,0.0049586156,0.0034608028,0.0026609444,0.010804481],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006415703,0.000029815481,0.00059043634,0.0002487275,0.000005301179,0.00054688385,0.025698086,0.00011036648,0.0037893497,0.082213625,0.81810564,0.06859768],"study_design_scores_gemma":[0.0000026037658,0.00000894382,0.0010138031,0.00014416312,0.0000026238822,0.00015278647,0.0037720127,0.00004591924,0.00021377305,0.001107064,0.9935315,0.0000048189845],"about_ca_topic_score_codex":0.009306913,"about_ca_topic_score_gemma":0.015677992,"teacher_disagreement_score":0.0763605,"about_ca_system_score_codex":0.0027105864,"about_ca_system_score_gemma":0.0015305287,"threshold_uncertainty_score":0.25545132},"labels":[],"label_agreement":null},{"id":"W7037088964","doi":"","title":"Determinants of Success: the Atlantic First Nations Water Authority","year":2021,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indigenous; Government (linguistics); Human rights; Water security; Corporate governance; Indigenous rights; Water resources; Excuse","score_opus":0.09331692090462501,"score_gpt":0.2851853244275919,"score_spread":0.1918684035229669,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037088964","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9124234,0.00038843515,0.00024616826,0.009340772,0.0000595742,0.000063773325,0.0006503527,0.000017080587,0.07681057],"genre_scores_gemma":[0.9953055,0.00017921595,0.00008825083,0.00016724529,0.000020191792,0.00001754213,0.0001990357,0.000009207523,0.004013937],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.9971852,0.00074584235,0.00010934694,0.00017044935,0.0010289347,0.00076016417],"domain_scores_gemma":[0.9779699,0.005167705,0.0058372295,0.0008187124,0.0037888968,0.0064175674],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027071445,0.00013558878,0.00022325624,0.0015812417,0.0027030613,0.0042425054,0.0009970146,0.0006914618,0.01568943],"category_scores_gemma":[0.016307296,0.000111947425,0.00027150955,0.0026670303,0.0026758206,0.0026815364,0.0029221615,0.002116088,0.0009813622],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005567917,0.00026030376,0.9514977,0.000050876926,0.000039391543,0.0004040751,0.009621838,0.00028603908,0.00008554324,0.01814742,0.008646896,0.010904297],"study_design_scores_gemma":[0.000009844352,0.00006802391,0.931807,0.0002397387,0.000023962612,0.0001080419,0.042213295,0.0010925956,0.000108991524,0.001710046,0.022596925,0.000021590191],"about_ca_topic_score_codex":0.32800195,"about_ca_topic_score_gemma":0.405149,"teacher_disagreement_score":0.671998,"about_ca_system_score_codex":0.0050719725,"about_ca_system_score_gemma":0.008205824,"threshold_uncertainty_score":0.65218556},"labels":[],"label_agreement":null},{"id":"W7037162904","doi":"","title":"Development of Glass Ionomer Cements with Improved Mechanical and Remineralizing Properties by Incorporation of 45S5 Bioglass®-Ceramic","year":2019,"lang":"en","type":"dissertation","venue":"Spectrum Research Repository (Concordia University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Barts and The London School of Medicine and Dentistry; Natural Sciences and Engineering Research Council of Canada; Concordia University","keywords":"Crystallinity; Degree (music); Quality (philosophy); Deformation (meteorology); Material properties","score_opus":0.03891783289094639,"score_gpt":0.23621950943795914,"score_spread":0.19730167654701275,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037162904","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9941902,0.00147061,0.0030500214,0.000030914573,0.000024095358,0.000056309204,0.00014378017,0.00010674171,0.0009273562],"genre_scores_gemma":[0.98888224,0.00094717223,0.008764561,0.000026895075,0.0000071783734,0.000039501014,0.00014300352,0.000019137782,0.0011704082],"study_design_codex":"bench_or_experimental","study_design_gemma":"bench_or_experimental","domain_scores_codex":[0.99989796,0.0000059564068,0.00001076678,0.00002170213,0.00003867329,0.000025049683],"domain_scores_gemma":[0.9999249,0.0000061255787,0.00003417235,0.000004817532,0.000012476151,0.000017371845],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016534253,0.00038125247,0.00021293243,0.00034423388,0.000102770646,0.00031490266,0.00017342917,0.00028212846,0.00050723075],"category_scores_gemma":[0.00010059181,0.00023713916,0.00030051405,0.00017784176,0.00016775205,0.0002433653,0.00022851539,0.00024456417,0.00016722025],"study_design_candidate":"bench_or_experimental","study_design_consensus":"bench_or_experimental","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013805982,0.000008427854,0.000063649095,0.00003568481,0.000004083867,0.00001753809,0.000009519013,0.00005590213,0.9985898,0.000050284358,0.0000101119585,0.0011411399],"study_design_scores_gemma":[0.000010474629,0.00021893787,0.00289874,0.0000061694136,0.000029539227,0.000046480814,0.000016312782,0.0005114012,0.99431336,0.00001011324,0.0019305674,0.000008028847],"about_ca_topic_score_codex":0.0009102763,"about_ca_topic_score_gemma":0.0027569865,"teacher_disagreement_score":0.0009102763,"about_ca_system_score_codex":0.0002574268,"about_ca_system_score_gemma":0.00024624716,"threshold_uncertainty_score":0.0018678308},"labels":[],"label_agreement":null},{"id":"W7037341437","doi":"","title":"Donner corps à l’impossible. BAILLARGEON, Justin. Entre réalité et virtuel – La Captation de mouvement au cinéma, coll. L’instant ciné, Longueuil, Éditions L’instant même, 2021, 122 p.","year":2021,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Perspective (graphical); Vulnerability (computing); Context (archaeology); Power (physics)","score_opus":0.008070036780548325,"score_gpt":0.17618110930305514,"score_spread":0.16811107252250682,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037341437","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00034002602,0.89730555,0.0006664396,0.047133274,0.006790388,0.00001242114,0.00031115935,0.00008204147,0.047358733],"genre_scores_gemma":[0.03106744,0.6692269,0.0018836845,0.013743702,0.012217276,0.00008115596,0.00044738443,0.00043355743,0.27089894],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992823,0.00016120575,0.000040808052,0.00012177365,0.0003195514,0.00007432765],"domain_scores_gemma":[0.99803215,0.0009747435,0.00014880193,0.000051816733,0.0006126922,0.00017966989],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00082856376,0.0014569673,0.0007765223,0.0030048988,0.0030110234,0.00459096,0.0009366049,0.0031331314,0.044640936],"category_scores_gemma":[0.0028789146,0.0007868718,0.00041823875,0.003979574,0.0024674267,0.0061956756,0.0011259909,0.0036251594,0.014831662],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033338813,0.000008627401,0.00017542965,0.00048129907,0.000007776477,0.000099875615,0.0016658442,0.00003931072,0.00022293649,0.017311167,0.930835,0.049119372],"study_design_scores_gemma":[0.0000068333366,0.0000059954473,0.0014758657,0.000597938,0.0000076858505,0.000105938125,0.00078817277,0.00002940679,0.00012659306,0.004275398,0.9925694,0.000010726802],"about_ca_topic_score_codex":0.12928225,"about_ca_topic_score_gemma":0.27509913,"teacher_disagreement_score":0.12928225,"about_ca_system_score_codex":0.004738525,"about_ca_system_score_gemma":0.0030489045,"threshold_uncertainty_score":0.25705945},"labels":[],"label_agreement":null},{"id":"W7037575888","doi":"","title":"Estimation de l'âge gestationnel à partir de la mesure échographique du diamètre bipariétal","year":2019,"lang":"fr","type":"other","venue":"Corpus Université Laval (Université Laval)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Population; Ile de france; Statistical analysis","score_opus":0.007674629722501082,"score_gpt":0.18166687547462568,"score_spread":0.1739922457521246,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037575888","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9531333,0.0042579537,0.031173501,0.00012041792,0.000050294886,0.00028336118,0.0045473366,0.00025390912,0.0061799027],"genre_scores_gemma":[0.94578564,0.002607432,0.036231123,0.00007860797,0.00002168953,0.0001861184,0.0015939276,0.000044669265,0.013450805],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9996376,0.00007698219,0.00001766684,0.00011930822,0.00010833176,0.000040124178],"domain_scores_gemma":[0.99892324,0.00024140383,0.00018605668,0.00007805087,0.00050598365,0.0000652481],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007532613,0.00038584505,0.0003297897,0.0016688069,0.0003746529,0.0004128654,0.00031882312,0.00029267385,0.0024135238],"category_scores_gemma":[0.0017649645,0.00016468877,0.00022777688,0.00096379983,0.00033318537,0.00020966766,0.00030072615,0.00032858018,0.0006401138],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00071052415,0.00006814513,0.77117157,0.00040222483,0.00020126275,0.00024292161,0.0023544882,0.001017446,0.077484064,0.00037668238,0.00081903284,0.14515162],"study_design_scores_gemma":[0.000006370097,0.00022289268,0.98593026,0.00003869192,0.00004771349,0.00034193846,0.00043589584,0.0009963359,0.006239788,0.00006360988,0.005651937,0.000024698747],"about_ca_topic_score_codex":0.27941403,"about_ca_topic_score_gemma":0.35503572,"teacher_disagreement_score":0.27941403,"about_ca_system_score_codex":0.0010853999,"about_ca_system_score_gemma":0.0010131028,"threshold_uncertainty_score":0.5555753},"labels":[],"label_agreement":null},{"id":"W7037639037","doi":"","title":"Erasing the past and returning to it: digital technology and writerly identities in Amnesia by Peter Carey and The Wisdom Tree by Nick Earls","year":2017,"lang":"en","type":"other","venue":"Swinburne Research Bank (Swinburne University of Technology)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Novella; Pseudonym; Theme (computing); Narrative; Biography; Identity (music); Verisimilitude; Hacker; Thatcherism; Agatha; Narrativity","score_opus":0.018401670025755257,"score_gpt":0.24050212658420617,"score_spread":0.2221004565584509,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037639037","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.056716487,0.1336426,0.0029074068,0.6943607,0.009907635,0.00005038532,0.000065808104,0.00016510204,0.10218389],"genre_scores_gemma":[0.6481512,0.10089335,0.0037133712,0.097089246,0.010090606,0.00015576759,0.000056183173,0.0003549491,0.13949543],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99812275,0.00078084896,0.0000619193,0.00020622513,0.00063082925,0.00019748547],"domain_scores_gemma":[0.99237365,0.0048120744,0.0005053595,0.00022488552,0.0011110764,0.00097286975],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031640157,0.00045001306,0.0003841064,0.001676406,0.012415317,0.010633843,0.0010154204,0.0034393426,0.004649175],"category_scores_gemma":[0.010574654,0.00037784263,0.00021883342,0.0008863871,0.0176056,0.010833135,0.004463917,0.007893897,0.0011786838],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005085215,0.00005256203,0.0015756583,0.00027127846,0.000014840061,0.001376881,0.38177404,0.00009174764,0.0005595042,0.13600992,0.41836712,0.059855577],"study_design_scores_gemma":[0.000011291679,0.000038366175,0.0014339689,0.0007949039,0.000011283627,0.001662315,0.10869873,0.00011520049,0.0005562681,0.026938392,0.8596835,0.000055821125],"about_ca_topic_score_codex":0.029542755,"about_ca_topic_score_gemma":0.048566803,"teacher_disagreement_score":0.029542755,"about_ca_system_score_codex":0.004294614,"about_ca_system_score_gemma":0.005600264,"threshold_uncertainty_score":0.05874157},"labels":[],"label_agreement":null},{"id":"W7037750653","doi":"","title":"The endless battle the fall of Hong Kong and Canadian POWs in imperial Japan","year":2017,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Battle; Surrender; Fell; Fall of man; Spanish Civil War; Governor","score_opus":0.025551489701589967,"score_gpt":0.21771334184605576,"score_spread":0.1921618521444658,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037750653","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9069904,0.0066056,0.000107732405,0.04520797,0.0005902779,0.00003545584,0.00041916512,0.000016502341,0.040027007],"genre_scores_gemma":[0.9715907,0.0061872387,0.000100987425,0.004007788,0.00023992849,0.00001566371,0.00015920313,0.00001782381,0.017680721],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992723,0.00015773678,0.000017738383,0.000057917543,0.00012291197,0.00037136493],"domain_scores_gemma":[0.9981237,0.00024143294,0.00026945944,0.00006435513,0.0004014976,0.00089954096],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009766844,0.00045281238,0.00027747272,0.0010822766,0.011627847,0.005604017,0.0007012739,0.001326203,0.004258605],"category_scores_gemma":[0.0030799694,0.00023893073,0.00020234445,0.001737681,0.0069732657,0.0020898052,0.0027203215,0.001917073,0.00035965742],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0005170941,0.00014735585,0.13101657,0.00036078872,0.00013748549,0.00604424,0.5611399,0.0003009325,0.0008859735,0.023461722,0.22470908,0.05127888],"study_design_scores_gemma":[0.000020249698,0.00004363727,0.13194376,0.00035453073,0.00005895075,0.00039912175,0.70593995,0.00024547288,0.00020455643,0.0007749673,0.1599068,0.00010806941],"about_ca_topic_score_codex":0.915664,"about_ca_topic_score_gemma":0.9460622,"teacher_disagreement_score":0.08433598,"about_ca_system_score_codex":0.022820527,"about_ca_system_score_gemma":0.015700629,"threshold_uncertainty_score":0.16966528},"labels":[],"label_agreement":null},{"id":"W7037803969","doi":"","title":"English as a Second Language: How can Drama Help?","year":2017,"lang":"en","type":"article","venue":"Scholarship at UWindsor (University of Windsor)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Windsor","funders":"","keywords":"Nucleofection; Gestational period; TSG101; Dysgeusia; Liquation; Diafiltration; Emperipolesis; Triacetin; Demotion","score_opus":0.023288806069806923,"score_gpt":0.21059115761766786,"score_spread":0.18730235154786093,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037803969","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04293817,0.04030409,0.0019497451,0.5166176,0.0069164,0.000073736024,0.00034111182,0.00023065705,0.39062858],"genre_scores_gemma":[0.74748576,0.027704507,0.0026563138,0.0830075,0.0051062256,0.00020455816,0.00055003894,0.00054205075,0.13274309],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.994391,0.003125609,0.0001563825,0.0004061911,0.0006523443,0.0012684941],"domain_scores_gemma":[0.9854865,0.006287651,0.0007692133,0.00066246465,0.0019934336,0.0048007295],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0052214162,0.0006710197,0.0011024126,0.0015720078,0.0067842426,0.014501645,0.001585648,0.004282747,0.054999985],"category_scores_gemma":[0.023285335,0.00028312113,0.00066292926,0.001255872,0.005742493,0.012188493,0.0060877185,0.0059168353,0.008503705],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00036636146,0.0010216197,0.010377265,0.0011437834,0.00009509887,0.001353141,0.09123141,0.000108479515,0.00073407596,0.122747645,0.4441614,0.3266598],"study_design_scores_gemma":[0.00011966874,0.0001824177,0.009719003,0.002828902,0.00010332827,0.00096378475,0.118599914,0.00021269488,0.00047253183,0.0360007,0.8307256,0.000071431845],"about_ca_topic_score_codex":0.020718995,"about_ca_topic_score_gemma":0.026809381,"teacher_disagreement_score":0.054999985,"about_ca_system_score_codex":0.003726227,"about_ca_system_score_gemma":0.0076716365,"threshold_uncertainty_score":0.18399328},"labels":[],"label_agreement":null},{"id":"W7037805502","doi":"","title":"Fellsmere Union Church Marker (Obverse), Fellsmere, FL","year":2015,"lang":"en","type":"other","venue":"University of North Florida Digital Commons (University of North Florida)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"State (computer science); Emblem; Trade union; Holy See; Church history","score_opus":0.021534348660760125,"score_gpt":0.17204923880010597,"score_spread":0.15051489013934585,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037805502","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008423554,0.0016541001,0.0002467101,0.006993939,0.0040677534,0.000075775046,0.0033890528,0.0005857428,0.9821446],"genre_scores_gemma":[0.0024532196,0.00046262905,0.00011824788,0.0013005835,0.00021017015,0.000026105647,0.00066558603,0.00015884155,0.9946045],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997739,0.000020630925,0.000005616162,0.00004771799,0.000088417895,0.00006364993],"domain_scores_gemma":[0.9997539,0.000026655991,0.000011976005,0.000016784665,0.00009937859,0.00009129978],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00030050115,0.00051055226,0.00020280742,0.0008090093,0.0044155265,0.0030968585,0.00062579475,0.0022457435,0.734511],"category_scores_gemma":[0.00085644814,0.00045671102,0.00024376242,0.000697543,0.0004364307,0.002790847,0.002445389,0.0023310957,0.33462623],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016530515,0.000008232009,0.00006209692,0.000020319641,4.2010785e-7,0.00004065089,0.000072768205,0.000005742125,0.000113600385,0.0015600664,0.9807417,0.017357893],"study_design_scores_gemma":[0.000004181914,0.0000047465455,0.0003774737,0.000042979296,4.6362356e-7,0.00002276765,0.00013766169,0.000009663183,0.000057070363,0.00016230861,0.99917775,0.0000028606187],"about_ca_topic_score_codex":0.035857484,"about_ca_topic_score_gemma":0.12689592,"teacher_disagreement_score":0.734511,"about_ca_system_score_codex":0.0014290627,"about_ca_system_score_gemma":0.0012288094,"threshold_uncertainty_score":0.3786878},"labels":[],"label_agreement":null},{"id":"W7037857578","doi":"","title":"First Ladies of Film: The Not so Silent Women of Early American Cinema","year":2011,"lang":"en","type":"article","venue":"Dominican Scholar (Dominican University of California)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Film industry; Sound (geography); Quarter (Canadian coin); Feminism; Control (management)","score_opus":0.03713869734934582,"score_gpt":0.20407730255528908,"score_spread":0.16693860520594325,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7037857578","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8121272,0.018484164,0.0006923937,0.058181982,0.00041130188,0.000031007752,0.00021070435,0.00001808304,0.10984328],"genre_scores_gemma":[0.96753824,0.006238213,0.00015266199,0.0027795744,0.00026762192,0.000016626349,0.00003878752,0.000015969823,0.022952357],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99908113,0.00041978044,0.00001088078,0.00009994611,0.00014100994,0.00024726192],"domain_scores_gemma":[0.9982615,0.0008845446,0.00023421642,0.000048563295,0.0001803714,0.00039081345],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015604144,0.0002686129,0.0002646097,0.0010723206,0.005767937,0.0070411693,0.0005150185,0.0013273826,0.0057336],"category_scores_gemma":[0.004770135,0.00034224204,0.000083798914,0.0015130802,0.0066097267,0.0044265892,0.0016279325,0.0019900023,0.000521604],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000215843,0.00014286365,0.034075305,0.00018379533,0.000019908364,0.00091769715,0.7493861,0.000053187177,0.00079552806,0.09840756,0.042827822,0.07297444],"study_design_scores_gemma":[0.000016029651,0.00006698656,0.043675147,0.00048016576,0.00002355395,0.0004353986,0.64969283,0.00014202169,0.0003141024,0.010415194,0.29470783,0.00003064138],"about_ca_topic_score_codex":0.04687681,"about_ca_topic_score_gemma":0.08804603,"teacher_disagreement_score":0.04687681,"about_ca_system_score_codex":0.003533567,"about_ca_system_score_gemma":0.002358453,"threshold_uncertainty_score":0.093207955},"labels":[],"label_agreement":null},{"id":"W7038029657","doi":"","title":"Faisabilité de l'implantation de services de physiothérapie pour les personnes atteintes d'un cancer à la Clinique universitaire de physiothérapie de l'UQAC","year":2022,"lang":"fr","type":"other","venue":"Constellation (Université du Québec à Chicoutimi)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Cost analysis; Work safety; Patient rights","score_opus":0.009501448231098638,"score_gpt":0.20210775708337175,"score_spread":0.19260630885227312,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7038029657","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8091,0.019952165,0.005240053,0.050715506,0.0014564693,0.0018793441,0.0046634804,0.00041675568,0.1065762],"genre_scores_gemma":[0.9538198,0.0069687106,0.00581382,0.003992059,0.0002022119,0.001113576,0.0012493888,0.00007076156,0.026769718],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9948027,0.0017374277,0.00018273956,0.00035442202,0.0014308587,0.0014918019],"domain_scores_gemma":[0.98697436,0.0017801871,0.0010368491,0.0003655439,0.005311014,0.004531931],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003950295,0.00039333047,0.00056466775,0.000978701,0.00294739,0.0025864423,0.0013340699,0.0011499176,0.021513134],"category_scores_gemma":[0.016929246,0.00030962715,0.0008631504,0.0014402316,0.0009788316,0.0009447747,0.0026857571,0.0017260498,0.0017096146],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0015244832,0.001516392,0.30277386,0.0044608,0.00044881742,0.0006228064,0.016393442,0.0019763869,0.0030425685,0.0045817676,0.05459016,0.6080686],"study_design_scores_gemma":[0.00024416845,0.0015196846,0.8004034,0.004333813,0.00030821632,0.00046431462,0.014180259,0.0011974004,0.00097282627,0.00076323206,0.17551011,0.00010253572],"about_ca_topic_score_codex":0.6160991,"about_ca_topic_score_gemma":0.77712506,"teacher_disagreement_score":0.38390088,"about_ca_system_score_codex":0.018745935,"about_ca_system_score_gemma":0.057329703,"threshold_uncertainty_score":0.7723235},"labels":[],"label_agreement":null},{"id":"W7038077072","doi":"","title":"Help##Contacts(1-844-762-8448)Facebook tech support number,Facebook customer service number,facebook customer support number","year":2016,"lang":"en","type":"other","venue":"OSF Preprints (OSF Preprints)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Customer advocacy; Customer retention; Customer Service Assurance; Customer intelligence; Customer to customer; Service desk; Service (business)","score_opus":0.020115039273853535,"score_gpt":0.25742356836452135,"score_spread":0.23730852909066782,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7038077072","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014645554,0.000101602665,0.0003223834,0.0005876292,0.00063809264,0.00032556197,0.0019978916,0.0055553247,0.989007],"genre_scores_gemma":[0.0056706904,0.00016419157,0.0006016028,0.0009870424,0.0003794223,0.0003115375,0.0016369026,0.0012465803,0.9890021],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992931,0.00009714933,0.000027592321,0.00011929418,0.00031393822,0.00014890115],"domain_scores_gemma":[0.99695826,0.00027789793,0.00009891694,0.0003837166,0.001053093,0.0012281456],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00030573402,0.0011963693,0.00088007073,0.0013105184,0.0028376847,0.0025340612,0.00083780417,0.0016348228,0.89636093],"category_scores_gemma":[0.0028896965,0.0007042566,0.00051643245,0.0008738293,0.00023249145,0.002561185,0.003015497,0.0010854014,0.87546414],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022123562,0.000060387494,0.00037627635,0.000040097555,0.0000025881832,0.00005174515,0.000048028032,0.000020857105,0.00039464535,0.00020323058,0.9632593,0.035520732],"study_design_scores_gemma":[0.00002921593,0.00004851478,0.003273212,0.00006143075,0.00000857512,0.00012125406,0.00024357767,0.00023325815,0.000590727,0.0002542771,0.9951172,0.000018941964],"about_ca_topic_score_codex":0.0033195538,"about_ca_topic_score_gemma":0.008652362,"teacher_disagreement_score":0.103639066,"about_ca_system_score_codex":0.0007834817,"about_ca_system_score_gemma":0.0010546478,"threshold_uncertainty_score":0.14782858},"labels":[],"label_agreement":null},{"id":"W7038078253","doi":"","title":"Études du pouvoir discriminant des variables utilisées dans l'évaluation clinique de différents types de céphalées","year":2000,"lang":"fr","type":"other","venue":"Papyrus : Institutional Repository (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Réseau Provincial de Recherche en Adaptation-Réadaptation","keywords":"Linear discriminant analysis; Multiple discriminant analysis; Discriminant function analysis","score_opus":0.014612373856617332,"score_gpt":0.18193292399641295,"score_spread":0.1673205501397956,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7038078253","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9767075,0.0015109769,0.011480526,0.00060384884,0.00007609782,0.00012242071,0.0020032735,0.00010665907,0.007388605],"genre_scores_gemma":[0.9896493,0.0004501894,0.0056437925,0.00004085683,0.000048164122,0.00014736618,0.0006802884,0.00005599191,0.0032840492],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.99512106,0.0028364582,0.00043968222,0.0005451442,0.000781649,0.00027600944],"domain_scores_gemma":[0.96942633,0.024701001,0.0017718835,0.00082435645,0.0028893002,0.0003871179],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.01163284,0.0011194955,0.00066309515,0.006475256,0.0007541792,0.0033705297,0.0007894856,0.0015992398,0.0060194493],"category_scores_gemma":[0.054161943,0.00042547713,0.0010538533,0.004018329,0.0011921098,0.0021657993,0.0011152831,0.0011914932,0.0011310488],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0009449323,0.00008849107,0.9135496,0.00012899388,0.00029084308,0.00016679332,0.0026424725,0.0013483049,0.0033357092,0.0012641433,0.0009971622,0.07524271],"study_design_scores_gemma":[0.00007834063,0.0002677233,0.9804608,0.00012970586,0.00023022738,0.00053215364,0.0028998991,0.008785491,0.0027759497,0.0014015129,0.0023851169,0.000053109634],"about_ca_topic_score_codex":0.01814714,"about_ca_topic_score_gemma":0.018128986,"teacher_disagreement_score":0.01814714,"about_ca_system_score_codex":0.0011443992,"about_ca_system_score_gemma":0.0010136743,"threshold_uncertainty_score":0.061521113},"labels":[],"label_agreement":null},{"id":"W7038400060","doi":"","title":"Graphic Interventions podcast:Episode 3 - Paris 68 Redux","year":2021,"lang":"en","type":"other","venue":"University of Brighton Repository (University of Brighton)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Redux; Psychological intervention; Government (linguistics); Context (archaeology)","score_opus":0.019739856738109268,"score_gpt":0.18206024695817571,"score_spread":0.16232039022006645,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7038400060","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.003907684,0.0015244336,0.0004686862,0.009271433,0.0065332293,0.0002317656,0.00603985,0.0011341752,0.9708887],"genre_scores_gemma":[0.020023288,0.00054201024,0.00043200565,0.0022320822,0.00067794643,0.00015343034,0.0023514838,0.00051194587,0.9730758],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99910223,0.00015726867,0.00001615187,0.000089779125,0.0002907962,0.00034375282],"domain_scores_gemma":[0.99919134,0.00016380475,0.000026187374,0.00007963003,0.00022859,0.00031039387],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011942402,0.00070357806,0.00035494557,0.0013740046,0.0042018187,0.00560504,0.0009599915,0.003017509,0.44905674],"category_scores_gemma":[0.0031651785,0.00031086378,0.0004791401,0.0011748715,0.000878537,0.0012601052,0.002539271,0.003323372,0.08317778],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007464948,0.00003707122,0.00020732981,0.00006539919,0.0000024289989,0.00017384934,0.00051074027,0.00011272219,0.00008142881,0.009399422,0.9716095,0.017725442],"study_design_scores_gemma":[0.000008278576,0.0000073570823,0.0006003007,0.000041883486,7.03082e-7,0.000019497369,0.00031291496,0.000020265607,0.000048610582,0.00024398768,0.9986934,0.0000028575776],"about_ca_topic_score_codex":0.06506395,"about_ca_topic_score_gemma":0.13369368,"teacher_disagreement_score":0.44905674,"about_ca_system_score_codex":0.0050923578,"about_ca_system_score_gemma":0.0031199518,"threshold_uncertainty_score":0.7858537},"labels":[],"label_agreement":null},{"id":"W7041940752","doi":"","title":"Football: 1972","year":2013,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Class (philosophy); Process (computing); Theme (computing); World class; Focus (optics)","score_opus":0.02433437911443097,"score_gpt":0.18722955065379163,"score_spread":0.16289517153936064,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7041940752","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015486854,0.0052705286,0.00028926213,0.011099602,0.016457103,0.000114919276,0.009441587,0.0002798285,0.94156027],"genre_scores_gemma":[0.03495753,0.001604256,0.00011485932,0.0014333898,0.0015447796,0.000032492673,0.002643603,0.00008772236,0.9575812],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995758,0.00002629815,0.000012979948,0.00008919113,0.00014643793,0.0001492625],"domain_scores_gemma":[0.999652,0.00001942921,0.000018342476,0.000013008575,0.00011026856,0.00018696305],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002837148,0.000728687,0.00022467609,0.0014204856,0.00404688,0.0038583057,0.00041524493,0.0010071262,0.2259308],"category_scores_gemma":[0.0008380796,0.00019149556,0.0001699484,0.0011844436,0.0004605045,0.0009982417,0.0013859795,0.0014846036,0.06401336],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013230607,0.000032889646,0.0010852673,0.00008699224,0.000005339379,0.00020840131,0.00065200793,0.000027617889,0.00026577286,0.0036174436,0.94424784,0.049638208],"study_design_scores_gemma":[0.0000051050797,0.000016884345,0.006097213,0.000088502835,0.0000013431243,0.00004771415,0.0005638647,0.000013638782,0.00011964695,0.00017580908,0.992867,0.000003250279],"about_ca_topic_score_codex":0.07167991,"about_ca_topic_score_gemma":0.19959685,"teacher_disagreement_score":0.7740692,"about_ca_system_score_codex":0.0023320387,"about_ca_system_score_gemma":0.0011942595,"threshold_uncertainty_score":0.75581384},"labels":[],"label_agreement":null},{"id":"W7042026185","doi":"","title":"Scene Breakdown","year":2017,"lang":"en","type":"article","venue":"Scholar Works  (Boise State University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Window (computing); Quarter (Canadian coin); Photography; Period (music)","score_opus":0.02376587433136791,"score_gpt":0.19991929693135288,"score_spread":0.17615342259998495,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7042026185","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0413113,0.0031776882,0.00882692,0.008362657,0.0077426885,0.0011245123,0.027558004,0.002105581,0.8997906],"genre_scores_gemma":[0.31397232,0.0030936406,0.010262641,0.006056881,0.0021901578,0.0010274749,0.040247012,0.0024498552,0.6207001],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943393,0.000072139206,0.000028399287,0.00009417965,0.00018225626,0.00018910311],"domain_scores_gemma":[0.99946386,0.000075330165,0.000021090662,0.000053576114,0.00019917164,0.00018698028],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003645774,0.00067415,0.0004182391,0.0011110954,0.0027337747,0.003365301,0.0009380445,0.0013026462,0.2437206],"category_scores_gemma":[0.0021919454,0.00020900322,0.0004228109,0.0009528247,0.00055052846,0.0015169226,0.0022403798,0.001895411,0.054999765],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008244229,0.00013149042,0.001110803,0.00057700736,0.000017329867,0.0036623708,0.0040668063,0.00035829388,0.004557555,0.027797615,0.86356497,0.09333136],"study_design_scores_gemma":[0.00001634978,0.00004982762,0.0019664958,0.00017014373,0.000005613696,0.0014967988,0.0020452668,0.00015442084,0.0006419465,0.001518229,0.9919194,0.000015409505],"about_ca_topic_score_codex":0.0065022083,"about_ca_topic_score_gemma":0.00866528,"teacher_disagreement_score":0.2437206,"about_ca_system_score_codex":0.0012480262,"about_ca_system_score_gemma":0.0011787473,"threshold_uncertainty_score":0.81532663},"labels":[],"label_agreement":null},{"id":"W7042493701","doi":"","title":"The “Permeable I”/Eye: Hybrid Subjectivities in <i>True Blood</i>","year":2020,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Field (mathematics); Government (linguistics); Work (physics); Perspective (graphical); Subject (documents); Agency (philosophy)","score_opus":0.024616874847784496,"score_gpt":0.1913768509487544,"score_spread":0.1667599761009699,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7042493701","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.17144285,0.0025888649,0.016695078,0.01878904,0.00037597862,0.00003833742,0.00012891424,0.00011924779,0.78982174],"genre_scores_gemma":[0.97690135,0.00040979648,0.0018856383,0.0011891874,0.000121185694,0.000027824215,0.000043853022,0.00016761308,0.019253524],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9984212,0.000928977,0.000028462133,0.00020221158,0.00020962268,0.00020962866],"domain_scores_gemma":[0.99801767,0.001214571,0.00015896055,0.00021262489,0.00019229145,0.00020397548],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019057265,0.00029128505,0.00021598031,0.0016613116,0.0054645147,0.012862506,0.0007851447,0.0016586732,0.014822754],"category_scores_gemma":[0.006380601,0.00036071212,0.00027443244,0.0013520276,0.018599525,0.01113014,0.0052587865,0.0028439385,0.0007102709],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004380264,0.000013853747,0.0015477866,0.00005207917,0.000007747967,0.00026673562,0.22283824,0.000049339404,0.0009346769,0.7528897,0.007562451,0.013793608],"study_design_scores_gemma":[0.000041098145,0.000052084884,0.007079627,0.00030515026,0.00003103322,0.0010339549,0.3109426,0.0008210886,0.0011711598,0.45414525,0.22432312,0.000053885262],"about_ca_topic_score_codex":0.009939121,"about_ca_topic_score_gemma":0.009225966,"teacher_disagreement_score":0.014822754,"about_ca_system_score_codex":0.002208499,"about_ca_system_score_gemma":0.0012373899,"threshold_uncertainty_score":0.04958707},"labels":[],"label_agreement":null},{"id":"W7043465185","doi":"","title":"Shaping film festivals in a changing world: practice and methods","year":2025,"lang":"en","type":"article","venue":"BIROn (Birkbeck, University of London)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Simon Fraser University; Euskal Herriko Unibertsitatea; Social Sciences and Humanities Research Council of Canada; Eusko Jaurlaritza; Princeton University; University of Missouri; University of Southampton; University of Missouri-Kansas City; Birkbeck, University of London; Bundesministerium für Bildung und Forschung","keywords":"Film festival; Context (archaeology); Visual methods; Community of practice; Data collection; Big data","score_opus":0.035191473936382174,"score_gpt":0.2763795830989958,"score_spread":0.24118810916261363,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7043465185","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.3556361,0.009198108,0.3270393,0.025192758,0.0019916298,0.09483585,0.0025629015,0.0009428456,0.18260047],"genre_scores_gemma":[0.46249115,0.0075262683,0.3747898,0.0037747263,0.00057286024,0.104663186,0.0010757399,0.0007677503,0.04433856],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.95063204,0.04066223,0.002029722,0.0030082662,0.0021489465,0.0015187166],"domain_scores_gemma":[0.9463952,0.033881254,0.0027289805,0.0078249015,0.0057164887,0.00345303],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.070542775,0.0016740073,0.0010449836,0.007892567,0.013927131,0.012920571,0.0056540775,0.0023140414,0.016233776],"category_scores_gemma":[0.05541604,0.0017114793,0.0008253763,0.007904875,0.015477454,0.009337739,0.0152114695,0.0044741808,0.0025695516],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025943606,0.0013448722,0.006801365,0.0024388595,0.00003338858,0.00057580776,0.6847967,0.00045976404,0.0016643143,0.0561958,0.013967657,0.23146203],"study_design_scores_gemma":[0.00021119443,0.0004492755,0.0054210057,0.0022403775,0.00006160504,0.00035252247,0.7159169,0.0006894283,0.0027977931,0.018309508,0.25343606,0.00011437785],"about_ca_topic_score_codex":0.0036768245,"about_ca_topic_score_gemma":0.0095031345,"teacher_disagreement_score":0.070542775,"about_ca_system_score_codex":0.008347959,"about_ca_system_score_gemma":0.0119251525,"threshold_uncertainty_score":0.3730703},"labels":[],"label_agreement":null},{"id":"W7046003393","doi":"","title":"Card, Enter to Win!, 2006","year":2006,"lang":"en","type":"article","venue":"Digital Commons - University of South Florida (University of South Florida)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Lesbian; Key (lock); Government (linguistics); Ridiculous; Quarter (Canadian coin)","score_opus":0.017430247272910766,"score_gpt":0.1617611475174927,"score_spread":0.14433090024458195,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7046003393","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0038686956,0.0009846671,0.0007237114,0.006468023,0.004335321,0.00020040681,0.011444167,0.002095037,0.9698799],"genre_scores_gemma":[0.005018521,0.00033073706,0.0002822234,0.0008112411,0.0002819735,0.000046296645,0.002526376,0.0002308983,0.99047184],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997749,0.00002144794,0.000009995625,0.000023526096,0.00010158879,0.0000686266],"domain_scores_gemma":[0.9990734,0.00008123538,0.00004233676,0.00006600624,0.00027831894,0.00045873117],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00054362614,0.0004822589,0.00033893387,0.00062351814,0.0018995671,0.0045423047,0.00053683383,0.0013127407,0.6529513],"category_scores_gemma":[0.0026682483,0.00035268735,0.0001672641,0.00040256715,0.00023365859,0.0018319426,0.0012204273,0.0014860216,0.46451306],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007704888,0.000017480375,0.00011724654,0.000013927296,5.9397485e-7,0.000018179504,0.000015062775,0.000010724384,0.0000549891,0.0005300788,0.9842269,0.014917953],"study_design_scores_gemma":[0.000021747319,0.000031562777,0.0012228102,0.000027563985,0.0000013698822,0.000022061073,0.000106448315,0.00009439751,0.00012880271,0.0002591962,0.9980774,0.00000659667],"about_ca_topic_score_codex":0.004385346,"about_ca_topic_score_gemma":0.028121714,"teacher_disagreement_score":0.3470487,"about_ca_system_score_codex":0.00069033256,"about_ca_system_score_gemma":0.0010204717,"threshold_uncertainty_score":0.49502283},"labels":[],"label_agreement":null},{"id":"W7065943196","doi":"","title":"Expositions chimiques des travailleurs du recyclage électronique et portrait du risque sanitaire","year":2021,"lang":"fr","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Portrait; Context (archaeology); Risk factor; Order (exchange)","score_opus":0.02526840452796465,"score_gpt":0.2267328792361982,"score_spread":0.20146447470823356,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7065943196","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16822071,0.0472664,0.012472448,0.016331129,0.00058179494,0.00008695002,0.00050778117,0.00012871623,0.75440407],"genre_scores_gemma":[0.5188084,0.044341616,0.004103022,0.001263751,0.00023338082,0.00006858008,0.00016527146,0.00010930591,0.43090656],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.99953187,0.00013329968,0.000007777307,0.000051967698,0.00019113845,0.00008406793],"domain_scores_gemma":[0.99929917,0.0003550177,0.000037891397,0.000039827155,0.00023304077,0.00003513943],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00093581283,0.0005220959,0.00035565943,0.0019946424,0.0037933672,0.0041257646,0.0005788099,0.0011028716,0.024038557],"category_scores_gemma":[0.0011200305,0.00026980744,0.00049314316,0.0020669883,0.0033581564,0.0020640309,0.0009117824,0.0014502812,0.0010382115],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001590223,0.00008887362,0.0048135594,0.0010841622,0.000051330207,0.0012866424,0.05668352,0.0063761217,0.013358047,0.7774773,0.036418833,0.10220259],"study_design_scores_gemma":[0.00000878471,0.00006368159,0.014253481,0.00077975437,0.000028052718,0.00031365955,0.020395208,0.0014096999,0.004697747,0.029209591,0.9287788,0.00006140544],"about_ca_topic_score_codex":0.26958346,"about_ca_topic_score_gemma":0.45658362,"teacher_disagreement_score":0.26958346,"about_ca_system_score_codex":0.010712146,"about_ca_system_score_gemma":0.0037189585,"threshold_uncertainty_score":0.5360286},"labels":[],"label_agreement":null},{"id":"W7066332897","doi":"","title":"The Ghost in the House: The Paradoxical Role of Women in Belgian Silent Cinema","year":2004,"lang":"fr","type":"other","venue":"Dépôt institutionnel de l'Université libre de Bruxelles (Université Libre de Bruxelles)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Narrative; Agency (philosophy); German","score_opus":0.007456119650187635,"score_gpt":0.1739083573931738,"score_spread":0.16645223774298618,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7066332897","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6872172,0.016422639,0.0010487562,0.051601212,0.0005905817,0.00002759023,0.0002648734,0.00003951394,0.24278769],"genre_scores_gemma":[0.99271315,0.0007958706,0.00008551357,0.0006132938,0.00006806809,0.0000028493405,0.000017679133,0.000021177988,0.0056824144],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9962565,0.0023437291,0.000052560532,0.000199489,0.00037520984,0.0007724723],"domain_scores_gemma":[0.9930016,0.0038750558,0.0009643725,0.00023823068,0.00076575484,0.0011549372],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033760588,0.0002757296,0.00030017502,0.0021013722,0.008009629,0.009715112,0.00093029835,0.0024332972,0.011053453],"category_scores_gemma":[0.012203843,0.00027175192,0.00015089856,0.0023412793,0.009815697,0.004037807,0.0025662857,0.0020211039,0.0005684388],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004293989,0.00013179131,0.022898264,0.00029383434,0.00005930196,0.0012475352,0.7105983,0.00018166052,0.00081820285,0.16062063,0.03656296,0.066158146],"study_design_scores_gemma":[0.000042507476,0.000053335847,0.067246504,0.0005333771,0.00005027048,0.00068938074,0.66633534,0.00027665458,0.00043237506,0.012754474,0.2515383,0.00004753852],"about_ca_topic_score_codex":0.1419606,"about_ca_topic_score_gemma":0.17398155,"teacher_disagreement_score":0.1419606,"about_ca_system_score_codex":0.009201993,"about_ca_system_score_gemma":0.0041191634,"threshold_uncertainty_score":0.28226864},"labels":[],"label_agreement":null},{"id":"W7067694765","doi":"","title":"A Mode of Agitation between <i>Verfremdungseffekt</i> and Empathy: Breaking the Fourth Wall in Craig Gillespie's <i>I, Tonya</i>","year":2021,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Mode (computer interface); Volume (thermodynamics); Work (physics)","score_opus":0.025632071113940263,"score_gpt":0.21789227644031697,"score_spread":0.19226020532637672,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7067694765","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.26617768,0.010498325,0.023314666,0.24871358,0.001392957,0.000092273694,0.00029960528,0.00008975155,0.44942108],"genre_scores_gemma":[0.9835104,0.0009847007,0.0021472056,0.003936371,0.000237228,0.00008016542,0.000025123949,0.00009483226,0.008984046],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9980021,0.0012307388,0.00005161533,0.00020849518,0.0002770079,0.00023006939],"domain_scores_gemma":[0.99218905,0.005725755,0.0007897669,0.0004434181,0.0004922707,0.0003598297],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0035658977,0.00034991896,0.00037298992,0.0013323976,0.0049623773,0.01268743,0.0016121768,0.0037213005,0.012939533],"category_scores_gemma":[0.012816067,0.0006632756,0.00042358163,0.0013370189,0.017963199,0.012289535,0.004998332,0.007583863,0.00057332555],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012779924,0.00006457815,0.003550394,0.00007804408,0.000018470935,0.00021511292,0.10278045,0.00011527536,0.0005343364,0.86247,0.013017747,0.017027847],"study_design_scores_gemma":[0.00009430966,0.00009452955,0.033048686,0.00077743834,0.00007684018,0.00065259513,0.16752453,0.0016500222,0.0013079747,0.6677259,0.12687255,0.00017450133],"about_ca_topic_score_codex":0.01168873,"about_ca_topic_score_gemma":0.011040279,"teacher_disagreement_score":0.012939533,"about_ca_system_score_codex":0.0030428676,"about_ca_system_score_gemma":0.0021955871,"threshold_uncertainty_score":0.0432871},"labels":[],"label_agreement":null},{"id":"W7069075670","doi":"","title":"War and peace.","year":2017,"lang":"en","type":"other","venue":"Durham Research Online (Durham University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Empire; Belligerent; Independence (probability theory); Power (physics); Trial by ordeal; British Empire; Decolonization; Spanish Civil War","score_opus":0.10163824453888615,"score_gpt":0.3031529201368489,"score_spread":0.20151467559796277,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7069075670","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001416729,0.045866854,0.0009153193,0.041568488,0.010696529,0.000050705406,0.00041079274,0.00016458143,0.89891],"genre_scores_gemma":[0.07602461,0.038044818,0.0015708322,0.022178333,0.005454924,0.00015243501,0.00050547253,0.0002332826,0.85583526],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.998681,0.00046306997,0.000067851935,0.0002241187,0.00032652926,0.00023733069],"domain_scores_gemma":[0.99933535,0.00011979197,0.000053264535,0.00009283867,0.00014425877,0.00025445526],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011805351,0.00078811264,0.00046096786,0.00090609246,0.00498261,0.008369491,0.00084260217,0.0031599815,0.12529215],"category_scores_gemma":[0.0026807385,0.00026329755,0.00026807154,0.0010712225,0.0049792496,0.005687304,0.004867297,0.0042202943,0.059880566],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027898133,0.000027943643,0.00040639346,0.00019150744,0.0000071203394,0.00013243906,0.0037605404,0.000048740243,0.000095934105,0.28558797,0.5821041,0.12760952],"study_design_scores_gemma":[0.0000021434307,0.0000064766814,0.00019499508,0.00016707853,0.0000011748615,0.000085514344,0.00087532867,0.000009824497,0.000019973133,0.010690436,0.9879441,0.0000028423153],"about_ca_topic_score_codex":0.00314834,"about_ca_topic_score_gemma":0.006973438,"teacher_disagreement_score":0.12529215,"about_ca_system_score_codex":0.0022383588,"about_ca_system_score_gemma":0.0040452275,"threshold_uncertainty_score":0.41914403},"labels":[],"label_agreement":null},{"id":"W7069117003","doi":"","title":"Oak Harbor, Ohio","year":2009,"lang":"en","type":"other","venue":"OhioLink ETD Center (Ohio Library and Information Network)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hay; National park; Straw; Agriculture; George (robot)","score_opus":0.01114375846857424,"score_gpt":0.18465102955318619,"score_spread":0.17350727108461195,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7069117003","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004370925,0.0012994568,0.00073555554,0.000993278,0.0011241937,0.00005663153,0.00385621,0.0010028171,0.9904947],"genre_scores_gemma":[0.0009915303,0.0008810925,0.00043765682,0.00021355938,0.00009094737,0.000031441185,0.0010690562,0.00025952017,0.9960251],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99896824,0.00007065675,0.000042853608,0.00043985355,0.0003820393,0.00009630768],"domain_scores_gemma":[0.99856144,0.00018365387,0.000077846315,0.00019951854,0.00062029134,0.00035729684],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00077710196,0.002521309,0.000894946,0.0015672887,0.0028307228,0.006445195,0.0013279958,0.0024225195,0.9092619],"category_scores_gemma":[0.002222566,0.0006952755,0.0006930154,0.0019582205,0.000731708,0.0034706097,0.0026804847,0.002706771,0.7946315],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001235219,0.00013318493,0.00052099273,0.00013131132,0.000012018924,0.00028890872,0.00014535087,0.00010908142,0.0008648267,0.007005501,0.85808325,0.13258208],"study_design_scores_gemma":[0.00001305336,0.000019683837,0.00048822226,0.00009616426,0.0000035747623,0.00005889059,0.00008221052,0.00004033834,0.00012275795,0.0004497416,0.99861705,0.000008207674],"about_ca_topic_score_codex":0.010195716,"about_ca_topic_score_gemma":0.028189918,"teacher_disagreement_score":0.9092619,"about_ca_system_score_codex":0.0014432665,"about_ca_system_score_gemma":0.0024927016,"threshold_uncertainty_score":0.1294269},"labels":[],"label_agreement":null},{"id":"W7069136172","doi":"","title":"Pauvres américains","year":2011,"lang":"fr","type":"other","venue":"OpenEdition (OpenEdition)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"Natural Sciences and Engineering Research Council of Canada; Centre National de la Recherche Scientifique; AXA Research Fund","keywords":"Phrase; Duration (music); Subject (documents)","score_opus":0.0327785371287156,"score_gpt":0.22230335953300273,"score_spread":0.18952482240428714,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7069136172","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.031313162,0.010082931,0.00058859703,0.016789658,0.001898186,0.00005260857,0.0012804944,0.00018611967,0.9378083],"genre_scores_gemma":[0.07596541,0.005442572,0.00049195054,0.0036660312,0.0004711155,0.00005852437,0.000561037,0.00010260363,0.9132409],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99973446,0.000047690308,0.0000069583384,0.00006167148,0.00004961472,0.00009967735],"domain_scores_gemma":[0.99980146,0.000031273365,0.00002663627,0.000013750133,0.00005996139,0.00006699685],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00029469404,0.0004801798,0.00018999945,0.000661242,0.0037580265,0.0025794993,0.00029420978,0.00091309607,0.09046401],"category_scores_gemma":[0.0008170397,0.00016988325,0.00019197603,0.00076757325,0.00082710525,0.0015449851,0.0014088436,0.0020247926,0.017417168],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000087355744,0.00007804632,0.005598795,0.00025495415,0.000014455193,0.0014151981,0.01893405,0.00008598074,0.0014476965,0.20192353,0.6367649,0.13339509],"study_design_scores_gemma":[0.0000017614246,0.0000049294254,0.0018851045,0.0000466566,0.0000014334956,0.00014599369,0.0014860966,0.000011226732,0.00006216417,0.0005738576,0.9957787,0.0000021089133],"about_ca_topic_score_codex":0.038372446,"about_ca_topic_score_gemma":0.092301264,"teacher_disagreement_score":0.09046401,"about_ca_system_score_codex":0.0016146433,"about_ca_system_score_gemma":0.0015422755,"threshold_uncertainty_score":0.30263227},"labels":[],"label_agreement":null},{"id":"W7069976754","doi":"","title":"Wish List","year":2017,"lang":"en","type":"article","venue":"Scholar Works  (Boise State University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Window (computing); Wish; Period (music)","score_opus":0.025203081137959975,"score_gpt":0.20055856022918536,"score_spread":0.1753554790912254,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7069976754","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00064309826,0.001426814,0.003132315,0.00868985,0.0060591986,0.0006236199,0.06993717,0.0047227154,0.9047652],"genre_scores_gemma":[0.0041833855,0.0016641978,0.0020164158,0.004117075,0.0015055907,0.00042636337,0.045251198,0.0022218206,0.93861395],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990771,0.00014530883,0.000102766186,0.00016891974,0.00037691928,0.00012899432],"domain_scores_gemma":[0.9948049,0.0008829091,0.00022955748,0.00069564465,0.002254626,0.0011323482],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010787027,0.00088578375,0.0010684284,0.002702208,0.0018968452,0.0058070533,0.0018347383,0.0021435767,0.9166612],"category_scores_gemma":[0.012919876,0.00042103112,0.0006389152,0.0023782584,0.00035871097,0.0037075381,0.0025669644,0.0012970015,0.84108734],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036504287,0.000014562947,0.00015617351,0.00016999553,0.0000020809166,0.00008387146,0.000034303623,0.000019060295,0.00012020027,0.0030785925,0.9597845,0.036500033],"study_design_scores_gemma":[0.0000068899526,0.000009081095,0.0001742038,0.00009161774,0.0000021653148,0.000093597824,0.000048849462,0.000023072344,0.00007693194,0.001295832,0.99817276,0.000004883034],"about_ca_topic_score_codex":0.002420178,"about_ca_topic_score_gemma":0.003909325,"teacher_disagreement_score":0.0833388,"about_ca_system_score_codex":0.0011104393,"about_ca_system_score_gemma":0.0024119182,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7070295020","doi":"","title":"Art Dept.","year":2013,"lang":"en","type":"article","venue":"Sound Ideas (University of Puget Sound)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Relation (database); Subject (documents); Process (computing); Presentation (obstetrics); Photography","score_opus":0.021348222814241227,"score_gpt":0.18359222981149675,"score_spread":0.16224400699725552,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7070295020","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004813236,0.00034014348,0.000220463,0.0012662681,0.0011388279,0.00008242313,0.0035143853,0.0008930324,0.992063],"genre_scores_gemma":[0.0012960684,0.0001519156,0.000104136605,0.000262349,0.00012090696,0.000030159677,0.000822105,0.0002788805,0.99693346],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967504,0.000028622379,0.000013714019,0.00008229691,0.00012066651,0.000079602505],"domain_scores_gemma":[0.99940157,0.00007437645,0.000025398587,0.00006627498,0.00022452952,0.00020780048],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000357898,0.0009511001,0.0004968579,0.0016102148,0.0038058315,0.004490878,0.0007662636,0.0016703194,0.918971],"category_scores_gemma":[0.0013019795,0.00049340015,0.00051865214,0.0010427933,0.00041995905,0.0020880199,0.0027752907,0.0021893575,0.81872004],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004690759,0.000026110498,0.00015995794,0.000052663683,0.0000011998978,0.00006126818,0.00014025914,0.000014101807,0.00033859155,0.0019447192,0.95613146,0.041082762],"study_design_scores_gemma":[0.000007284113,0.00001342529,0.0007502629,0.00005976423,0.0000012925432,0.00005305973,0.00016598421,0.000028862825,0.00013551048,0.00027864592,0.99850214,0.000003846905],"about_ca_topic_score_codex":0.007130173,"about_ca_topic_score_gemma":0.019279724,"teacher_disagreement_score":0.918971,"about_ca_system_score_codex":0.0012140226,"about_ca_system_score_gemma":0.0007065342,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7070544645","doi":"","title":"Obsolete Great Lakes Freighters","year":2010,"lang":"en","type":"other","venue":"OhioLink ETD Center (Ohio Library and Information Network)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hull; Commission; Yard; Corporation; Harbour","score_opus":0.011465341761184111,"score_gpt":0.17963038043805885,"score_spread":0.16816503867687474,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7070544645","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022044774,0.0013936576,0.0004571554,0.008633267,0.0006570729,0.0000408326,0.0030660192,0.00037911805,0.963328],"genre_scores_gemma":[0.04606177,0.0011682423,0.0005665398,0.0026779983,0.00028412745,0.000052095696,0.0025607198,0.00018843419,0.9464402],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99891853,0.00016970407,0.000027862881,0.00014891649,0.0004124417,0.0003225151],"domain_scores_gemma":[0.9989281,0.00012232772,0.000112778085,0.00014012656,0.0003061221,0.0003904599],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010652666,0.00059074955,0.00018324598,0.0013175368,0.0036327764,0.003332709,0.0013243412,0.0012595856,0.20145671],"category_scores_gemma":[0.0021762778,0.0003303536,0.00029055338,0.0016226851,0.0012700206,0.0024118735,0.0034235483,0.0015360365,0.04224808],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012328116,0.000066738816,0.0048103053,0.0001480962,0.000007794343,0.00036993256,0.0017930206,0.00010587429,0.00051809393,0.031825066,0.864309,0.0959227],"study_design_scores_gemma":[0.0000114060485,0.0000182981,0.004963964,0.000057013767,0.0000037811901,0.00011762769,0.0010182426,0.00005245837,0.00016980017,0.0006275874,0.9929507,0.000009263171],"about_ca_topic_score_codex":0.09354074,"about_ca_topic_score_gemma":0.23738138,"teacher_disagreement_score":0.20145671,"about_ca_system_score_codex":0.0030492304,"about_ca_system_score_gemma":0.0045583635,"threshold_uncertainty_score":0.6739398},"labels":[],"label_agreement":null},{"id":"W7070853319","doi":"","title":"05 SCTV Season 6 [ 1983 84]","year":2022,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sign (mathematics); Rest (music); Series (stratigraphy); Denim; Winter season","score_opus":0.009722767278172725,"score_gpt":0.17465641857730332,"score_spread":0.1649336512991306,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7070853319","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010712695,0.0005259192,0.00031964542,0.0010886528,0.00276114,0.00016087749,0.0132704135,0.0012188816,0.9795831],"genre_scores_gemma":[0.0019645721,0.0001679419,0.000121535944,0.00034632834,0.0002564672,0.00004585784,0.0050393096,0.00041393942,0.99164397],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993369,0.00003388748,0.00002020999,0.00006690801,0.0003630415,0.00017907273],"domain_scores_gemma":[0.99833894,0.000062415245,0.000041514995,0.0001700802,0.0009559378,0.00043106335],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0007285234,0.00067597715,0.00048561525,0.0021460126,0.0030817708,0.0070753605,0.0010878806,0.0019463383,0.57291454],"category_scores_gemma":[0.0021708761,0.00041412996,0.00059848564,0.0026683575,0.0004062829,0.0015009879,0.001974339,0.001884799,0.45880926],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031572454,0.000018443045,0.00012893045,0.000032025146,0.0000014612925,0.000026503281,0.000023037499,0.000021595153,0.00010978456,0.00089538196,0.98601717,0.012694042],"study_design_scores_gemma":[0.0000063468874,0.000009270058,0.0013420648,0.000032278047,0.0000010859995,0.000013245432,0.000036928734,0.000036339778,0.00010275342,0.00014603384,0.9982692,0.000004349465],"about_ca_topic_score_codex":0.13360025,"about_ca_topic_score_gemma":0.2925299,"teacher_disagreement_score":0.42708546,"about_ca_system_score_codex":0.0028255645,"about_ca_system_score_gemma":0.0042189,"threshold_uncertainty_score":0.6091856},"labels":[],"label_agreement":null},{"id":"W7070993864","doi":"","title":"Season 3 Episode 12: Hear how farmers stand together across Canada to participate in the United Nations' decade of Family Farmers (2019-2028)","year":2023,"lang":"en","type":"other","venue":"Bulletin of Miscellaneous Information (Royal Gardens Kew)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Agriculture; Population; Government (linguistics); Work (physics)","score_opus":0.02052317223633249,"score_gpt":0.21686835722034414,"score_spread":0.19634518498401166,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7070993864","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0307028,0.003053007,0.0009443066,0.17150813,0.021145903,0.0011488993,0.13975205,0.0013969303,0.63034797],"genre_scores_gemma":[0.048099585,0.0010362278,0.00044740585,0.032162346,0.0012970958,0.0003676053,0.014504434,0.0002605622,0.90182483],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99883527,0.000040115032,0.0000152891,0.00004771785,0.00037586296,0.0006857669],"domain_scores_gemma":[0.99622345,0.00016648062,0.00007380047,0.00006320657,0.000978488,0.002494699],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014592139,0.00035456612,0.00029153426,0.00062114885,0.008541568,0.0041619516,0.001070439,0.004674076,0.11223966],"category_scores_gemma":[0.0030602596,0.0003179786,0.0002704673,0.0010335855,0.00079366326,0.0013163171,0.0032200515,0.0044824528,0.017980568],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023053624,0.000011778806,0.00097008026,0.000026418158,0.0000013975417,0.000078040444,0.0007925274,0.000011787312,0.00006821417,0.00055136124,0.99359965,0.0038657554],"study_design_scores_gemma":[0.000017496184,0.000010617773,0.017309071,0.000095753356,0.0000021675307,0.000026427799,0.006552581,0.000030167163,0.00006391043,0.0001561692,0.97572315,0.000012324481],"about_ca_topic_score_codex":0.9453912,"about_ca_topic_score_gemma":0.9866458,"teacher_disagreement_score":0.11223966,"about_ca_system_score_codex":0.010968663,"about_ca_system_score_gemma":0.03409919,"threshold_uncertainty_score":0.37547904},"labels":[],"label_agreement":null},{"id":"W7071104646","doi":"","title":"Review of Adele Reinhartz, <em>Jesus of Hollywood</em> [Review of the book <em>Jesus of Hollywood</em>, by A. Reinhartz]","year":2008,"lang":"en","type":"article","venue":"Digital Commons - Trinity University (Trinity University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gospel; Temptation; Passion; Hollywood; Jesus christ","score_opus":0.03198624627929278,"score_gpt":0.19405517269691883,"score_spread":0.16206892641762605,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7071104646","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00004624782,0.98794043,0.00006313195,0.0044893674,0.0047721737,0.000004792121,0.000060724575,0.0000065293475,0.0026164982],"genre_scores_gemma":[0.0006225653,0.98162055,0.00008885504,0.005881359,0.006413428,0.000011672977,0.00015874876,0.000010092683,0.0051928237],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99949443,0.00009333101,0.00006292823,0.000109918576,0.00020361117,0.000035773417],"domain_scores_gemma":[0.9976981,0.000819174,0.0002109572,0.000048267284,0.000970033,0.0002534351],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009174856,0.00088496425,0.0016539224,0.0042413976,0.00072904426,0.0024049594,0.0013584056,0.0017765793,0.013165047],"category_scores_gemma":[0.003622346,0.00048360793,0.00041037664,0.006087035,0.0009044739,0.0034287046,0.000985496,0.0028390773,0.011088237],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002235066,0.00001538779,0.00010160534,0.0041254624,0.000026541815,0.00005504513,0.000099527766,0.00005920181,0.000104917264,0.001835039,0.85718083,0.13637412],"study_design_scores_gemma":[0.0000029963526,0.000007760061,0.000489043,0.0015827452,0.000012011798,0.00014065363,0.0000502681,0.000008057536,0.000020613723,0.0002794059,0.99740005,0.0000064014],"about_ca_topic_score_codex":0.0070253937,"about_ca_topic_score_gemma":0.014373721,"teacher_disagreement_score":0.013165047,"about_ca_system_score_codex":0.0016411024,"about_ca_system_score_gemma":0.003175945,"threshold_uncertainty_score":0.044041514},"labels":[],"label_agreement":null},{"id":"W7071531560","doi":"","title":"Souvenirs intangibles : conservation des films dâÃ©tudiants de la NYU Tisch Asia School of the Arts, et modÃ¨les envisageables pour un enseignement et un Ã©change collaboratifs futurs entre Ã©coles de cinÃ©ma","year":2015,"lang":"fr","type":"article","venue":"Périodiques Scientifiques en Édition Électronique","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Local Development; Context (archaeology); Rural development","score_opus":0.03647750654010087,"score_gpt":0.26688894341409636,"score_spread":0.23041143687399548,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7071531560","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.24144557,0.011439292,0.0040286165,0.028380278,0.002050982,0.00019858667,0.00046694608,0.00015667787,0.71183306],"genre_scores_gemma":[0.5245789,0.0060582114,0.003678574,0.0015973848,0.0003896319,0.00019982054,0.00044402402,0.00024838035,0.46280503],"study_design_codex":"design_other","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989064,0.0002739357,0.000021462318,0.0001333908,0.00045731623,0.00020754842],"domain_scores_gemma":[0.9990097,0.0001635234,0.0001225464,0.00012580148,0.00027345138,0.00030495643],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015616147,0.00044249892,0.0001616062,0.0012732277,0.0076267403,0.010467174,0.0007475441,0.00088274846,0.0264197],"category_scores_gemma":[0.0026255234,0.00025692926,0.0001714824,0.0018341428,0.0033587213,0.0047546355,0.004090313,0.0026396462,0.0015530089],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027822505,0.00015778367,0.016921947,0.00070568244,0.000038528844,0.0015365976,0.2789559,0.00033100534,0.009732133,0.21606879,0.15585771,0.31941572],"study_design_scores_gemma":[0.000007736978,0.000047859892,0.015810011,0.0003800952,0.000012407431,0.00027048305,0.050899148,0.0001381591,0.00148784,0.002132015,0.9287941,0.000020097421],"about_ca_topic_score_codex":0.04828459,"about_ca_topic_score_gemma":0.148275,"teacher_disagreement_score":0.04828459,"about_ca_system_score_codex":0.00634863,"about_ca_system_score_gemma":0.0069332025,"threshold_uncertainty_score":0.09600711},"labels":[],"label_agreement":null},{"id":"W7071854298","doi":"","title":"The Universe of Atom Egoyan : the aesthetics of paradox","year":2011,"lang":"fr","type":"article","venue":"theses.fr (ABES)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Universe; Capital (architecture); Atom (system on chip); Center (category theory)","score_opus":0.054618527787200645,"score_gpt":0.21540298762540572,"score_spread":0.16078445983820508,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7071854298","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0665877,0.0047719213,0.029312942,0.01701533,0.00060321187,0.00003805823,0.000073378884,0.00013146095,0.88146603],"genre_scores_gemma":[0.9650065,0.0009391677,0.004077248,0.0008448955,0.00012238137,0.000054884596,0.00002460847,0.0001129978,0.028817281],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99758077,0.0015601846,0.000045752913,0.00029930827,0.00026665317,0.00024736882],"domain_scores_gemma":[0.998594,0.0007541013,0.00010967239,0.00027157282,0.00014404593,0.00012670447],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002322717,0.00046506542,0.00049828645,0.001121975,0.008962562,0.009561738,0.0010457505,0.0019816388,0.008062868],"category_scores_gemma":[0.00392162,0.00036367413,0.00045781492,0.00082511484,0.024590889,0.010483278,0.006245623,0.0029281946,0.00080323394],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006767077,0.0000019915367,0.000049106875,0.000013508976,0.0000012658398,0.000045194567,0.005544946,0.00005622142,0.00006733662,0.992716,0.00066378864,0.00083384727],"study_design_scores_gemma":[0.0000152067,0.000014816858,0.00026199617,0.00006073197,0.000008679196,0.00022189383,0.0111319935,0.0008537629,0.00023151134,0.88231385,0.10487034,0.000015137508],"about_ca_topic_score_codex":0.003873098,"about_ca_topic_score_gemma":0.003105357,"teacher_disagreement_score":0.009561738,"about_ca_system_score_codex":0.005221235,"about_ca_system_score_gemma":0.0018964643,"threshold_uncertainty_score":0.037882864},"labels":[],"label_agreement":null},{"id":"W7072272618","doi":"","title":"Základy dokumentárního filmu /","year":2012,"lang":"cs","type":"article","venue":"Vědecká knihovna v Olomouci (Research Library in Olomouc)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Photography; Context (archaeology); Subject (documents); Focus (optics)","score_opus":0.1318284468556285,"score_gpt":0.326298155889454,"score_spread":0.1944697090338255,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7072272618","genre_codex":"other","genre_gemma":"methods","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"methods","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05558584,0.029872702,0.0031155078,0.027354822,0.0059288065,0.0001908114,0.008376944,0.000992933,0.86858165],"genre_scores_gemma":[0.33186957,0.043066032,0.0055384776,0.005895664,0.0032955518,0.00019467867,0.0068394914,0.0014097864,0.6018908],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99889815,0.00027457761,0.000059393642,0.00016324197,0.00041292838,0.00019166671],"domain_scores_gemma":[0.9985259,0.00032740712,0.00018404763,0.000229108,0.00042484252,0.0003086845],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001022041,0.00050341454,0.00054226816,0.0027538352,0.0037365363,0.009956281,0.0007038785,0.0009284119,0.09034912],"category_scores_gemma":[0.003884063,0.00028300862,0.00028638434,0.003965369,0.0018455576,0.0039667175,0.0029100163,0.0021492478,0.015765779],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023373695,0.00012562137,0.006090933,0.0015717214,0.000037685368,0.0008899407,0.019018438,0.00012928582,0.002078865,0.13989693,0.51247954,0.3174474],"study_design_scores_gemma":[0.000006008275,0.000019465366,0.0058040814,0.00046423552,0.000015891379,0.00034121817,0.006501345,0.00006720218,0.0006235098,0.0019861765,0.9841552,0.000015746675],"about_ca_topic_score_codex":0.022401176,"about_ca_topic_score_gemma":0.03582598,"teacher_disagreement_score":0.09034912,"about_ca_system_score_codex":0.0025068186,"about_ca_system_score_gemma":0.0023419233,"threshold_uncertainty_score":0.30224794},"labels":[],"label_agreement":null},{"id":"W7072338818","doi":"","title":"Zach Galifianakis At It's Kind Of A Funny Story Premiere","year":2010,"lang":"en","type":"other","venue":"Internet Archive (Internet Archive)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Theme (computing); Narrative; Period (music)","score_opus":0.01998321753271661,"score_gpt":0.22480551091565742,"score_spread":0.2048222933829408,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7072338818","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013792444,0.0060069095,0.0014149428,0.037068117,0.0048049157,0.00006392852,0.0018409343,0.0006380031,0.93436974],"genre_scores_gemma":[0.07752472,0.002544784,0.00074982905,0.003188876,0.0004995124,0.000029698285,0.0005008347,0.00048642312,0.91447526],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99979967,0.000046992078,0.000003146046,0.000030265719,0.00005482076,0.00006518979],"domain_scores_gemma":[0.99972767,0.000052082178,0.000021489514,0.000026589812,0.000077001096,0.00009516132],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004072719,0.00043789216,0.00022238221,0.00087007595,0.004746506,0.003281671,0.00033191466,0.00092729664,0.08609683],"category_scores_gemma":[0.0014831341,0.00019380286,0.00019726872,0.0005932265,0.001561333,0.0020296257,0.0017290085,0.002298042,0.017371155],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000054396904,0.000008706285,0.00043035208,0.000051838808,0.000004842077,0.00021295504,0.0048154444,0.000026733976,0.00034395626,0.018153634,0.9549925,0.020904614],"study_design_scores_gemma":[0.0000034191726,0.0000047051076,0.0013441112,0.000057794532,0.0000030770718,0.00014336267,0.0033031518,0.000020642463,0.00016985122,0.00064090814,0.9943039,0.000004943996],"about_ca_topic_score_codex":0.02593731,"about_ca_topic_score_gemma":0.11428702,"teacher_disagreement_score":0.9139032,"about_ca_system_score_codex":0.001397414,"about_ca_system_score_gemma":0.0005981546,"threshold_uncertainty_score":0.28802258},"labels":[],"label_agreement":null},{"id":"W7093566125","doi":"","title":"Les relations donneurs d’ordres sous-traitants dans l’industrie aérospatiale au Québec : une étude exploratoire","year":2022,"lang":"fr","type":"other","venue":"Corpus Université Laval (Université Laval)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Digital strategy; Database query; Early adopter","score_opus":0.0188872011431336,"score_gpt":0.18102217474408233,"score_spread":0.16213497360094872,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7093566125","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9740224,0.0025831822,0.0026500502,0.0011381252,0.000046802605,0.00012807577,0.003231191,0.00003900574,0.016161295],"genre_scores_gemma":[0.9793926,0.0013626473,0.0016165625,0.00028602107,0.000014385876,0.00009555522,0.0011944763,0.00002275574,0.016015047],"study_design_codex":"observational","study_design_gemma":"qualitative","domain_scores_codex":[0.9985411,0.00025136783,0.000069248286,0.00030522267,0.0005449995,0.000288074],"domain_scores_gemma":[0.9917772,0.0014809114,0.00078370137,0.00025069894,0.005108951,0.0005985931],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019963337,0.0004693985,0.0005464689,0.0021669546,0.0037550642,0.0035486105,0.0008112001,0.00057700096,0.006518113],"category_scores_gemma":[0.0045791036,0.00027697638,0.0006262357,0.0050336127,0.001400443,0.00112864,0.0011478235,0.0008827413,0.0005846251],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00022732448,0.00010892448,0.8643997,0.0006209424,0.00032319833,0.0007096872,0.0616213,0.0012984282,0.0029721928,0.002797774,0.0051685083,0.05975208],"study_design_scores_gemma":[0.0000036612544,0.00004553262,0.93951637,0.00025548344,0.00009969606,0.00005997795,0.042359795,0.00086844026,0.00044197877,0.0001690905,0.016137112,0.000042775122],"about_ca_topic_score_codex":0.9774819,"about_ca_topic_score_gemma":0.9872088,"teacher_disagreement_score":0.02281115,"about_ca_system_score_codex":0.02281115,"about_ca_system_score_gemma":0.022959933,"threshold_uncertainty_score":0.16550726},"labels":[],"label_agreement":null},{"id":"W7093581240","doi":"","title":"Light Plot","year":2017,"lang":"","type":"article","venue":"Scholar Works  (Boise State University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Plot (graphics); Window (computing); Quarter (Canadian coin)","score_opus":0.023339891569933754,"score_gpt":0.20136728135447793,"score_spread":0.1780273897845442,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7093581240","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0047209063,0.00026989324,0.0076470994,0.0018764631,0.0011864108,0.00011383173,0.0038748512,0.002007585,0.9783029],"genre_scores_gemma":[0.09800187,0.00048079205,0.010348606,0.0012560602,0.0005653333,0.00022091485,0.006444501,0.0033161775,0.8793658],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995763,0.00006173097,0.000009349396,0.00008433328,0.00018543814,0.00008294968],"domain_scores_gemma":[0.99947983,0.000108642926,0.00001847517,0.000081961305,0.00016143825,0.00014965654],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0003685914,0.0004330798,0.00024739015,0.0017316896,0.0028007766,0.0041281753,0.00070335413,0.0009816254,0.35697195],"category_scores_gemma":[0.0015564916,0.00025832542,0.00039547452,0.0012424121,0.0008535002,0.0019691414,0.0021537757,0.0016622664,0.08396356],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00031614,0.00011047006,0.0010099567,0.00013183936,0.0000076325005,0.0005091482,0.0024268394,0.000425338,0.0026950676,0.101913996,0.7844835,0.10597004],"study_design_scores_gemma":[0.000017105038,0.000020658725,0.00080684986,0.00004946756,0.0000028782977,0.0001329206,0.00067157607,0.00029117597,0.0005433972,0.0041027516,0.9933501,0.0000111442905],"about_ca_topic_score_codex":0.004663611,"about_ca_topic_score_gemma":0.011100196,"teacher_disagreement_score":0.35697195,"about_ca_system_score_codex":0.0010472294,"about_ca_system_score_gemma":0.0007878123,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7093647142","doi":"","title":"Review of Adele Reinhartz, &lt;em&gt;Jesus of Hollywood&lt;/em&gt; [Review of the book &lt;em&gt;Jesus of Hollywood&lt;/em&gt;, by A. Reinhartz]","year":2008,"lang":"","type":"article","venue":"Digital Commons - Trinity University (Trinity University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gospel; Temptation; Passion; Hollywood; Jesus christ","score_opus":0.028230022103996458,"score_gpt":0.20473434930371553,"score_spread":0.1765043271997191,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7093647142","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.000048723356,0.98695356,0.00007914572,0.004756464,0.004197429,0.0000054841853,0.00008850875,0.0000074805243,0.0038631572],"genre_scores_gemma":[0.00059666793,0.9832708,0.00009895621,0.0048007765,0.0044214237,0.000011442228,0.00016283426,0.000011139977,0.006625845],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995061,0.00008284994,0.00005794983,0.00011543784,0.00020232517,0.000035320092],"domain_scores_gemma":[0.9978551,0.0007480858,0.00019109243,0.000054324293,0.0008956113,0.00025585995],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009835458,0.0008751862,0.0014343283,0.0043825153,0.0007281552,0.002563097,0.0012670537,0.0016260078,0.018493455],"category_scores_gemma":[0.003816136,0.00048500113,0.00039750006,0.006137548,0.0009086321,0.0035498568,0.0011132191,0.002924202,0.014312644],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000018531468,0.000016869843,0.00010965087,0.0044951946,0.000025743831,0.00004561352,0.00010456904,0.00006595048,0.00012223762,0.0025432874,0.81840205,0.1740502],"study_design_scores_gemma":[0.0000025598622,0.000006246369,0.00043201324,0.0016391386,0.000011475165,0.000118020165,0.00004378656,0.000008315139,0.00002021989,0.00034227327,0.99737024,0.000005653321],"about_ca_topic_score_codex":0.006948111,"about_ca_topic_score_gemma":0.013985362,"teacher_disagreement_score":0.018493455,"about_ca_system_score_codex":0.0018086832,"about_ca_system_score_gemma":0.0036014137,"threshold_uncertainty_score":0.06186676},"labels":[],"label_agreement":null},{"id":"W7093845387","doi":"","title":"Cultural Matrix","year":2017,"lang":"","type":"article","venue":"Scholar Works  (Boise State University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Matrix (chemical analysis); Quarter (Canadian coin); Context (archaeology); Period (music)","score_opus":0.02625572584010121,"score_gpt":0.23081176151886634,"score_spread":0.20455603567876512,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7093845387","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.034464452,0.0005706994,0.008154857,0.003599032,0.0010734318,0.0005995807,0.008504941,0.00018141538,0.94285166],"genre_scores_gemma":[0.49174988,0.0017443516,0.027929202,0.0018732194,0.00028742754,0.0017056622,0.012691832,0.00031799433,0.46170047],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990189,0.0003295522,0.00007813238,0.00014691641,0.00024977123,0.00017675963],"domain_scores_gemma":[0.9990578,0.00012131051,0.000050308165,0.00010599313,0.00048178557,0.00018287459],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007291944,0.00042963887,0.00025397446,0.0012323034,0.0032942926,0.0035242576,0.0006249035,0.00050903007,0.1112735],"category_scores_gemma":[0.002936448,0.00011059019,0.00020506946,0.0022077572,0.0010623372,0.0012086793,0.0019223337,0.000876003,0.021911977],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021550027,0.000089363195,0.0045531783,0.0003342698,0.000017339582,0.00094590586,0.021467553,0.0005122773,0.0016805778,0.46074438,0.28655657,0.22288308],"study_design_scores_gemma":[0.0000130656135,0.00002611866,0.0027738453,0.00011491333,0.000005591945,0.00033793403,0.013503239,0.00024294299,0.00027414793,0.010763442,0.9719302,0.000014550288],"about_ca_topic_score_codex":0.0153945135,"about_ca_topic_score_gemma":0.018904194,"teacher_disagreement_score":0.1112735,"about_ca_system_score_codex":0.002358057,"about_ca_system_score_gemma":0.0027598932,"threshold_uncertainty_score":0.37224692},"labels":[],"label_agreement":null},{"id":"W7094638160","doi":"","title":"Annexes","year":2022,"lang":"fr","type":"book-chapter","venue":"Industrias Culturais (Universidade de Coimbra)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Studio; Animation; Diffusion; Adaptation (eye)","score_opus":0.052632613842065475,"score_gpt":0.22463003720521957,"score_spread":0.1719974233631541,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7094638160","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010858817,0.007690492,0.003910451,0.006745802,0.01595642,0.0004993084,0.012432058,0.0011429691,0.95053667],"genre_scores_gemma":[0.0035132952,0.004443835,0.002007278,0.0011391976,0.0018390995,0.0003625669,0.0059990888,0.000718374,0.97997713],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99835396,0.00028982395,0.000121458805,0.00025718054,0.00083968736,0.00013792045],"domain_scores_gemma":[0.9964929,0.00097110815,0.00015301202,0.00047464896,0.001628841,0.00027945248],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0014473805,0.0010878236,0.0009192383,0.0032667057,0.0024263726,0.004502618,0.0015299277,0.0014254363,0.58164245],"category_scores_gemma":[0.011417828,0.00052186457,0.0007602898,0.0034301095,0.00090719823,0.0033767505,0.0023110711,0.0024165611,0.395551],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036690504,0.000027258424,0.00015155497,0.00034963863,0.0000037015302,0.0000792747,0.0002995116,0.00009589294,0.00019053827,0.020939521,0.89413697,0.08368938],"study_design_scores_gemma":[0.00000233645,0.000008845405,0.00023746883,0.00016791098,0.0000011142631,0.000058772,0.00009200359,0.000015064317,0.00006091984,0.0015586008,0.99779296,0.0000041907642],"about_ca_topic_score_codex":0.005724512,"about_ca_topic_score_gemma":0.0052041714,"teacher_disagreement_score":0.41835755,"about_ca_system_score_codex":0.0021413574,"about_ca_system_score_gemma":0.002498764,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7094656274","doi":"","title":"Acting Areas","year":2017,"lang":"","type":"article","venue":"Scholar Works  (Boise State University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Period (music); Window (computing); Photography; Arrow","score_opus":0.02929339004689807,"score_gpt":0.21282758871769683,"score_spread":0.18353419867079876,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7094656274","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001631841,0.00046246007,0.002895317,0.002714062,0.0012657874,0.00015056782,0.0008872246,0.00042732284,0.9895655],"genre_scores_gemma":[0.040656596,0.00096017105,0.0027321167,0.002008371,0.0004666974,0.0003324209,0.0015840707,0.00031508924,0.9509444],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99887985,0.00029594952,0.00007188981,0.00023576796,0.00029189023,0.00022465322],"domain_scores_gemma":[0.9981481,0.00030297512,0.00009491913,0.00018973445,0.00049536116,0.0007689121],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0011593219,0.00073893607,0.00034812253,0.0008327282,0.002673769,0.0030302845,0.0009720835,0.0010772167,0.54101163],"category_scores_gemma":[0.0036832902,0.0001414301,0.00040894965,0.00062560843,0.0007255842,0.0019369407,0.002961588,0.0010703666,0.26298064],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00021421576,0.00009611162,0.0010178199,0.00031372998,0.0000061236597,0.000367574,0.003820758,0.00012934921,0.0009156811,0.087050535,0.66744256,0.23862559],"study_design_scores_gemma":[0.000012738987,0.000022205431,0.00052571454,0.000099431505,0.000002463139,0.00014331168,0.001177797,0.000052315583,0.0001686841,0.00528951,0.992502,0.0000038746703],"about_ca_topic_score_codex":0.0022472965,"about_ca_topic_score_gemma":0.003516638,"teacher_disagreement_score":0.54101163,"about_ca_system_score_codex":0.0011551578,"about_ca_system_score_gemma":0.002513006,"threshold_uncertainty_score":0.6546912},"labels":[],"label_agreement":null},{"id":"W7096582198","doi":"","title":"Film and Television Sector Profile(1)- Argentina","year":2005,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Rest (music); Service (business); Novelty; Box office","score_opus":0.027448928794589843,"score_gpt":0.21408802873379343,"score_spread":0.18663909993920358,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7096582198","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05812377,0.0031523262,0.00014879924,0.0015431242,0.00027375677,0.00030483337,0.3485305,0.00033490016,0.587588],"genre_scores_gemma":[0.13480528,0.008322528,0.0005606676,0.0011823,0.0004105924,0.00045115783,0.2786418,0.00032531586,0.5753004],"study_design_codex":"not_applicable","study_design_gemma":"observational","domain_scores_codex":[0.99982786,0.00001272021,0.000009045229,0.000023164395,0.00005509401,0.000072051844],"domain_scores_gemma":[0.99946827,0.000035558503,0.0000942376,0.00001743094,0.00023678388,0.00014778902],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00015176204,0.00032395433,0.00015231874,0.0019357005,0.00055841845,0.0010729,0.00024829732,0.00029418734,0.19984075],"category_scores_gemma":[0.00053936295,0.000119341574,0.00011448883,0.0036832674,0.0000641284,0.00067087397,0.0004227377,0.00030647326,0.056563593],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019363884,0.000089843095,0.057385422,0.0006285607,0.000010303632,0.0004771517,0.0008090006,0.00007898505,0.0018983379,0.001462491,0.8658745,0.07109167],"study_design_scores_gemma":[0.000013307359,0.00003779824,0.33173057,0.00024257081,0.0000056624003,0.00038224194,0.001320688,0.0000726207,0.0002649084,0.00007779726,0.6658442,0.000007743069],"about_ca_topic_score_codex":0.063885525,"about_ca_topic_score_gemma":0.11288498,"teacher_disagreement_score":0.19984075,"about_ca_system_score_codex":0.00074638275,"about_ca_system_score_gemma":0.00063906686,"threshold_uncertainty_score":0.6685339},"labels":[],"label_agreement":null},{"id":"W7096646772","doi":"","title":"DIPLOMARBEIT Titel der Diplomarbeit „The Otherness of Canadian Cinema: the Surreal in Guy Maddin’s My Winnipeg“","year":2014,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; German; Identity (music); Face (sociological concept)","score_opus":0.024220670751720054,"score_gpt":0.20876889573869123,"score_spread":0.18454822498697118,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7096646772","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10521742,0.07236837,0.002432835,0.15466784,0.0047330814,0.00026746053,0.011772766,0.00018707865,0.6483531],"genre_scores_gemma":[0.6885996,0.023377163,0.0025549012,0.0048333327,0.0004921055,0.00008883715,0.0027589446,0.00016867365,0.2771265],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988367,0.00016158106,0.00002376693,0.00012249654,0.00038036334,0.0004750984],"domain_scores_gemma":[0.9979236,0.0003360904,0.00011214114,0.000056139295,0.0007457017,0.0008262581],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015926636,0.00040573932,0.00028684316,0.0018650184,0.007219983,0.006562536,0.0005929504,0.0012848985,0.033650033],"category_scores_gemma":[0.0043204646,0.0002675708,0.00018983737,0.0028699832,0.002400045,0.0013636936,0.0016207064,0.0017141692,0.001972547],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00015348133,0.00003362925,0.00873798,0.00052919687,0.000021055206,0.00041417681,0.0249823,0.00045179002,0.0008676118,0.20555075,0.6233333,0.13492477],"study_design_scores_gemma":[0.000008274183,0.0000069885496,0.028931474,0.00036929498,0.000010770512,0.00009561096,0.009636008,0.00020662016,0.00024310559,0.0015834217,0.958873,0.000035489225],"about_ca_topic_score_codex":0.9720552,"about_ca_topic_score_gemma":0.9855738,"teacher_disagreement_score":0.045792125,"about_ca_system_score_codex":0.045792125,"about_ca_system_score_gemma":0.056423422,"threshold_uncertainty_score":0.33224666},"labels":[],"label_agreement":null},{"id":"W7096732267","doi":"","title":"the End of His “Movie ” Career","year":2016,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Promotion (chess); Work (physics); Field (mathematics)","score_opus":0.0372533719590895,"score_gpt":0.20291333329944958,"score_spread":0.16565996134036007,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7096732267","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019533444,0.013568269,0.0015001958,0.2221356,0.039738063,0.000041679417,0.00088808505,0.00024860626,0.702346],"genre_scores_gemma":[0.096915744,0.004634151,0.0008952686,0.024942126,0.0059201783,0.000022083472,0.00039354927,0.0002981374,0.86597866],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99820006,0.00060404,0.000039131843,0.00018889719,0.0005056839,0.0004621148],"domain_scores_gemma":[0.9960913,0.0002227629,0.00009181332,0.00014055766,0.0008355502,0.002617959],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001827081,0.00043074452,0.00038603746,0.00077733974,0.0056058806,0.008760932,0.00056287943,0.0017670164,0.059131756],"category_scores_gemma":[0.004678047,0.00019697813,0.00025938122,0.00057980564,0.0015652501,0.0030952427,0.0025055655,0.0032833528,0.027000237],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006547105,0.000023835064,0.00082115305,0.000032331616,0.0000056270146,0.00013956387,0.002421829,0.00002457287,0.00019567701,0.046000637,0.91897684,0.031292435],"study_design_scores_gemma":[0.0000022783615,0.000012815852,0.0009270559,0.0000474771,0.0000012230738,0.00008509979,0.00087535154,0.000028124421,0.00004909193,0.0012635555,0.996702,0.0000058945634],"about_ca_topic_score_codex":0.011778292,"about_ca_topic_score_gemma":0.035513572,"teacher_disagreement_score":0.059131756,"about_ca_system_score_codex":0.0030911318,"about_ca_system_score_gemma":0.0020967827,"threshold_uncertainty_score":0.19781542},"labels":[],"label_agreement":null},{"id":"W7097290862","doi":"","title":"RELEASE FORM","year":2014,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Microform; Permission; Documentation; National library; Product (mathematics)","score_opus":0.023819532416333243,"score_gpt":0.20156605722368148,"score_spread":0.17774652480734823,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7097290862","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00061076035,0.0003286155,0.0015146646,0.0014228631,0.0023940578,0.00046427723,0.018710842,0.0037634675,0.9707903],"genre_scores_gemma":[0.001221043,0.000204464,0.00036786727,0.00024660287,0.0002123467,0.0000928568,0.005207501,0.00058941956,0.99185795],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99938047,0.000054513963,0.00004133711,0.00012312933,0.00032464706,0.00007588881],"domain_scores_gemma":[0.99781907,0.00029516278,0.00006578213,0.00043380202,0.0010668165,0.0003193139],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0010173415,0.0006826987,0.0008348738,0.0013056117,0.001071467,0.005198635,0.0013288378,0.0013362386,0.9313752],"category_scores_gemma":[0.0043166634,0.00040563548,0.00053717114,0.0010256721,0.00042687086,0.0017411718,0.0016455005,0.0011435264,0.905018],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005479453,0.000025201625,0.000081302125,0.00009188153,0.0000035151454,0.00003596825,0.000028346274,0.000027049313,0.00042740433,0.0020025286,0.95995337,0.037268758],"study_design_scores_gemma":[0.000016532707,0.000022531942,0.00035150856,0.000044957153,0.0000023336352,0.00003763306,0.000028588087,0.00004448163,0.00015789068,0.00049029925,0.9987984,0.000004832505],"about_ca_topic_score_codex":0.003050341,"about_ca_topic_score_gemma":0.0040684547,"teacher_disagreement_score":0.068624794,"about_ca_system_score_codex":0.00091812573,"about_ca_system_score_gemma":0.0010775483,"threshold_uncertainty_score":0.09788495},"labels":[],"label_agreement":null},{"id":"W7097746703","doi":"","title":"I Turn My (Digital) Camera On Thoughts on Nuit Blanche, Toronto, Canada,","year":2006,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Downtown; Bedtime; Event (particle physics); Front (military)","score_opus":0.011351425792889914,"score_gpt":0.18293982431486977,"score_spread":0.17158839852197985,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7097746703","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.011518291,0.029751513,0.0011933397,0.12526344,0.018939363,0.00013676847,0.011875623,0.0007587018,0.800563],"genre_scores_gemma":[0.063302584,0.01611504,0.00090111623,0.018079491,0.0024132305,0.000063457854,0.0024492368,0.0004818298,0.8961941],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997756,0.00001968956,0.00000296035,0.000028479035,0.00007778391,0.00009545575],"domain_scores_gemma":[0.999424,0.00007400503,0.00002262819,0.000019625639,0.0002008912,0.00025892194],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00027856242,0.000822783,0.00035175637,0.0011507598,0.010450219,0.0049006967,0.00075683737,0.0013878134,0.13855778],"category_scores_gemma":[0.0010662514,0.00033332707,0.00027956814,0.0022621567,0.0025407595,0.0015582503,0.0014570778,0.0036209386,0.021419993],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000161955,0.000003957192,0.0003470015,0.000034610548,0.0000022162194,0.00010691753,0.0025558448,0.00003087929,0.00014268041,0.0019935896,0.9900788,0.0046872376],"study_design_scores_gemma":[0.0000026215773,0.0000027378062,0.0021162778,0.000094412535,0.000002613051,0.00004183478,0.0053449944,0.000017014338,0.000054359607,0.00013327666,0.99218094,0.000008910978],"about_ca_topic_score_codex":0.9180795,"about_ca_topic_score_gemma":0.98107105,"teacher_disagreement_score":0.13855778,"about_ca_system_score_codex":0.017390154,"about_ca_system_score_gemma":0.008996442,"threshold_uncertainty_score":0.46352196},"labels":[],"label_agreement":null},{"id":"W7097752290","doi":"","title":"How act structure sculpts shot lengths and shot transitions in Hollywood film. Projections: The Journal for Movies and Mind","year":2011,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Shot (pellet); Hollywood; Aside; Style (visual arts); Quarter (Canadian coin); Period (music)","score_opus":0.08940985999849968,"score_gpt":0.24989066039367733,"score_spread":0.16048080039517765,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7097752290","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96601295,0.000999097,0.001009093,0.00049828686,0.00006049778,0.000026106894,0.00029441516,0.000023873878,0.031075792],"genre_scores_gemma":[0.9966253,0.00025783884,0.0005073032,0.000049562408,0.000017464605,0.000013051525,0.00016874593,0.000024439494,0.0023363605],"study_design_codex":"qualitative","study_design_gemma":"observational","domain_scores_codex":[0.99939525,0.00028812414,0.000030163594,0.00007661649,0.000119584554,0.000090256224],"domain_scores_gemma":[0.9934462,0.0036511791,0.0013456631,0.00020733685,0.00063571904,0.0007138616],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010814335,0.0001636169,0.00012801222,0.0015504181,0.0015112335,0.00430679,0.00034183462,0.000425664,0.0050420905],"category_scores_gemma":[0.010566918,0.00020705385,0.0001077141,0.0012382034,0.0010624577,0.002780195,0.0013069658,0.0008457586,0.0004095829],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0017952049,0.00031752483,0.33255216,0.0006585903,0.00013531648,0.0012874923,0.45232257,0.00051795493,0.011602005,0.030066585,0.01479947,0.15394512],"study_design_scores_gemma":[0.000019311716,0.0001303528,0.8198981,0.00020463103,0.000044422773,0.00041301534,0.13958013,0.0009352958,0.0009353635,0.0043749977,0.033416595,0.000047765607],"about_ca_topic_score_codex":0.0042191464,"about_ca_topic_score_gemma":0.012228389,"teacher_disagreement_score":0.0050420905,"about_ca_system_score_codex":0.0011442914,"about_ca_system_score_gemma":0.00036984764,"threshold_uncertainty_score":0.0168674},"labels":[],"label_agreement":null},{"id":"W7099803286","doi":"","title":"for: Annex Exploration Corp.","year":2015,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Carbonate; Mineral exploration; Mineral resource classification; Carbonate rock; Lease; Sedimentary rock; Slumping","score_opus":0.20556338436504415,"score_gpt":0.2662372705357853,"score_spread":0.060673886170741126,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7099803286","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004765269,0.00027617873,0.00022017669,0.0011526279,0.00033726398,0.00010253942,0.011951403,0.0005534476,0.98492986],"genre_scores_gemma":[0.0013004226,0.0001838624,0.00015136877,0.00033167243,0.00003589575,0.0000525433,0.002835442,0.00016350628,0.99494535],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996106,0.000039022678,0.000023483632,0.000073394585,0.0001919024,0.00006173033],"domain_scores_gemma":[0.9993747,0.00010766993,0.00004855193,0.00009442173,0.00027496705,0.00009968102],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00048129587,0.00074184657,0.00035262597,0.0011122603,0.0010782116,0.0027788617,0.00084539,0.0015524945,0.8559242],"category_scores_gemma":[0.001741002,0.00040503827,0.00029475975,0.0011638668,0.00033726665,0.0019177765,0.0014253318,0.0008948335,0.6846122],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051787876,0.000023928835,0.00041149324,0.00013012557,0.0000025919185,0.000067958084,0.00004790422,0.00005991444,0.000228202,0.0059835045,0.9416998,0.051292792],"study_design_scores_gemma":[0.0000067562887,0.000007417091,0.00061006326,0.00005289417,9.705678e-7,0.000029417643,0.00004970104,0.000028289645,0.00007803828,0.0003703407,0.9987631,0.0000031459058],"about_ca_topic_score_codex":0.0068294476,"about_ca_topic_score_gemma":0.016398348,"teacher_disagreement_score":0.14407581,"about_ca_system_score_codex":0.00074201805,"about_ca_system_score_gemma":0.0017809956,"threshold_uncertainty_score":0.20550668},"labels":[],"label_agreement":null},{"id":"W7099898202","doi":"","title":"Framing Regent Park: The National Film Board of Canada and the construction of &amp;apos;outcast spaces","year":2005,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Framing (construction); Regent; Clothing; Drone; On board","score_opus":0.05235310898172258,"score_gpt":0.24271790505799157,"score_spread":0.190364796076269,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7099898202","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010436661,0.008487948,0.0017038444,0.07729255,0.0070290226,0.00022847202,0.008244669,0.00071941875,0.8858574],"genre_scores_gemma":[0.033499517,0.0017895704,0.00089516415,0.0016851539,0.0002206917,0.00002309359,0.00089963194,0.00024318004,0.96074396],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99901843,0.00005334829,0.00001661325,0.00009426942,0.000520733,0.0002966439],"domain_scores_gemma":[0.9975561,0.00008845529,0.00006418128,0.00007675512,0.0014038275,0.0008105823],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0007672215,0.0006162332,0.00026457614,0.0014737038,0.013216558,0.008448538,0.0009570677,0.001971418,0.16136174],"category_scores_gemma":[0.0028226036,0.0005242207,0.00021246335,0.0019121479,0.001811303,0.0017751701,0.001323037,0.0026401884,0.016683185],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016113288,0.0000090496205,0.00086737325,0.00002865653,0.0000029920507,0.00011467324,0.00081024645,0.00006829719,0.00023638121,0.01597891,0.95863736,0.023229972],"study_design_scores_gemma":[0.0000019264455,0.0000011978718,0.002263945,0.000026662045,0.0000019598228,0.000013576988,0.00094283966,0.000031551248,0.00008132035,0.00021828448,0.99640924,0.000007421873],"about_ca_topic_score_codex":0.9735338,"about_ca_topic_score_gemma":0.99328434,"teacher_disagreement_score":0.16136174,"about_ca_system_score_codex":0.037971724,"about_ca_system_score_gemma":0.06793685,"threshold_uncertainty_score":0.53980875},"labels":[],"label_agreement":null},{"id":"W7100252704","doi":"","title":"Sex as Work","year":2013,"lang":"","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Face (sociological concept); Quarter (Canadian coin); Doors; Work (physics); Surrender","score_opus":0.02580557089896455,"score_gpt":0.2074580354901094,"score_spread":0.18165246459114487,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7100252704","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004902296,0.022572583,0.00035341663,0.036327668,0.004166218,0.000033783683,0.00017507642,0.000033070526,0.9314358],"genre_scores_gemma":[0.28037778,0.0338218,0.00051967567,0.017591095,0.0019010416,0.000092594986,0.00022000422,0.00007913184,0.66539687],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9986733,0.0005414631,0.00003557349,0.00015205584,0.00028357937,0.0003140318],"domain_scores_gemma":[0.9992052,0.00014188245,0.00006881386,0.00009079723,0.00012619613,0.00036716007],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010215153,0.00034363643,0.0003766117,0.00069053454,0.0050080786,0.008541912,0.00050818245,0.0018896421,0.0627309],"category_scores_gemma":[0.0021358216,0.00015582984,0.00022267671,0.00093928893,0.0066403043,0.0041269385,0.0031415112,0.0025362764,0.012414503],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041287145,0.00006451978,0.001879702,0.00013436988,0.000006765591,0.0002809127,0.034134135,0.000044992263,0.00015754843,0.6296175,0.23597948,0.097658694],"study_design_scores_gemma":[0.0000031951502,0.000014380432,0.00088296435,0.00028388435,0.0000016437314,0.00013760281,0.011212017,0.000006790646,0.000020981512,0.013841172,0.9735919,0.0000034820034],"about_ca_topic_score_codex":0.007961061,"about_ca_topic_score_gemma":0.012213285,"teacher_disagreement_score":0.0627309,"about_ca_system_score_codex":0.0022359681,"about_ca_system_score_gemma":0.0034118223,"threshold_uncertainty_score":0.2098558},"labels":[],"label_agreement":null},{"id":"W7100258837","doi":"","title":"Contemporary Vancouver Cinema Warning","year":2015,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Legislation; Property (philosophy); Movie theater; Permission; Intellectual property; Subject (documents)","score_opus":0.10732403421308762,"score_gpt":0.2366406056555653,"score_spread":0.12931657144247768,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7100258837","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009828426,0.005255389,0.00029427183,0.07534203,0.0061772033,0.000038169645,0.0012466814,0.00017584513,0.90164185],"genre_scores_gemma":[0.0917997,0.002855802,0.00026625438,0.025361508,0.0018616741,0.00004493938,0.00088021194,0.00016524763,0.87676466],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.999231,0.00009452501,0.000014026245,0.000077850746,0.0003857534,0.00019688287],"domain_scores_gemma":[0.9988859,0.00024756353,0.000033889573,0.000070295806,0.00050483114,0.00025741695],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005713285,0.00038790816,0.00021088487,0.00096193474,0.007920724,0.0059432467,0.00082481146,0.0034223055,0.09721449],"category_scores_gemma":[0.0033729877,0.00020536374,0.00022615408,0.0011658225,0.0016226441,0.0016950261,0.001796133,0.0054739453,0.011337081],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002445443,0.000012904644,0.00038686697,0.0000458983,0.0000023552755,0.00018524978,0.0015880155,0.000034987585,0.00015191727,0.031178491,0.94740593,0.018982897],"study_design_scores_gemma":[0.000002366729,0.0000030095853,0.00084728346,0.000057285222,0.0000016852741,0.000039376475,0.0008692953,0.000034244826,0.00006246062,0.00078634534,0.9972921,0.0000046017567],"about_ca_topic_score_codex":0.2928874,"about_ca_topic_score_gemma":0.5394169,"teacher_disagreement_score":0.7071126,"about_ca_system_score_codex":0.006109914,"about_ca_system_score_gemma":0.00399137,"threshold_uncertainty_score":0.58236516},"labels":[],"label_agreement":null},{"id":"W7103323627","doi":"","title":"Borderland Films","year":2015,"lang":"","type":"article","venue":"Lincoln (University of Nebraska)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Geopolitics; Politics; Identity (music); National identity; Narrative","score_opus":0.041878759286031575,"score_gpt":0.20003871674894244,"score_spread":0.15815995746291087,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7103323627","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.015316649,0.0036879503,0.00050760823,0.006300095,0.003757355,0.00011494369,0.0040802336,0.0002071087,0.96602803],"genre_scores_gemma":[0.14370279,0.007547093,0.0019543837,0.003977465,0.0024945247,0.00021767248,0.005210728,0.0005902721,0.83430517],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997466,0.000060139526,0.000010418242,0.000050193852,0.00006690239,0.000065863525],"domain_scores_gemma":[0.99941635,0.00020042008,0.000038623784,0.00005386055,0.00015653287,0.00013427634],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00043801195,0.0004517794,0.00016471955,0.0011322475,0.003395265,0.0031538955,0.00041127938,0.000981653,0.16190842],"category_scores_gemma":[0.0019392808,0.00019422612,0.00024236176,0.0011863891,0.00047294344,0.0017952516,0.0017214164,0.0011438095,0.01464878],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009832782,0.000058579935,0.0007030072,0.00019749097,0.000007269857,0.0005187701,0.009580562,0.000041318064,0.0013122092,0.027987247,0.92117286,0.038322333],"study_design_scores_gemma":[0.000006495764,0.000008530374,0.0009485102,0.000087055705,0.0000022137324,0.00008065231,0.002026237,0.000015798267,0.00013973757,0.00058516266,0.99609715,0.0000025118625],"about_ca_topic_score_codex":0.0055710897,"about_ca_topic_score_gemma":0.017762985,"teacher_disagreement_score":0.16190842,"about_ca_system_score_codex":0.0010897523,"about_ca_system_score_gemma":0.00048250557,"threshold_uncertainty_score":0.54163766},"labels":[],"label_agreement":null},{"id":"W7103370298","doi":"","title":"Scene Breakdown","year":2017,"lang":"","type":"article","venue":"Scholar Works  (Boise State University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Window (computing); Quarter (Canadian coin); Photography; Period (music)","score_opus":0.023114839343718725,"score_gpt":0.2045862163951286,"score_spread":0.1814713770514099,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7103370298","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.040722612,0.003107684,0.008797366,0.007861503,0.0073849456,0.001150656,0.029966045,0.0021848239,0.8988242],"genre_scores_gemma":[0.31211329,0.0031219635,0.010811048,0.005876528,0.0021433677,0.0010519187,0.045316454,0.0025825992,0.61698276],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994398,0.00006964873,0.000028446997,0.00009473953,0.00018245507,0.0001849884],"domain_scores_gemma":[0.99945647,0.000076076474,0.000021109783,0.00005465252,0.00020580826,0.00018596381],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00036325454,0.000667401,0.00041761724,0.0011251485,0.002620844,0.003325968,0.00092724187,0.001270427,0.2482222],"category_scores_gemma":[0.0021820995,0.00020879967,0.00041465493,0.0009872528,0.00052870787,0.0015057456,0.0021677238,0.0018294827,0.05711073],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0008187184,0.00012957181,0.0011174406,0.00057547586,0.000017024478,0.0033569946,0.0037105712,0.00035979113,0.004534027,0.026181713,0.8646422,0.0945565],"study_design_scores_gemma":[0.00001628258,0.00004942757,0.0020172421,0.00016464548,0.000005596886,0.001379858,0.0018907137,0.00015439687,0.00064387644,0.0014470044,0.9922158,0.000015080122],"about_ca_topic_score_codex":0.006552937,"about_ca_topic_score_gemma":0.008725045,"teacher_disagreement_score":0.2482222,"about_ca_system_score_codex":0.0012275857,"about_ca_system_score_gemma":0.0011725515,"threshold_uncertainty_score":0.830386},"labels":[],"label_agreement":null},{"id":"W7103382263","doi":"","title":"Wish List","year":2017,"lang":"","type":"article","venue":"Scholar Works  (Boise State University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Window (computing); Wish; Period (music)","score_opus":0.024512524358983923,"score_gpt":0.20522535706350065,"score_spread":0.1807128327045167,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7103382263","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0006063421,0.0014031582,0.0029812604,0.008532885,0.0060578757,0.00059425185,0.06964597,0.0047526727,0.9054255],"genre_scores_gemma":[0.0038514496,0.001615307,0.0018976092,0.0040320577,0.0014658233,0.00040089278,0.043953698,0.0021965837,0.94058657],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990895,0.00013964527,0.00010028676,0.00016877802,0.0003750537,0.00012679369],"domain_scores_gemma":[0.99480706,0.0008644536,0.00022851216,0.0006922511,0.002249738,0.0011578981],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010581873,0.00088373653,0.0010863396,0.0026729375,0.0018588699,0.005866025,0.0018374894,0.002127707,0.9196449],"category_scores_gemma":[0.01285554,0.00041873445,0.0006354159,0.0024176224,0.0003560501,0.0037057754,0.0025606053,0.0012991237,0.85197604],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000033479322,0.000013840982,0.00014555159,0.00016037878,0.000001965324,0.0000760403,0.000031684016,0.000018299079,0.0001121288,0.0029645711,0.9611672,0.035274815],"study_design_scores_gemma":[0.0000067052665,0.00000880072,0.00016938476,0.00008889819,0.000002069215,0.00008783703,0.000045596116,0.000022156766,0.000072629555,0.0012487964,0.9982425,0.000004732182],"about_ca_topic_score_codex":0.0023622091,"about_ca_topic_score_gemma":0.003874732,"teacher_disagreement_score":0.9196449,"about_ca_system_score_codex":0.00109556,"about_ca_system_score_gemma":0.002401098,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7103664451","doi":"","title":"Cory Barker, Social TV: Multi-Screen Content and Ephemeral Culture","year":2023,"lang":"en","type":"article","venue":"DOAJ (DOAJ: Directory of Open Access Journals)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of Windsor","funders":"","keywords":"Ephemeral key; Content (measure theory); Content analysis; Social media","score_opus":0.49047447156923507,"score_gpt":0.5152970168034422,"score_spread":0.024822545234207127,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7103664451","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0110366475,0.28967988,0.0032619964,0.5956987,0.010213469,0.000060875485,0.0018253034,0.00034375055,0.087879345],"genre_scores_gemma":[0.19712165,0.26613778,0.005800206,0.14545403,0.018025193,0.00025860575,0.0009384458,0.0010021455,0.3652619],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936193,0.00018746183,0.00004039793,0.00014780373,0.00019994774,0.00006252093],"domain_scores_gemma":[0.99581355,0.002668499,0.00029527917,0.00010417916,0.0007354823,0.0003829565],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010221559,0.001056936,0.00046647326,0.002589422,0.006398596,0.0076319966,0.0010293914,0.0065784063,0.019637765],"category_scores_gemma":[0.007226309,0.0006309466,0.00020947286,0.0031638383,0.00231678,0.012353413,0.0013161597,0.005901799,0.004633754],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004616119,0.000043740893,0.0017198093,0.00020707076,0.000016289861,0.00020297349,0.0051729544,0.00008116667,0.00025030226,0.04172057,0.90597564,0.044563312],"study_design_scores_gemma":[0.000045674158,0.0000290519,0.014440701,0.00086768524,0.000041158462,0.00061804004,0.02038449,0.0005546543,0.00078017346,0.036954004,0.92517763,0.000106661886],"about_ca_topic_score_codex":0.08598802,"about_ca_topic_score_gemma":0.19710903,"teacher_disagreement_score":0.08598802,"about_ca_system_score_codex":0.0027596005,"about_ca_system_score_gemma":0.002082071,"threshold_uncertainty_score":0.17097503},"labels":[],"label_agreement":null},{"id":"W7104437951","doi":"10.71781/9081","title":"La réception des courts métrages de fiction québécois","year":2024,"lang":"fr","type":"dissertation","venue":"Open MIND","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Context (archaeology); Period (music); Order (exchange); Witch","score_opus":0.043377105261147825,"score_gpt":0.29380756200678865,"score_spread":0.2504304567456408,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7104437951","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.79670304,0.0015741152,0.0013004664,0.0060031936,0.00019463633,0.000088141736,0.0008803706,0.000043805645,0.19321227],"genre_scores_gemma":[0.92712533,0.000758413,0.00048023154,0.00022723398,0.00005586145,0.000026824377,0.00023082425,0.000019194777,0.0710761],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99910635,0.00027457858,0.000011565217,0.00008245924,0.0002687859,0.00025616464],"domain_scores_gemma":[0.9976096,0.0008258308,0.00031334718,0.00008965603,0.0006720773,0.0004894799],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001000401,0.0003358286,0.000228452,0.001511322,0.005209173,0.004862304,0.0005981384,0.00081302726,0.026093712],"category_scores_gemma":[0.0046540494,0.00016395048,0.00014702856,0.0021034079,0.0019455844,0.0009606476,0.0011855977,0.0012653653,0.0009331102],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00050066516,0.0002980895,0.0981978,0.0006508657,0.00013534038,0.0035608455,0.4273097,0.0018546452,0.0066838358,0.10616586,0.09809824,0.2565441],"study_design_scores_gemma":[0.0000152135435,0.00013701084,0.4019965,0.00053743995,0.0000455516,0.00044872743,0.26373953,0.0013295374,0.001124275,0.0022125044,0.32832125,0.000092521754],"about_ca_topic_score_codex":0.6904503,"about_ca_topic_score_gemma":0.8251412,"teacher_disagreement_score":0.3095497,"about_ca_system_score_codex":0.012115364,"about_ca_system_score_gemma":0.006656346,"threshold_uncertainty_score":0.6227454},"labels":[],"label_agreement":null},{"id":"W7104442719","doi":"10.71781/9530","title":"«Failure may be your style» : le ratage comme esthétique queer dans le cinéma documentaire à la première personne","year":2021,"lang":"fr","type":"dissertation","venue":"Papyrus : Institutional Repository (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Queer; Subjectivity; Limiting","score_opus":0.010572268018270789,"score_gpt":0.1934106900169158,"score_spread":0.182838421998645,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7104442719","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09507142,0.009534513,0.02167876,0.089081936,0.005332293,0.00013346144,0.00023065391,0.0005507107,0.77838624],"genre_scores_gemma":[0.7145164,0.003962296,0.006627457,0.007591464,0.0017676901,0.00013790431,0.00013484561,0.0006885254,0.26457348],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99496293,0.0028403897,0.000093727846,0.0005300608,0.0010411107,0.00053183734],"domain_scores_gemma":[0.9944206,0.0021060363,0.00048755886,0.00064319174,0.0010854313,0.0012571749],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004556873,0.00082589436,0.0003477119,0.0009038765,0.010039669,0.014187944,0.001044775,0.0026963137,0.017489323],"category_scores_gemma":[0.008818975,0.00036518907,0.00040776434,0.00078942504,0.012776035,0.009928143,0.0051885187,0.0060649826,0.004298802],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00017689342,0.000058902053,0.0028011207,0.0003518506,0.000023006269,0.00086408464,0.4173955,0.00011925159,0.0035048039,0.40816537,0.10072324,0.065815985],"study_design_scores_gemma":[0.000018820558,0.00007137611,0.0024858091,0.0004323534,0.000018705785,0.0008381605,0.06625563,0.00020772079,0.0012081707,0.015204449,0.9132089,0.00004987001],"about_ca_topic_score_codex":0.010084373,"about_ca_topic_score_gemma":0.012470447,"teacher_disagreement_score":0.017489323,"about_ca_system_score_codex":0.004136148,"about_ca_system_score_gemma":0.0038205632,"threshold_uncertainty_score":0.05850756},"labels":[],"label_agreement":null},{"id":"W7104456574","doi":"10.71781/12252","title":"Vidéo Femmes : fragments d'un héritage féministe (1973-1993) : une recherche-création pour réactiver et mettre en récit les archives cinématographiques féministes en ligne","year":2024,"lang":"fr","type":"dissertation","venue":"Open MIND","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Gender relations; ESPACE; Public space; Gender identity","score_opus":0.10590843099295352,"score_gpt":0.3511187311929125,"score_spread":0.24521030019995896,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7104456574","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6601208,0.019988677,0.0030400131,0.015115335,0.0012976252,0.00032342953,0.0053270054,0.00012511977,0.29466197],"genre_scores_gemma":[0.83826464,0.010401677,0.0024953922,0.0011266364,0.00035462496,0.00018916342,0.0012374334,0.00014181502,0.14578862],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.999337,0.0002291942,0.000012832381,0.00008554885,0.00018532517,0.00014992726],"domain_scores_gemma":[0.99892247,0.00044373874,0.00009536365,0.000089134955,0.0002550711,0.00019429061],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016006526,0.00041816378,0.00021449981,0.0027655528,0.007555392,0.0038111743,0.00071149407,0.0009879242,0.015054885],"category_scores_gemma":[0.0028714207,0.00028929848,0.0001870745,0.0028134221,0.0044319956,0.0020554124,0.0018523267,0.0018158288,0.0011531772],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001393242,0.000049419526,0.009712113,0.00035351515,0.000014131519,0.0014823143,0.7817371,0.00009656192,0.0016268366,0.024143556,0.06090376,0.119741365],"study_design_scores_gemma":[0.000006065117,0.000044333443,0.058444314,0.00066147983,0.000015531528,0.00076858856,0.26878926,0.00006509476,0.00084435724,0.0005975935,0.66973823,0.000025130703],"about_ca_topic_score_codex":0.46444178,"about_ca_topic_score_gemma":0.7536687,"teacher_disagreement_score":0.46444178,"about_ca_system_score_codex":0.01147263,"about_ca_system_score_gemma":0.006078274,"threshold_uncertainty_score":0.9234769},"labels":[],"label_agreement":null},{"id":"W7104458047","doi":"10.71781/9124","title":"La distribution et la chronologie des médias : le cas de la plateforme «Éléphant»","year":2022,"lang":"fr","type":"dissertation","venue":"Papyrus : Institutional Repository (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Distribution (mathematics); ESPACE; Noncentral chi-squared distribution","score_opus":0.012418429923352476,"score_gpt":0.20774007112191406,"score_spread":0.19532164119856157,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7104458047","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.48621517,0.007219788,0.010033587,0.01173622,0.000505466,0.00012501841,0.0034691505,0.00029597824,0.48039958],"genre_scores_gemma":[0.90536904,0.0025589224,0.0025634766,0.00033416218,0.00020144996,0.000061423656,0.00058195746,0.00014244701,0.08818699],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99912935,0.00017036474,0.000026729145,0.00018349478,0.0002815182,0.00020857547],"domain_scores_gemma":[0.99732274,0.0006394534,0.00044667066,0.00018276898,0.0010091349,0.00039921748],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011323682,0.00037514523,0.00021259364,0.005273109,0.004580782,0.006794626,0.00073385914,0.0007143779,0.031284433],"category_scores_gemma":[0.0047360025,0.00034364004,0.0002041821,0.0041201143,0.0038387964,0.0054413853,0.0021388922,0.0014107655,0.0018055618],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00047708195,0.00009076584,0.10657604,0.00066547113,0.00006766457,0.0015880443,0.15740469,0.0012253547,0.00510872,0.38018343,0.040270746,0.30634198],"study_design_scores_gemma":[0.00002518147,0.00012067539,0.2587329,0.00075359567,0.000040762035,0.001088697,0.082615376,0.0011861061,0.0016679293,0.014324172,0.63935775,0.00008684779],"about_ca_topic_score_codex":0.26189503,"about_ca_topic_score_gemma":0.3182858,"teacher_disagreement_score":0.26189503,"about_ca_system_score_codex":0.007994516,"about_ca_system_score_gemma":0.0038548012,"threshold_uncertainty_score":0.5207412},"labels":[],"label_agreement":null},{"id":"W7104881694","doi":"10.1525/jrpc.10.1.006c","title":"Review: Finding God in the Movies: 33 Films of Reel Faith, by Catherine M. Barsotti and Robert K. Johnston","year":2005,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Reel; Period (music); Line (geometry)","score_opus":0.014586434988271568,"score_gpt":0.2394468907195834,"score_spread":0.22486045573131183,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7104881694","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00019953221,0.99149454,0.000012748601,0.005537534,0.002168027,0.0000127885405,0.00007846673,0.0000028429704,0.0004934517],"genre_scores_gemma":[0.0010365887,0.99212474,0.000037447582,0.0033367903,0.002616056,0.000013162725,0.00007566193,0.0000028898294,0.0007567023],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994985,0.0001656058,0.000090381574,0.00006652826,0.00013106584,0.00004780982],"domain_scores_gemma":[0.9956376,0.002176387,0.0005670326,0.00006534801,0.0011796916,0.00037405203],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013443506,0.0010925371,0.002398963,0.0031584424,0.0006424788,0.002365452,0.0011966691,0.0022149833,0.0051228246],"category_scores_gemma":[0.0047002705,0.00064860407,0.0008913161,0.0043864846,0.000852732,0.0019204754,0.001029824,0.0022292146,0.0021711064],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0003351875,0.00004226051,0.00060027384,0.028497098,0.0004774028,0.00018621705,0.00030279355,0.00007221902,0.00037287033,0.00047957743,0.7924316,0.17620264],"study_design_scores_gemma":[0.0001298413,0.0001662185,0.009792327,0.026146283,0.0008282962,0.0007266778,0.0007538648,0.000041851912,0.0002191859,0.00041804105,0.96073747,0.000039909333],"about_ca_topic_score_codex":0.0062752585,"about_ca_topic_score_gemma":0.019291542,"teacher_disagreement_score":0.0062752585,"about_ca_system_score_codex":0.0014016764,"about_ca_system_score_gemma":0.0019854626,"threshold_uncertainty_score":0.017137527},"labels":[],"label_agreement":null},{"id":"W7105085898","doi":"10.1525/jrpc.11.1.006b","title":"Review: Catching Light: Looking for God in the Movies, by Roy M. Anker","year":2005,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Subject (documents); Perspective (graphical); Set (abstract data type); Interpretation (philosophy); Identification (biology)","score_opus":0.015405508421255374,"score_gpt":0.24770338113564647,"score_spread":0.2322978727143911,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7105085898","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00006812614,0.9631803,0.000052051124,0.025881464,0.01026754,0.000011140945,0.000060273574,0.000009269612,0.00046982607],"genre_scores_gemma":[0.0009179269,0.95847887,0.00010214567,0.018314121,0.018888203,0.000021839998,0.00008080766,0.000011779705,0.0031844147],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99899393,0.00030949584,0.00013804124,0.00019607792,0.00027404045,0.00008841247],"domain_scores_gemma":[0.9952118,0.0015484116,0.00046313668,0.000112206566,0.0020089769,0.0006554837],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025343553,0.0016902923,0.0029581755,0.0032870031,0.00094976526,0.0043189055,0.0019173349,0.004313457,0.0066962475],"category_scores_gemma":[0.0079614,0.00089971646,0.0009980852,0.005163612,0.0017674471,0.0050731776,0.0016199342,0.006356739,0.006799045],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008632108,0.000009850832,0.00009823809,0.004140242,0.000060609775,0.000054459622,0.00004686044,0.00006477376,0.00014966182,0.00046823366,0.9511807,0.04364014],"study_design_scores_gemma":[0.00006984068,0.00008370945,0.0017824293,0.0058765165,0.0001663606,0.000552099,0.00015829338,0.000067386536,0.0001744505,0.0015557288,0.98947024,0.000043042004],"about_ca_topic_score_codex":0.0067348448,"about_ca_topic_score_gemma":0.012165883,"teacher_disagreement_score":0.0067348448,"about_ca_system_score_codex":0.002151071,"about_ca_system_score_gemma":0.0030270189,"threshold_uncertainty_score":0.022401214},"labels":[],"label_agreement":null},{"id":"W7108663054","doi":"10.59350/00ejm-z7870","title":"Kanadisches Filmarchiv geht online","year":2009,"lang":"","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"The Internet; Data collection; On board; Video recording","score_opus":0.03571488326916223,"score_gpt":0.23230176180997675,"score_spread":0.19658687854081452,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7108663054","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.004572695,0.004661499,0.00072018185,0.0056794686,0.0018744196,0.0001721775,0.13513678,0.0035227682,0.84365994],"genre_scores_gemma":[0.015079297,0.0023466512,0.00077936397,0.0005147009,0.00030074222,0.000066063854,0.04206848,0.0010708579,0.9377739],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990747,0.00004536246,0.000030822874,0.00009997607,0.00058215257,0.00016693494],"domain_scores_gemma":[0.996393,0.00023296034,0.00012471943,0.00035017682,0.0018578799,0.0010412389],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00073734735,0.00048465267,0.0005627225,0.0045057354,0.0023316836,0.006234213,0.0007445184,0.0009115552,0.55922556],"category_scores_gemma":[0.0030270002,0.00041988638,0.00026198992,0.0052143494,0.00050157425,0.0025397677,0.0019056784,0.0014399943,0.3712914],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003435303,0.000018100876,0.0003399182,0.00008062949,0.0000034282452,0.00002278132,0.00011713077,0.000024186333,0.00024486106,0.0015324323,0.96044946,0.037132684],"study_design_scores_gemma":[0.0000035061823,0.0000033689892,0.001896334,0.000033105465,0.0000017517066,0.000019585648,0.000106227235,0.000021109807,0.00011180194,0.0001608645,0.9976368,0.000005664369],"about_ca_topic_score_codex":0.21718903,"about_ca_topic_score_gemma":0.39970595,"teacher_disagreement_score":0.782811,"about_ca_system_score_codex":0.003663409,"about_ca_system_score_gemma":0.004848379,"threshold_uncertainty_score":0.6287112},"labels":[],"label_agreement":null},{"id":"W7109639726","doi":"10.59350/br58a-7e107","title":"CfP: Graduate conference \"Atmospheres of Violence\". May 3-5, 2023 @ Harvard University (US). Deadline: Jan 15, 2023.","year":2023,"lang":"","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Graduate students; Audio visual","score_opus":0.05815292502493157,"score_gpt":0.23376464885555057,"score_spread":0.175611723830619,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7109639726","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0024203646,0.012067628,0.0007581752,0.060010742,0.034986075,0.00063937117,0.016106855,0.0016008377,0.8714099],"genre_scores_gemma":[0.005238879,0.0015587674,0.00025101224,0.0028261968,0.00394037,0.00018679549,0.003426879,0.00035934043,0.98221177],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99943405,0.000046016215,0.000013257802,0.00009262382,0.0001913459,0.00022275378],"domain_scores_gemma":[0.9977106,0.00011097819,0.00006877551,0.00009120307,0.0005721236,0.0014463668],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0013339072,0.0015136221,0.0007877688,0.0013627218,0.0038423573,0.0049616774,0.0015912259,0.004843504,0.7413428],"category_scores_gemma":[0.002459703,0.00040653007,0.00072454294,0.0013322181,0.0006457259,0.003056356,0.0042435857,0.0027238682,0.41856536],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012817089,0.000010237529,0.00004012144,0.000018300563,4.315956e-7,0.000009000756,0.00001091023,0.0000053146005,0.000024802162,0.00022641897,0.9936557,0.0059860125],"study_design_scores_gemma":[0.000015361238,0.000023187611,0.0021274823,0.0001077004,0.0000015417764,0.00001887876,0.00014646079,0.000035965775,0.000061086386,0.00041430676,0.99704117,0.0000068622176],"about_ca_topic_score_codex":0.023202263,"about_ca_topic_score_gemma":0.052731514,"teacher_disagreement_score":0.25865722,"about_ca_system_score_codex":0.0028213942,"about_ca_system_score_gemma":0.00433366,"threshold_uncertainty_score":0.3689431},"labels":[],"label_agreement":null},{"id":"W7110109742","doi":"10.1515/9781474424271","title":"ReFocus","year":2018,"lang":"","type":"book","venue":"Edinburgh University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Studio; Publicity; State (computer science); Innovator; Performance art; Film director","score_opus":0.03732857273628955,"score_gpt":0.1983739536078107,"score_spread":0.16104538087152115,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7110109742","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.001126701,0.002052006,0.0013769213,0.014989128,0.01264352,0.000099901794,0.0009193612,0.0006785231,0.9661139],"genre_scores_gemma":[0.008236011,0.0013926255,0.0006412603,0.0060583306,0.0021957038,0.00005440522,0.0008166977,0.0006202609,0.97998464],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9977958,0.00037668267,0.00008349386,0.00035333235,0.0010499863,0.00034075745],"domain_scores_gemma":[0.9964516,0.00036810455,0.00015185494,0.0005269652,0.0017668168,0.0007347081],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014055892,0.0007039064,0.0003683023,0.0014980885,0.0030114185,0.008597268,0.0013712752,0.0026118178,0.49694213],"category_scores_gemma":[0.008364965,0.00027452142,0.00038219825,0.0011760314,0.0011676602,0.0055631227,0.0053236843,0.0025642884,0.29767823],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000149085445,0.000010112177,0.00012855284,0.00009036907,0.0000016684432,0.00007425565,0.00066127913,0.000011845096,0.00015228165,0.01925107,0.9107074,0.0688963],"study_design_scores_gemma":[0.0000011349417,0.0000027913536,0.00007939108,0.000044452594,4.7035235e-7,0.00003337016,0.00019948413,0.000005166098,0.000032843,0.0009898677,0.9986091,0.0000019127256],"about_ca_topic_score_codex":0.0042220065,"about_ca_topic_score_gemma":0.008858719,"teacher_disagreement_score":0.49694213,"about_ca_system_score_codex":0.00284188,"about_ca_system_score_gemma":0.003004036,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7111520263","doi":"","title":"The Bradford 12 - An Obstinate Memory","year":2024,"lang":"en","type":"book-chapter","venue":"Pure (Coventry University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Centre for Global Health Research","funders":"","keywords":"Praxis; Diaspora; Filmmaking; Resistance (ecology); TRACE (psycholinguistics); Politics; Economic Justice; State (computer science)","score_opus":0.029654016273668118,"score_gpt":0.18046681417235252,"score_spread":0.1508127978986844,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7111520263","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09781595,0.0073968787,0.0026823825,0.03398931,0.0010959943,0.000043513646,0.0002505148,0.00011176139,0.8566137],"genre_scores_gemma":[0.71985346,0.0026046522,0.00074960914,0.0031015372,0.00017013507,0.00003990099,0.00007170051,0.00009410861,0.27331486],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99861574,0.00076664524,0.000020413363,0.0001270826,0.00022377475,0.00024631916],"domain_scores_gemma":[0.9983486,0.0010069346,0.00015475911,0.00016368876,0.00014235555,0.00018370125],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014465571,0.00044433848,0.00025196056,0.0008963344,0.010370906,0.010478535,0.0008512995,0.0029349404,0.013285846],"category_scores_gemma":[0.004614704,0.0003827116,0.00014511608,0.001381141,0.013795027,0.006511524,0.0028628227,0.004627172,0.0016675988],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009271372,0.000027621101,0.00061356666,0.00009411889,0.000003787255,0.00080219185,0.1969585,0.00010692362,0.0003669484,0.683865,0.090481125,0.026587494],"study_design_scores_gemma":[0.00000898652,0.000046619698,0.0016401872,0.00041176262,0.0000061462606,0.0005910976,0.06986013,0.00016031017,0.00050158246,0.018482147,0.90825945,0.000031603064],"about_ca_topic_score_codex":0.04638096,"about_ca_topic_score_gemma":0.09063469,"teacher_disagreement_score":0.04638096,"about_ca_system_score_codex":0.006865091,"about_ca_system_score_gemma":0.0023591018,"threshold_uncertainty_score":0.092221975},"labels":[],"label_agreement":null},{"id":"W7111620968","doi":"","title":"Resistant Imagery in Struggles for Justice","year":2023,"lang":"en","type":"book-chapter","venue":"Pure (Coventry University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Centre for Global Health Research","funders":"","keywords":"Witness; Movie theater; Refugee; Economic Justice; Politics; State (computer science); Documentary film","score_opus":0.04927883133501432,"score_gpt":0.2028524295365851,"score_spread":0.1535735982015708,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7111620968","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07763611,0.010490088,0.0017732369,0.022732917,0.0003907049,0.000041906264,0.000054617773,0.00006469286,0.8868157],"genre_scores_gemma":[0.8212614,0.007251024,0.0007425498,0.0022298172,0.00038142674,0.000059353493,0.000065324035,0.00008852412,0.16792049],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99890304,0.00065165607,0.0000197036,0.00008912872,0.00018920122,0.00014727854],"domain_scores_gemma":[0.99884987,0.00067651225,0.00015344824,0.00007649563,0.00010049408,0.00014312365],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00081499584,0.00031897574,0.00017039753,0.0015060024,0.0031588133,0.0062715723,0.00060164894,0.0013045936,0.0055905506],"category_scores_gemma":[0.0021624886,0.00016227186,0.00015217211,0.0010999339,0.009770322,0.004029556,0.0027741638,0.0020502312,0.00090516015],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00001877394,0.000059086233,0.0012776807,0.00011576127,0.000004463341,0.00052576495,0.18124864,0.0000678565,0.00039064884,0.7305981,0.04323504,0.04245827],"study_design_scores_gemma":[0.000008176304,0.000047850204,0.004659371,0.00059255166,0.000006183557,0.0008394814,0.09906798,0.00023358311,0.00048204945,0.05620552,0.8378391,0.000018038263],"about_ca_topic_score_codex":0.0039834147,"about_ca_topic_score_gemma":0.007094987,"teacher_disagreement_score":0.0062715723,"about_ca_system_score_codex":0.0022630536,"about_ca_system_score_gemma":0.0011496991,"threshold_uncertainty_score":0.018702269},"labels":[],"label_agreement":null},{"id":"W7111634232","doi":"","title":"Gender equity policy and visibility politics in the film and television industries","year":2025,"lang":"","type":"article","venue":"Figshare","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visibility; Unintended consequences; Equity (law); Politics; Public policy; Scope (computer science); Pay Equity","score_opus":0.11348838474043738,"score_gpt":0.3209717345162464,"score_spread":0.207483349775809,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7111634232","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.2129459,0.013863069,0.009619361,0.052275844,0.0004328258,0.000043400523,0.00013770997,0.00003012175,0.7106519],"genre_scores_gemma":[0.9897339,0.0015519662,0.00041932688,0.0012541888,0.00017548777,0.000013379638,0.00001591539,0.000017091566,0.0068187984],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"observational","domain_scores_codex":[0.9952969,0.0028512357,0.0000838211,0.00036210284,0.0006117573,0.000794259],"domain_scores_gemma":[0.99045056,0.007036854,0.000898353,0.00035117596,0.0004725686,0.00079052395],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.004165429,0.00023990063,0.0002730838,0.0020714812,0.0050834245,0.013801737,0.0005576276,0.0026755102,0.014643818],"category_scores_gemma":[0.0116341,0.00024335743,0.00029126258,0.0016727925,0.015502884,0.0066799363,0.005373572,0.002883852,0.00047723387],"study_design_candidate":"observational","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000041178017,0.000038445287,0.0040096785,0.00007694798,0.000009778902,0.00016316054,0.014249409,0.00019707231,0.0003321657,0.96291,0.002340111,0.015632164],"study_design_scores_gemma":[0.00003389781,0.00010717366,0.027618358,0.0013593092,0.00004894789,0.000383763,0.05510568,0.0010830978,0.0017470762,0.62531626,0.28714463,0.000051728024],"about_ca_topic_score_codex":0.010813378,"about_ca_topic_score_gemma":0.011271913,"teacher_disagreement_score":0.014643818,"about_ca_system_score_codex":0.006131966,"about_ca_system_score_gemma":0.0027223588,"threshold_uncertainty_score":0.04898846},"labels":[],"label_agreement":null},{"id":"W7113405082","doi":"","title":"Documentary &amp; Defiance","year":2023,"lang":"en","type":"book-chapter","venue":"Pure (Coventry University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Centre for Global Health Research","funders":"","keywords":"Appeasement; Mainstream; Resistance (ecology); State (computer science); Race (biology); Refugee","score_opus":0.04579151140230606,"score_gpt":0.1914015982698355,"score_spread":0.14561008686752944,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7113405082","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004897944,0.0022279588,0.0002529113,0.0012350605,0.0009917977,0.000020571222,0.00030527444,0.00011877082,0.9943579],"genre_scores_gemma":[0.0068218373,0.0015611508,0.00022871843,0.00044411226,0.00028478805,0.000017969194,0.0002745679,0.000115579925,0.9902514],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99967194,0.0000706799,0.000016823384,0.000059706734,0.0001383324,0.000042476968],"domain_scores_gemma":[0.9995735,0.00014426287,0.00004259485,0.00008571635,0.000101912294,0.00005207921],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00033790612,0.0005715567,0.0002426996,0.0014209747,0.0020531397,0.005197929,0.000685869,0.0013460687,0.20881729],"category_scores_gemma":[0.001655226,0.00025091344,0.00018052185,0.0011578122,0.0013863049,0.002302876,0.0015923816,0.0017284836,0.08004901],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013588489,0.000012396672,0.00011412745,0.00010733487,0.0000017444196,0.00014569794,0.00147674,0.00003915271,0.00029835748,0.07307822,0.86420554,0.060507104],"study_design_scores_gemma":[7.4737903e-7,0.0000019431848,0.00010834447,0.000058942955,3.5004135e-7,0.000059664497,0.00019504945,0.0000089434325,0.000053333468,0.0009078738,0.99860376,0.0000011094278],"about_ca_topic_score_codex":0.008708527,"about_ca_topic_score_gemma":0.015868407,"teacher_disagreement_score":0.20881729,"about_ca_system_score_codex":0.0018438463,"about_ca_system_score_gemma":0.0009409094,"threshold_uncertainty_score":0.69856346},"labels":[],"label_agreement":null},{"id":"W7113895976","doi":"10.5040/9781350494626?locatt=label:secondary_bloomsburycollections","title":"Jean-Luc Godard’s unmade and abandoned projects","year":2025,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Globe; Film director; Documentary film; Key (lock); Studio","score_opus":0.02526389776389387,"score_gpt":0.22728401065025994,"score_spread":0.20202011288636607,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7113895976","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.20399675,0.059749436,0.004113437,0.049071107,0.0031210405,0.000060091817,0.00033506492,0.00029419953,0.6792589],"genre_scores_gemma":[0.76403517,0.010303138,0.0015502608,0.0024283195,0.00042608965,0.000033158223,0.0001030441,0.00016551987,0.22095542],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99855274,0.00061730994,0.00001966171,0.00015438032,0.00041437193,0.00024152105],"domain_scores_gemma":[0.9992162,0.0002898801,0.00009298328,0.00007332987,0.00014091836,0.00018657027],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011623993,0.0005570865,0.00019478676,0.0015023949,0.010275598,0.0068645715,0.0005941256,0.0012740782,0.005956448],"category_scores_gemma":[0.0028928528,0.00023757546,0.0002369163,0.0012525677,0.0098643955,0.0029321986,0.0024833856,0.0020887076,0.000891176],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000066642555,0.000016051728,0.0028241454,0.00013857284,0.0000118153675,0.0019830524,0.33081418,0.00018432757,0.00065157353,0.45002484,0.15152255,0.061762225],"study_design_scores_gemma":[0.000001561808,0.000007523271,0.0018474463,0.00010567691,0.000001993972,0.00047295142,0.022026768,0.000040778774,0.00012922961,0.0013578901,0.97400033,0.000007875776],"about_ca_topic_score_codex":0.084066875,"about_ca_topic_score_gemma":0.15903999,"teacher_disagreement_score":0.084066875,"about_ca_system_score_codex":0.006662279,"about_ca_system_score_gemma":0.0031455501,"threshold_uncertainty_score":0.16715509},"labels":[],"label_agreement":null},{"id":"W7113905339","doi":"10.7202/1120914ar","title":"D Is For Daring: The Women Behind the Films of Studio D","year":2009,"lang":"en","type":"article","venue":"Atlantis Critical Studies in Gender Culture & Social Justice","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"University of British Columbia","funders":"","keywords":"Studio; Photography; Agency (philosophy); Clothing","score_opus":0.12571658465121585,"score_gpt":0.35678128066170084,"score_spread":0.231064696010485,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7113905339","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.15055992,0.0068048104,0.0009180863,0.14278685,0.004157058,0.000048668277,0.00024936284,0.00007655908,0.69439864],"genre_scores_gemma":[0.85950667,0.002020321,0.00027666788,0.007346125,0.0010428698,0.000025542868,0.000049148515,0.000117070704,0.12961563],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99839103,0.00089969736,0.000023621815,0.00013113016,0.00018340115,0.0003711751],"domain_scores_gemma":[0.99717414,0.001384099,0.0001992235,0.00014951547,0.0002951673,0.0007978506],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0021537594,0.0005492936,0.00025987183,0.0009338306,0.01631402,0.013000217,0.00067447685,0.0029165195,0.018118719],"category_scores_gemma":[0.0070561906,0.00033578408,0.00022793547,0.0008836413,0.008473749,0.005219373,0.004419878,0.0066890703,0.0014229856],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0002427284,0.00008041637,0.0032778527,0.00018650602,0.00001856412,0.0016871444,0.49815857,0.00005899327,0.0014534761,0.26526985,0.20405282,0.025513086],"study_design_scores_gemma":[0.00001397167,0.00003765568,0.0030093295,0.00022747369,0.000010974828,0.00043208478,0.27480727,0.000062236555,0.00050314853,0.007696279,0.7131784,0.000021104119],"about_ca_topic_score_codex":0.013947026,"about_ca_topic_score_gemma":0.030171981,"teacher_disagreement_score":0.018118719,"about_ca_system_score_codex":0.0036649916,"about_ca_system_score_gemma":0.0019410112,"threshold_uncertainty_score":0.060613096},"labels":[],"label_agreement":null},{"id":"W7114287227","doi":"","title":"Familiaring the Gay, Queering the Family. Coming out and resilience in Mambo Italiano","year":2015,"lang":"en","type":"book-chapter","venue":"University of Birmingham Research Portal (University of Birmingham)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Negotiation; Ethnic group; Coming out; Psychological resilience; Adaptation (eye); Set (abstract data type); Order (exchange)","score_opus":0.13354799006791226,"score_gpt":0.269574783280702,"score_spread":0.13602679321278974,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7114287227","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.63101816,0.0080568325,0.00094943005,0.02790572,0.0010493754,0.000089931294,0.00016567924,0.000067409725,0.33069748],"genre_scores_gemma":[0.9397672,0.0030887784,0.00053164305,0.002392145,0.00012497354,0.000029031307,0.000072368115,0.00006350497,0.05393032],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992091,0.00031185892,0.000006832815,0.00006721422,0.00010935007,0.00029567294],"domain_scores_gemma":[0.99952936,0.00009388418,0.00006374758,0.000017296119,0.000046868572,0.00024893886],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0008071016,0.00065150723,0.00026437567,0.0006387834,0.02409455,0.0041885637,0.0008516297,0.0014146362,0.0054450845],"category_scores_gemma":[0.0012718067,0.00022448871,0.00027586843,0.000560846,0.013461017,0.0015543952,0.0031128842,0.0024979727,0.00048716032],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000051571347,0.000031298492,0.0034280191,0.00007753221,0.000005599317,0.0018610961,0.95377094,0.000042093314,0.0008514172,0.020826062,0.012443663,0.0066107153],"study_design_scores_gemma":[0.000004680068,0.000019855008,0.008172469,0.00019713455,0.000010951569,0.00088137377,0.7426118,0.000041787647,0.0002489983,0.00055259024,0.24723421,0.00002414416],"about_ca_topic_score_codex":0.6422954,"about_ca_topic_score_gemma":0.8722139,"teacher_disagreement_score":0.6422954,"about_ca_system_score_codex":0.015663281,"about_ca_system_score_gemma":0.007108847,"threshold_uncertainty_score":0.7196224},"labels":[],"label_agreement":null},{"id":"W7115907258","doi":"10.1525/jrpc.22.1.009c","title":"Review: Apocalyptic Dread: American Film at the Turn of the Century, by Kirsten Moana Thompson","year":2010,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Gloom; Power (physics); Narrative; Representation (politics)","score_opus":0.009089273426333318,"score_gpt":0.22460927176761106,"score_spread":0.21551999834127775,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7115907258","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00009726166,0.9496441,0.000019693478,0.03379309,0.015471519,0.000006528727,0.000061149,0.0000047785966,0.000901778],"genre_scores_gemma":[0.002327485,0.9437254,0.00004823406,0.025267817,0.02559334,0.000019264013,0.000063845044,0.000009919148,0.0029447125],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993445,0.00018213555,0.00008034829,0.00013952916,0.00017454225,0.000078914614],"domain_scores_gemma":[0.99510324,0.002110455,0.00051177666,0.00012344378,0.0015710754,0.0005800146],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0019412042,0.0011319498,0.0017463181,0.003123996,0.0013498173,0.0049676704,0.0012074376,0.004904528,0.005357182],"category_scores_gemma":[0.009674177,0.00063571264,0.0005355761,0.004963288,0.0018952668,0.003179824,0.0015641996,0.0057867775,0.0024332092],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000068256195,0.000010395669,0.00012817493,0.0034526766,0.000037685626,0.000055338416,0.00010069916,0.00002616254,0.000065335305,0.0007689448,0.9484292,0.046857003],"study_design_scores_gemma":[0.000042678676,0.000027735705,0.0021838262,0.011146152,0.00011430874,0.0002895451,0.00036914748,0.000025205622,0.000060209764,0.00088560086,0.9848348,0.000020918027],"about_ca_topic_score_codex":0.01565665,"about_ca_topic_score_gemma":0.03623837,"teacher_disagreement_score":0.01565665,"about_ca_system_score_codex":0.0034274142,"about_ca_system_score_gemma":0.004684223,"threshold_uncertainty_score":0.03113103},"labels":[],"label_agreement":null},{"id":"W7115917996","doi":"10.1525/jrpc.22.2.008c","title":"Review: Sanctuary Cinema: Origins of the Christian Film Industry, by Terry Lindvall","year":2010,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Christianity; Narrative","score_opus":0.013481139484156057,"score_gpt":0.2386495771967435,"score_spread":0.22516843771258746,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7115917996","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00011413494,0.97690195,0.000022074557,0.01831311,0.0038620268,0.0000068190893,0.000047590507,0.0000033340918,0.00072895497],"genre_scores_gemma":[0.0014815298,0.98099905,0.00004521768,0.007940603,0.007981552,0.000011371362,0.000044435375,0.0000061060928,0.0014901358],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99933356,0.0001882672,0.00008355685,0.00015544558,0.00016013865,0.000079076315],"domain_scores_gemma":[0.99473673,0.002765775,0.0005704624,0.000118695905,0.0013558595,0.00045246788],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001954595,0.0010932268,0.0016744256,0.0034620431,0.0010568721,0.0050706635,0.0011326785,0.004193772,0.0050446074],"category_scores_gemma":[0.006749288,0.00064276543,0.0004795998,0.006304511,0.0019124708,0.0043700496,0.0015834385,0.0041695773,0.0028036013],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008854705,0.000020266836,0.0003168039,0.007267745,0.000059403083,0.00010544546,0.00020207056,0.00008522279,0.00018983732,0.0024731879,0.8824646,0.106726825],"study_design_scores_gemma":[0.000031351694,0.000029924382,0.0028525756,0.010220952,0.00008656711,0.00027687373,0.00039088595,0.00004333223,0.00007691879,0.0011652767,0.98480344,0.000021838388],"about_ca_topic_score_codex":0.010686436,"about_ca_topic_score_gemma":0.023614917,"teacher_disagreement_score":0.010686436,"about_ca_system_score_codex":0.002692878,"about_ca_system_score_gemma":0.005165116,"threshold_uncertainty_score":0.02124846},"labels":[],"label_agreement":null},{"id":"W7115983889","doi":"","title":"A Fish & A Bird","year":2025,"lang":"","type":"article","venue":"RIT Scholar Works (Rochester Institute of Technology)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Creatures; Fish <Actinopterygii>; Feeling; Moonlight; Artificial light; Window (computing)","score_opus":0.018398927677569066,"score_gpt":0.23664334131367395,"score_spread":0.2182444136361049,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7115983889","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.007323197,0.0066254404,0.0016296328,0.02561281,0.010806899,0.00008448004,0.0003809508,0.0006293078,0.94690716],"genre_scores_gemma":[0.02921414,0.0024502315,0.00202661,0.014901966,0.0010531979,0.000023468141,0.00019434048,0.00024769138,0.94988817],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941444,0.00009405781,0.000021403068,0.0001605002,0.00018857374,0.00012094816],"domain_scores_gemma":[0.99932146,0.000040629464,0.000033163076,0.000053715554,0.00020019436,0.000350905],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000495935,0.0006288571,0.00038305545,0.0005776497,0.0054443437,0.003145302,0.0005107886,0.001457229,0.16945383],"category_scores_gemma":[0.0012795664,0.00026178916,0.00030837333,0.00041407527,0.0024749388,0.0037204253,0.0037271068,0.0018992363,0.064217575],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005682891,0.00003913247,0.0018777121,0.000185585,0.0000134713255,0.00066740235,0.0035561626,0.000042458654,0.0018535842,0.028352467,0.8370815,0.1262737],"study_design_scores_gemma":[0.0000016906447,0.000014842507,0.000755871,0.000043811044,0.0000019250404,0.0002538193,0.0010795889,0.000010111744,0.000042015345,0.0005405251,0.9972505,0.000005322034],"about_ca_topic_score_codex":0.01363352,"about_ca_topic_score_gemma":0.04269131,"teacher_disagreement_score":0.16945383,"about_ca_system_score_codex":0.0014187106,"about_ca_system_score_gemma":0.0015846156,"threshold_uncertainty_score":0.5668795},"labels":[],"label_agreement":null},{"id":"W7116707971","doi":"10.69975/2074-0832-2025-66-4-80-91","title":"At the Crossroads (Documentary Screen at the End of the First Quarter of the New Century)","year":2025,"lang":"","type":"article","venue":"Journal of Film Arts and Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Quarter (Canadian coin); Interpretation (philosophy); Focus (optics); Movie theater; Thematic map; Structuring; Sack","score_opus":0.019662127602209055,"score_gpt":0.24325246812138981,"score_spread":0.22359034051918075,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7116707971","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.067870386,0.0077314763,0.003314916,0.012991151,0.0030926361,0.00005586459,0.001239444,0.00015365878,0.9035505],"genre_scores_gemma":[0.74846554,0.0051406138,0.0027301488,0.0018488048,0.0008805711,0.000056272576,0.000979761,0.00034186683,0.23955634],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989968,0.0002600776,0.00003286734,0.00020191335,0.0002840215,0.00022430035],"domain_scores_gemma":[0.99834764,0.000504345,0.00015351392,0.00018608446,0.00045539576,0.00035311788],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011673194,0.00025376125,0.00019081717,0.0014112573,0.0034561537,0.00955721,0.00040728415,0.0012153352,0.04221244],"category_scores_gemma":[0.0045914636,0.00018015387,0.00020644393,0.0014239236,0.0022484707,0.004859128,0.0025899236,0.00244628,0.0053788633],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027832223,0.00005779251,0.0066499207,0.0003433869,0.000017321012,0.00078784185,0.05504397,0.00012737393,0.002101048,0.5738616,0.21165611,0.1490753],"study_design_scores_gemma":[0.000004718539,0.00003061998,0.013392963,0.00031699266,0.000007776708,0.00035068154,0.011571872,0.000069368,0.00081801286,0.006966045,0.966457,0.000013912141],"about_ca_topic_score_codex":0.014766437,"about_ca_topic_score_gemma":0.019611752,"teacher_disagreement_score":0.04221244,"about_ca_system_score_codex":0.003253187,"about_ca_system_score_gemma":0.0014966007,"threshold_uncertainty_score":0.14121473},"labels":[],"label_agreement":null},{"id":"W7118815978","doi":"10.1080/00085006.2025.2577582","title":"An imaginary cinema: Sergei Eisenstein and the unrealized film","year":2025,"lang":"en","type":"article","venue":"Canadian Slavonic Papers","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"The Imaginary; Representation (politics)","score_opus":0.00867986134514016,"score_gpt":0.20837256712903202,"score_spread":0.19969270578389187,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7118815978","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.060319696,0.10048248,0.003258475,0.3413413,0.007916226,0.000015987715,0.000085311614,0.000105423875,0.48647502],"genre_scores_gemma":[0.88829345,0.029095326,0.0011154999,0.010001733,0.0025677353,0.000014730498,0.000035478144,0.00012462394,0.068751596],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993088,0.00042233343,0.000010229357,0.000057347825,0.00010430144,0.00009691952],"domain_scores_gemma":[0.9987326,0.00079948705,0.00008873393,0.00006030924,0.00013570134,0.0001831681],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013499935,0.00031996347,0.00020400542,0.00077665265,0.0043596798,0.0055823443,0.00041233402,0.0013347416,0.004038402],"category_scores_gemma":[0.0036656742,0.00014335198,0.00009491806,0.0006065036,0.0074827373,0.003967249,0.0012391915,0.0025291592,0.0004620615],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000036565398,0.00002279903,0.0004958789,0.000045072222,0.0000054198376,0.00023442834,0.02723225,0.00016359899,0.0001765733,0.7891977,0.1650779,0.017311836],"study_design_scores_gemma":[0.000013734532,0.000017086546,0.001388083,0.00040534555,0.000008426393,0.00027310618,0.017484263,0.00046945724,0.00032350482,0.110608034,0.8689837,0.000025175428],"about_ca_topic_score_codex":0.013884981,"about_ca_topic_score_gemma":0.019133024,"teacher_disagreement_score":0.013884981,"about_ca_system_score_codex":0.0041843494,"about_ca_system_score_gemma":0.0014410375,"threshold_uncertainty_score":0.030359745},"labels":[],"label_agreement":null},{"id":"W7120067504","doi":"10.9771/contemporanea.v7i2.3643","title":"Objects in Films: Analyzing Signs","year":2010,"lang":"pt","type":"article","venue":"LA Referencia (Red Federada de Repositorios Institucionales de Publicaciones Científicas)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Object (grammar); Interpretation (philosophy); Relevance (law); Context (archaeology); German; Narrative; Point (geometry)","score_opus":0.026745441942862876,"score_gpt":0.2400372160194978,"score_spread":0.2132917740766349,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7120067504","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.74637115,0.008293044,0.08764502,0.0023418888,0.0005212928,0.0007389546,0.0008108145,0.0002117231,0.15306611],"genre_scores_gemma":[0.9269091,0.0044242158,0.052119866,0.00016752999,0.00022972915,0.000340521,0.0006374143,0.00017528085,0.014996313],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.99676824,0.0018143461,0.00018668098,0.00033967107,0.0006556022,0.0002355403],"domain_scores_gemma":[0.9940348,0.0037457633,0.0009812108,0.00036931704,0.0006540229,0.000214919],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022058338,0.0006916404,0.0004953688,0.0054227575,0.0020306981,0.009195771,0.0006757488,0.00094144826,0.0053405752],"category_scores_gemma":[0.010707519,0.00038857845,0.00048757563,0.005098713,0.004741434,0.009515023,0.0025024405,0.0015765025,0.0006073337],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00027435028,0.00021020387,0.041047376,0.0019266467,0.00010311426,0.0024932052,0.40356955,0.0013187678,0.021171484,0.26661047,0.005870874,0.25540397],"study_design_scores_gemma":[0.000051710467,0.00057646824,0.104647994,0.0021189295,0.00023300902,0.0024488058,0.44332513,0.007704485,0.012450056,0.1009347,0.32534522,0.00016347192],"about_ca_topic_score_codex":0.0023580133,"about_ca_topic_score_gemma":0.0025601827,"teacher_disagreement_score":0.009195771,"about_ca_system_score_codex":0.0018570041,"about_ca_system_score_gemma":0.0007887249,"threshold_uncertainty_score":0.017866015},"labels":[],"label_agreement":null},{"id":"W7125920046","doi":"10.1525/jrpc.3.1.006f","title":"Review: Afterimage: The Indelible Catholic Imagination of Six American Filmmakers, by Richard A. Blake","year":2003,"lang":"en","type":"article","venue":"Journal of Religion and Popular Culture","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Ridiculous","score_opus":0.011118239373515698,"score_gpt":0.24081471827301235,"score_spread":0.22969647889949665,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7125920046","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00018223048,0.93723935,0.000022720309,0.048471857,0.013190698,0.000010041151,0.00004343521,0.0000062404324,0.00083344715],"genre_scores_gemma":[0.0020612862,0.94074786,0.000045929515,0.035054825,0.019413205,0.000020272928,0.000054661064,0.000010015309,0.002591957],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99924123,0.00024354181,0.000102921564,0.00012261816,0.00020311512,0.00008657753],"domain_scores_gemma":[0.9947371,0.002363575,0.0005005764,0.00009278991,0.0016953205,0.00061067607],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026237099,0.0011823305,0.0022353502,0.002137076,0.001404544,0.0046492033,0.0015218062,0.0049970113,0.0041517722],"category_scores_gemma":[0.008592379,0.0006451704,0.00064743124,0.003349282,0.002244891,0.003355526,0.001480052,0.0054245503,0.003011202],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000121114936,0.000010326303,0.00011489054,0.004275929,0.000056094246,0.00009295011,0.00019393428,0.000027769274,0.000113730086,0.0005957544,0.9471329,0.047264483],"study_design_scores_gemma":[0.000057077235,0.00004658846,0.0016074199,0.007337664,0.00012804089,0.00036391526,0.0006223713,0.000023231876,0.00010114986,0.00073476345,0.98895276,0.000024961653],"about_ca_topic_score_codex":0.00699813,"about_ca_topic_score_gemma":0.018079601,"teacher_disagreement_score":0.00699813,"about_ca_system_score_codex":0.002851981,"about_ca_system_score_gemma":0.004163881,"threshold_uncertainty_score":0.020692647},"labels":[],"label_agreement":null},{"id":"W7126251166","doi":"10.3917/rfea.148.0118d","title":"Bruno RAMIREZ. Inside the Historical Film . Montréal : McGill-Queen’s University Press, 2014. Illust.","year":2016,"lang":"fr","type":"article","venue":"Revue française d’études américaines","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Perspective (graphical); Work (physics); Field (mathematics); Feature (linguistics)","score_opus":0.018673090637545093,"score_gpt":0.1857989368736737,"score_spread":0.16712584623612858,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7126251166","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016379982,0.46498308,0.00074684125,0.034264278,0.0056031584,0.000040404357,0.003526582,0.000396142,0.4888015],"genre_scores_gemma":[0.045548044,0.20592868,0.0012759354,0.0033894167,0.0016725948,0.00009644929,0.0016971678,0.00074329827,0.7396485],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99926025,0.00020686537,0.000031371284,0.00010310813,0.0002616308,0.0001368703],"domain_scores_gemma":[0.99919826,0.00020468063,0.000093675495,0.00009413563,0.00022821757,0.0001810403],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009979963,0.0015648364,0.0006452854,0.0028843486,0.004777963,0.0065396028,0.0017214157,0.0016715045,0.13912481],"category_scores_gemma":[0.00238329,0.0011690776,0.0003603098,0.005995954,0.0037125985,0.0054414836,0.0024362644,0.0024540443,0.029125607],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000022968263,0.00000656598,0.0002982097,0.00035460774,0.000005413425,0.00010525705,0.005197763,0.000055810513,0.00015527333,0.014438492,0.9233615,0.055998236],"study_design_scores_gemma":[0.000001385932,0.0000013092815,0.001381107,0.0003475331,0.0000026442415,0.000029996532,0.0020415655,0.00001067114,0.000028803233,0.00040818943,0.9957424,0.000004403878],"about_ca_topic_score_codex":0.5390061,"about_ca_topic_score_gemma":0.7606225,"teacher_disagreement_score":0.5390061,"about_ca_system_score_codex":0.014513521,"about_ca_system_score_gemma":0.0070658624,"threshold_uncertainty_score":0.9274175},"labels":[],"label_agreement":null},{"id":"W7126348560","doi":"","title":"“Brilliant Pinkish Flare”: Cataloguing Queerness in Experimental Film","year":2022,"lang":"en","type":"article","venue":"York University Digital Library (York University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Relation (database); Work (physics); Order (exchange); Photography; Data collection","score_opus":0.01745836506247426,"score_gpt":0.15490211649519955,"score_spread":0.1374437514327253,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7126348560","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.4652793,0.0054969494,0.0034421084,0.012068795,0.0005231146,0.00047744001,0.006256329,0.00039156535,0.50606436],"genre_scores_gemma":[0.87309885,0.004423976,0.0045404816,0.0012196557,0.00017841882,0.00012787367,0.0029285303,0.0003195926,0.11316271],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.999508,0.0001821134,0.000017478344,0.00005444314,0.00013503518,0.00010291959],"domain_scores_gemma":[0.99802125,0.00090571714,0.00014520288,0.00031302808,0.00041725195,0.00019761703],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015463503,0.00028981856,0.00018953552,0.004062078,0.0067778225,0.005972741,0.0006034681,0.0007965788,0.024269015],"category_scores_gemma":[0.0048744464,0.00016435338,0.00012022953,0.0055796155,0.0041623744,0.003863868,0.0017007978,0.001034796,0.0015214643],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023035353,0.00013250836,0.015591878,0.000722584,0.000021650032,0.00080345327,0.518658,0.0001749002,0.0027738786,0.05629635,0.20894796,0.19564655],"study_design_scores_gemma":[0.000015877284,0.000034440323,0.032040514,0.00063341623,0.00002591946,0.00021684285,0.35678968,0.00023818118,0.0016389769,0.0021787006,0.60615474,0.000032760705],"about_ca_topic_score_codex":0.49284777,"about_ca_topic_score_gemma":0.7984774,"teacher_disagreement_score":0.49284777,"about_ca_system_score_codex":0.007201577,"about_ca_system_score_gemma":0.0040867925,"threshold_uncertainty_score":0.9799582},"labels":[],"label_agreement":null},{"id":"W7127090224","doi":"10.5117/9789048568260_ch14","title":"A Projectionist and His Percepto","year":2025,"lang":"en","type":"book-chapter","venue":"Amsterdam University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Optimal distinctiveness theory; Movie theater; Context (archaeology); Film studies","score_opus":0.030125737545046796,"score_gpt":0.1912047607520125,"score_spread":0.1610790232069657,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7127090224","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01505294,0.012535895,0.026373105,0.052961823,0.0018220816,0.000032082677,0.0001340373,0.00017948236,0.8909086],"genre_scores_gemma":[0.656873,0.014260588,0.0070432327,0.005957132,0.0020061997,0.00007890876,0.00009714249,0.00038365021,0.31330025],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99817574,0.001001684,0.000041957297,0.0002792091,0.00033734593,0.00016404779],"domain_scores_gemma":[0.998475,0.0008472317,0.000075402546,0.00024694207,0.00018460884,0.00017088513],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002287281,0.0005008314,0.00032417243,0.0011385985,0.0035339731,0.00853195,0.0006770916,0.001586916,0.010717483],"category_scores_gemma":[0.0040361374,0.00039880665,0.00022699141,0.0013144899,0.02179105,0.010263161,0.0034744146,0.0050669983,0.0017476128],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000012592352,0.0000058659366,0.0001548368,0.000022928933,0.000001256587,0.000031823594,0.0034078106,0.00006591361,0.00004371094,0.978717,0.0082530705,0.009283191],"study_design_scores_gemma":[0.00001026095,0.000026938136,0.00063151354,0.00019897053,0.0000043907457,0.00016771753,0.0047925888,0.00053895905,0.00032945813,0.2714366,0.7218439,0.000018661834],"about_ca_topic_score_codex":0.00713361,"about_ca_topic_score_gemma":0.008603346,"teacher_disagreement_score":0.010717483,"about_ca_system_score_codex":0.0046239295,"about_ca_system_score_gemma":0.002846221,"threshold_uncertainty_score":0.035853565},"labels":[],"label_agreement":null},{"id":"W7128511230","doi":"10.65968/xhfa5153","title":"I Turn My (Digital) Camera On: Thoughts on Toronto’s Nuit Blanche","year":2007,"lang":"","type":"article","venue":"Wi Journal of Mobile Media","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Turn (biochemistry); Action (physics); Work (physics)","score_opus":0.01993458411707591,"score_gpt":0.23867011706017746,"score_spread":0.21873553294310155,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7128511230","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008526197,0.015903361,0.0010806904,0.79417366,0.0125455335,0.000033438453,0.00031045385,0.000105199455,0.16732149],"genre_scores_gemma":[0.23844574,0.0131676765,0.0013154497,0.14566487,0.0048320107,0.00005135431,0.00015817033,0.00043847467,0.5959262],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.998629,0.00035667294,0.000029637205,0.0002107812,0.0003056722,0.00046822848],"domain_scores_gemma":[0.9972218,0.0006765643,0.00011234391,0.00009906027,0.0006582234,0.0012319817],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0016803298,0.00064971705,0.00034461526,0.00096479204,0.01798402,0.009911175,0.0011973298,0.006658724,0.04585847],"category_scores_gemma":[0.0047294106,0.00040039822,0.0003180062,0.0012234511,0.011811462,0.0055602645,0.0034397412,0.012407426,0.0051403814],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024194402,0.0000068128215,0.00041497906,0.000045391593,0.000004020397,0.0002559813,0.018707912,0.00007609771,0.00017604849,0.07294856,0.8978346,0.009505481],"study_design_scores_gemma":[0.0000041779595,0.0000063581306,0.00082274555,0.00010914867,0.0000045304027,0.00006500085,0.017133426,0.0000453465,0.000088552275,0.003047245,0.9786452,0.000028277778],"about_ca_topic_score_codex":0.83687985,"about_ca_topic_score_gemma":0.9278491,"teacher_disagreement_score":0.16312015,"about_ca_system_score_codex":0.036432736,"about_ca_system_score_gemma":0.013987426,"threshold_uncertainty_score":0.32816154},"labels":[],"label_agreement":null},{"id":"W7130505793","doi":"10.4000/15qb3","title":"Le déclassement des scénaristes (États-Unis, France, années 1910-1950)","year":2020,"lang":"fr","type":"article","venue":"Création collective au cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Université du Québec à Montréal","funders":"","keywords":"Order (exchange); Power (physics); State (computer science); Private life","score_opus":0.040041743068750184,"score_gpt":0.23361243955678765,"score_spread":0.19357069648803746,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7130505793","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5692589,0.006118586,0.004540471,0.009000375,0.00051940244,0.000096124415,0.00030305,0.00011088212,0.41005218],"genre_scores_gemma":[0.9273928,0.0015304949,0.00072092074,0.00042365736,0.00011688689,0.000058987516,0.000090616355,0.000042128144,0.06962344],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9982529,0.0007989423,0.00004088024,0.00023060679,0.00023601043,0.00044064093],"domain_scores_gemma":[0.99833846,0.0007568302,0.00032427267,0.00009253006,0.00019372515,0.00029408684],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025291508,0.0003836749,0.0001959697,0.002237639,0.0094423,0.0051602744,0.0003971561,0.0013439832,0.010512824],"category_scores_gemma":[0.0041140825,0.00024100151,0.00026043787,0.0017781503,0.0074167377,0.0038369517,0.0033090618,0.0023368294,0.0008027515],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010705395,0.000034389323,0.012269711,0.00010698118,0.000011354853,0.0006286104,0.56675714,0.00020281953,0.0012780157,0.3712846,0.007719971,0.039599344],"study_design_scores_gemma":[0.000013290293,0.0001074544,0.07204062,0.00042001347,0.0000103034945,0.0006117848,0.13228984,0.00014671637,0.0007108896,0.007789385,0.78581154,0.000048145845],"about_ca_topic_score_codex":0.0487043,"about_ca_topic_score_gemma":0.08378042,"teacher_disagreement_score":0.0487043,"about_ca_system_score_codex":0.010187365,"about_ca_system_score_gemma":0.003156847,"threshold_uncertainty_score":0.09684163},"labels":[],"label_agreement":null},{"id":"W7130660734","doi":"10.5817/cejcs2011-7-2","title":"Going Down the Road for the red violin : a certain tendency in recent Canadian cinema","year":2011,"lang":"en","type":"article","venue":"The Central European journal of Canadian studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Realm; Feature film; State (computer science); Violin; Feature (linguistics); Film studies","score_opus":0.106969771566635,"score_gpt":0.23208655893317884,"score_spread":0.12511678736654386,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7130660734","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.72896814,0.01144728,0.001184218,0.057689864,0.0007813912,0.00008128008,0.0006979787,0.000110443216,0.19903947],"genre_scores_gemma":[0.9825815,0.0027950418,0.00032615938,0.001832376,0.0000772056,0.000011810595,0.00011739498,0.00005043541,0.012208072],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9970572,0.00052873394,0.000058675254,0.0004444847,0.0010401647,0.0008706946],"domain_scores_gemma":[0.9939679,0.0015455974,0.00061593176,0.0002538885,0.0024410398,0.0011756956],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0026974652,0.00041206312,0.00034681323,0.003784001,0.022273077,0.011818967,0.0020433043,0.0024919452,0.0071136714],"category_scores_gemma":[0.010608158,0.00041501105,0.00030841303,0.0062759006,0.010360405,0.0027794086,0.0025610474,0.0036632093,0.00029693442],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000818673,0.00004155406,0.014949538,0.00032801213,0.000032059634,0.00112249,0.849208,0.000102921855,0.0016525353,0.052989315,0.04038301,0.039108757],"study_design_scores_gemma":[0.0000062852023,0.000021809472,0.053478524,0.00043613435,0.000035513105,0.00061977585,0.5607414,0.00016116307,0.00043042202,0.0009989181,0.3829703,0.00009980311],"about_ca_topic_score_codex":0.97906744,"about_ca_topic_score_gemma":0.99148625,"teacher_disagreement_score":0.066158384,"about_ca_system_score_codex":0.066158384,"about_ca_system_score_gemma":0.03603673,"threshold_uncertainty_score":0.48001492},"labels":[],"label_agreement":null},{"id":"W7132487107","doi":"","title":"Politics","year":2005,"lang":"en","type":"other","venue":"MiCISAN","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Representation (politics); Politics; Nationalism; Work (physics); Shot (pellet)","score_opus":0.02540620082356469,"score_gpt":0.2225151983894022,"score_spread":0.19710899756583752,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132487107","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00067473337,0.0019391648,0.00034524247,0.015646141,0.0012186429,0.00000892311,0.00022212755,0.00005208779,0.97989297],"genre_scores_gemma":[0.024556685,0.001601277,0.0002820775,0.009895679,0.00055232365,0.000019194498,0.0001814596,0.00008297208,0.96282834],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99931383,0.0001519166,0.000018561084,0.00017202113,0.00019627956,0.00014737606],"domain_scores_gemma":[0.999608,0.00006103281,0.000026093168,0.00007231835,0.00012005914,0.00011253328],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000595887,0.0002636417,0.00018172956,0.00043783957,0.0030581946,0.0064892126,0.0004346947,0.0022342242,0.19302337],"category_scores_gemma":[0.0016851288,0.0001470245,0.00018131797,0.0007188791,0.0017454755,0.002749619,0.0015484109,0.0022994638,0.05793302],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000010273081,0.000010237217,0.00025965206,0.000029996343,0.0000022705146,0.000053128046,0.0006461386,0.000032683456,0.00016244876,0.49560955,0.4698767,0.033306975],"study_design_scores_gemma":[7.23886e-7,9.440245e-7,0.00013647822,0.000017459884,3.8205675e-7,0.000015122913,0.00014975813,0.0000065247114,0.000023896215,0.003814155,0.9958335,8.816109e-7],"about_ca_topic_score_codex":0.016197247,"about_ca_topic_score_gemma":0.0257152,"teacher_disagreement_score":0.19302337,"about_ca_system_score_codex":0.0032608607,"about_ca_system_score_gemma":0.0021608605,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7132882810","doi":"","title":"Cahiers du Cinéma: From Mao to New Media (1981–2003)","year":2025,"lang":"","type":"dissertation","venue":"TSpace","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Vector Institute","funders":"","keywords":"Movie theater; Centennial; Period (music); New media; Queer; Cultural studies; Film theory; Popular culture","score_opus":0.02477869037789665,"score_gpt":0.26133618019192706,"score_spread":0.2365574898140304,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132882810","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8385574,0.0312355,0.00011571483,0.009278279,0.00074931415,0.00006126549,0.0004240624,0.000024597502,0.11955387],"genre_scores_gemma":[0.94828564,0.016239297,0.00011783407,0.0004369253,0.00064154813,0.00004166811,0.0001735943,0.000027039796,0.034036446],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99937123,0.00013990865,0.000026849677,0.00010688679,0.00018274624,0.00017244593],"domain_scores_gemma":[0.9979715,0.0007360316,0.00040156022,0.000086490196,0.00038716514,0.00041738397],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012382547,0.00023724364,0.0002828144,0.0028236946,0.006875708,0.0056515546,0.00050415186,0.00080837164,0.003943788],"category_scores_gemma":[0.0041334145,0.00028185933,0.00012469497,0.0043914835,0.0028419474,0.002687883,0.0019327713,0.0015725504,0.00047258812],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00013251099,0.000057217727,0.015035116,0.00051834725,0.000011759909,0.0014137565,0.8835837,0.00002116281,0.00108947,0.016769612,0.018281648,0.0630857],"study_design_scores_gemma":[0.000011007525,0.00005547241,0.13097928,0.00055327785,0.000014948207,0.0007820018,0.23468515,0.00003775757,0.00057354406,0.0005031017,0.631787,0.000017432643],"about_ca_topic_score_codex":0.10107916,"about_ca_topic_score_gemma":0.2092295,"teacher_disagreement_score":0.10107916,"about_ca_system_score_codex":0.009546063,"about_ca_system_score_gemma":0.005362327,"threshold_uncertainty_score":0.20098162},"labels":[],"label_agreement":null},{"id":"W7132916763","doi":"","title":"De-familiarizing the familial: unveiling the perverse familial through the narrational aesthetics of trauma and the obscene across seminal independent films","year":2006,"lang":"","type":"dissertation","venue":"TSpace","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":true,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"","funders":"University of Toronto","keywords":"Heaven; Queer; Drama; Postmodernism; Reading (process); Biography; Mode (computer interface)","score_opus":0.03002181239584697,"score_gpt":0.29205529801906605,"score_spread":0.2620334856232191,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132916763","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.6623675,0.009345769,0.011315264,0.01730526,0.0013268755,0.00010201988,0.000151497,0.0000978783,0.29798785],"genre_scores_gemma":[0.9770626,0.0027801048,0.0011370758,0.0007482861,0.00021370393,0.000034248173,0.00003685066,0.00011260729,0.017874459],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9977042,0.001575773,0.000047205747,0.00020759263,0.00027358075,0.00019169283],"domain_scores_gemma":[0.99749583,0.001630555,0.00024190568,0.00023124531,0.00020244074,0.00019806907],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0025994577,0.0008138325,0.00038185954,0.0016896261,0.009642072,0.008448043,0.00091110193,0.0013071216,0.0036799666],"category_scores_gemma":[0.0054219216,0.0002968532,0.00023697755,0.001398465,0.022640482,0.0058052693,0.005639387,0.0038803325,0.00034213817],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000020989954,0.000013328012,0.00070125965,0.00008437986,0.0000074186655,0.00044545604,0.90021217,0.00003947694,0.0006631423,0.08811505,0.0027948916,0.0069024283],"study_design_scores_gemma":[0.000007974667,0.000044916986,0.0027098577,0.0005626338,0.000027498474,0.0009408017,0.76969814,0.0001607849,0.0015736714,0.012592187,0.21166107,0.00002058761],"about_ca_topic_score_codex":0.00964459,"about_ca_topic_score_gemma":0.018035905,"teacher_disagreement_score":0.00964459,"about_ca_system_score_codex":0.0035841917,"about_ca_system_score_gemma":0.0015723341,"threshold_uncertainty_score":0.026005268},"labels":[],"label_agreement":null},{"id":"W7132970329","doi":"","title":"Make-Believe Empire: Imperial Intersections of the Film Military Industries at Ft. Ord, 1945-1970","year":2023,"lang":"","type":"dissertation","venue":"TSpace","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Toronto","funders":"","keywords":"Depiction; Hollywood; Vietnamese; Adversary; Shot (pellet); Ephemera; Film industry; Movie theater; Amateur; Wonder","score_opus":0.03746318980178593,"score_gpt":0.28368158900813906,"score_spread":0.24621839920635313,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7132970329","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29272273,0.072400175,0.00076576055,0.066468954,0.0015104387,0.0000550267,0.00019193115,0.00007094223,0.565814],"genre_scores_gemma":[0.89195895,0.013464259,0.00022342171,0.0012606586,0.0003604776,0.000014947067,0.00004547658,0.000041467676,0.09263038],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9993431,0.0002841408,0.000012722023,0.000058562066,0.00011255497,0.00018890189],"domain_scores_gemma":[0.9991849,0.00035160303,0.00008177085,0.000033849643,0.000092098555,0.00025571883],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011894177,0.00031172266,0.00014199277,0.0009556171,0.010943875,0.0055271992,0.0004176067,0.0009340908,0.0068447017],"category_scores_gemma":[0.0018089364,0.0004350886,0.00009969009,0.0009195436,0.010525863,0.002888923,0.0021300602,0.0029960305,0.0004927503],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012213334,0.00008762689,0.0057466957,0.0002032455,0.000007614278,0.0014371906,0.6710539,0.00013856782,0.00063658884,0.14526564,0.11526025,0.06004051],"study_design_scores_gemma":[0.0000061451237,0.000029767369,0.012342035,0.00030302105,0.0000053218196,0.00044124486,0.10819185,0.00004778473,0.0003788805,0.0022309164,0.8760123,0.0000107755795],"about_ca_topic_score_codex":0.10797638,"about_ca_topic_score_gemma":0.33075303,"teacher_disagreement_score":0.10797638,"about_ca_system_score_codex":0.016523596,"about_ca_system_score_gemma":0.0039286017,"threshold_uncertainty_score":0.21469575},"labels":[],"label_agreement":null},{"id":"W7133045595","doi":"","title":"Accident in Media: Imagining Complex Interactivity","year":2024,"lang":"","type":"dissertation","venue":"TSpace","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Toronto Rehabilitation Institute","funders":"","keywords":"Accident (philosophy); Framing (construction); Action (physics); Perspective (graphical); Phenomenology (philosophy); Representation (politics); Interactivity; Sensemaking","score_opus":0.06334166194399453,"score_gpt":0.344781257319876,"score_spread":0.2814395953758815,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133045595","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.33625475,0.008996092,0.13989429,0.022856217,0.0011417647,0.00023854246,0.00029769918,0.00041792463,0.4899027],"genre_scores_gemma":[0.98385495,0.0016454797,0.0068959002,0.00040640813,0.00017916448,0.000079234065,0.000064575215,0.00008578903,0.006788443],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9963553,0.0026678077,0.0000730806,0.00027732013,0.00034981407,0.00027670857],"domain_scores_gemma":[0.9950511,0.0039113187,0.00029017607,0.00033437146,0.00021393244,0.00019908695],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0033545992,0.0011483933,0.0003763899,0.0028380705,0.004679412,0.010482189,0.0014233042,0.0027521884,0.004900734],"category_scores_gemma":[0.0065681473,0.0006237276,0.00085870095,0.0012016629,0.02630346,0.020054918,0.006488825,0.0031534052,0.00047113438],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":"theoretical_or_conceptual","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000076260876,0.00002587773,0.0017193276,0.00031379692,0.000038525213,0.0011288897,0.46830115,0.0010360855,0.002370321,0.5108379,0.002331087,0.011820806],"study_design_scores_gemma":[0.00005445889,0.00019387393,0.0031591412,0.0006863285,0.00010591127,0.0024081636,0.40932012,0.006003427,0.0032834287,0.36268428,0.21199042,0.00011048268],"about_ca_topic_score_codex":0.002671734,"about_ca_topic_score_gemma":0.0020211297,"teacher_disagreement_score":0.010482189,"about_ca_system_score_codex":0.0023275653,"about_ca_system_score_gemma":0.0008779742,"threshold_uncertainty_score":0.017741024},"labels":[],"label_agreement":null},{"id":"W7133082104","doi":"","title":"The Politics of Exclusion and Retribution in the Hungarian Film Industry, 1929-1947","year":2020,"lang":"","type":"dissertation","venue":"TSpace","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Vector Institute; University of Toronto","funders":"","keywords":"Politics; Film industry; Entertainment industry; Government (linguistics); Nazism; The arts; Communism; Interwar period","score_opus":0.033719718556594946,"score_gpt":0.2896824069205877,"score_spread":0.2559626883639928,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133082104","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.88827616,0.0022911045,0.00038868812,0.0017382638,0.00009815053,0.00002761404,0.000093120536,0.000013987974,0.10707292],"genre_scores_gemma":[0.98496675,0.00040522337,0.000050328377,0.0002279276,0.00004082166,0.000009637472,0.00003636014,0.000011055636,0.014251829],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9981219,0.00028029774,0.00004819651,0.00016294567,0.00029663986,0.0010900242],"domain_scores_gemma":[0.9993949,0.0001593991,0.00014683945,0.000034431796,0.000096617034,0.00016771832],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0014283593,0.00030990387,0.0005146673,0.0015477173,0.010577592,0.0070278733,0.00083158683,0.0013646706,0.005801278],"category_scores_gemma":[0.0016025656,0.00039984856,0.00022302051,0.0016689729,0.010907918,0.001987869,0.00445135,0.002353964,0.0010529873],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0017949417,0.00041092327,0.06579734,0.0003486305,0.0000890198,0.008145011,0.33600947,0.0010487721,0.0052713626,0.4365361,0.01667757,0.12787083],"study_design_scores_gemma":[0.000073504714,0.00028162278,0.31324372,0.00027979675,0.000056442685,0.0012502054,0.13811082,0.00063090044,0.0036511312,0.007933406,0.5344081,0.00008031462],"about_ca_topic_score_codex":0.033446353,"about_ca_topic_score_gemma":0.036775216,"teacher_disagreement_score":0.033446353,"about_ca_system_score_codex":0.01442644,"about_ca_system_score_gemma":0.0034446483,"threshold_uncertainty_score":0.10467166},"labels":[],"label_agreement":null},{"id":"W7133419240","doi":"","title":"Mapping the Documentary Field: Independent Filmmaking and Television in Australia","year":2007,"lang":"en","type":"article","venue":"RUNE (Research UNE)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Field (mathematics); Quarter (Canadian coin); Broadcasting (networking); Public broadcasting; Documentary film","score_opus":0.16351906870033017,"score_gpt":0.3632336821494997,"score_spread":0.19971461344916952,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133419240","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.96807843,0.0011493094,0.0010293553,0.00085102575,0.000016253229,0.000090384754,0.00007319351,0.000005447655,0.028706457],"genre_scores_gemma":[0.99443567,0.0008029924,0.001035142,0.000047314512,0.000014066536,0.000034328248,0.00005302376,0.000007709215,0.0035698186],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9969061,0.0018926476,0.00012596256,0.00024909852,0.0005092443,0.0003169103],"domain_scores_gemma":[0.9878611,0.0068771048,0.0023264636,0.0005371918,0.001740553,0.0006576234],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0037307187,0.00018811265,0.00032988217,0.006245519,0.0039985743,0.0049824566,0.00081198156,0.0006701598,0.0033425193],"category_scores_gemma":[0.018157186,0.00041825947,0.00017890373,0.006674575,0.0052791177,0.004190607,0.0037405433,0.0013179755,0.0001782871],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001676856,0.00016384695,0.07137124,0.0004484107,0.000030493668,0.0010447091,0.79965127,0.0002224974,0.0019591213,0.02568448,0.0015922751,0.09766396],"study_design_scores_gemma":[0.000015894191,0.00014282974,0.40276,0.0005043794,0.000041614774,0.00033950948,0.5535242,0.0010022018,0.0008796042,0.0045202402,0.03622773,0.00004184711],"about_ca_topic_score_codex":0.10411319,"about_ca_topic_score_gemma":0.16765304,"teacher_disagreement_score":0.10411319,"about_ca_system_score_codex":0.0064293756,"about_ca_system_score_gemma":0.0030129405,"threshold_uncertainty_score":0.20701438},"labels":[],"label_agreement":null},{"id":"W7133763951","doi":"10.7202/1123760ar","title":"Provenanced Aesthetics","year":2025,"lang":"en","type":"article","venue":"Archivaria","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Ephemeral key; Conversation; Meaning (existential); Rationalization (economics); Close reading","score_opus":0.01835365870265452,"score_gpt":0.22534642004526537,"score_spread":0.20699276134261085,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7133763951","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.010276937,0.004168521,0.059595738,0.015396939,0.002806433,0.000085061016,0.00025310993,0.00024102148,0.90717626],"genre_scores_gemma":[0.7742543,0.005113122,0.026061682,0.003434181,0.0031522594,0.00032479834,0.000311141,0.0008749297,0.18647347],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9952028,0.00263186,0.00019089793,0.0007158686,0.00090577034,0.0003527583],"domain_scores_gemma":[0.9953365,0.002107946,0.0003193504,0.0012799399,0.00071671593,0.0002397282],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003915469,0.000735833,0.00038275082,0.0018939269,0.0065597417,0.013014003,0.0011693988,0.0017611436,0.021037431],"category_scores_gemma":[0.011637836,0.00032756806,0.0005723679,0.0017521149,0.023096707,0.013004457,0.005451125,0.003263515,0.0023476342],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000006098055,0.0000017820703,0.000053933654,0.000021338203,0.0000011067048,0.000045233934,0.004428986,0.000058137048,0.000061960505,0.9893768,0.0028804685,0.0030641744],"study_design_scores_gemma":[0.000009077445,0.000011881036,0.00014497191,0.0001314027,0.0000058827172,0.0002648571,0.00512871,0.0002836802,0.00016768285,0.4672424,0.52659905,0.000010492919],"about_ca_topic_score_codex":0.0038366439,"about_ca_topic_score_gemma":0.0038556512,"teacher_disagreement_score":0.021037431,"about_ca_system_score_codex":0.004227864,"about_ca_system_score_gemma":0.0027565316,"threshold_uncertainty_score":0.07037723},"labels":[],"label_agreement":null},{"id":"W7134347247","doi":"","title":"Escaping the body trap : David Cronenberg cinema","year":2011,"lang":"pl","type":"book-chapter","venue":"Jagiellonian University Repository (Jagiellonian University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Subject (documents); Trap (plumbing); Subject matter","score_opus":0.024510040672967817,"score_gpt":0.1651611515898204,"score_spread":0.14065111091685256,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7134347247","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01437392,0.19021343,0.0020373873,0.48431835,0.03713884,0.000090879505,0.00010952526,0.000193755,0.27152386],"genre_scores_gemma":[0.13926084,0.12033516,0.0043191407,0.07329823,0.011494823,0.00018081118,0.00008538049,0.00033676546,0.6506889],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999148,0.00034074544,0.00001691204,0.00014006734,0.000224135,0.0001300779],"domain_scores_gemma":[0.9992963,0.00022687277,0.000041283438,0.000017444803,0.00012774258,0.00029036542],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0015377516,0.00064683886,0.0003465622,0.001271992,0.00828738,0.0045150127,0.0013005951,0.002461523,0.012794065],"category_scores_gemma":[0.0026100657,0.00033122368,0.00022270686,0.00045259448,0.0049652574,0.0044776844,0.0034786274,0.006464114,0.0028041133],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030959403,0.00008450462,0.00056057033,0.00023722791,0.0000056753274,0.0006387296,0.024027908,0.000066243345,0.0004960582,0.044479217,0.8760584,0.05331438],"study_design_scores_gemma":[0.0000026158864,0.000009145495,0.00025686566,0.0001880189,0.0000018863528,0.0004630832,0.006590819,0.00002916311,0.000055740653,0.0015535573,0.99084026,0.0000088496145],"about_ca_topic_score_codex":0.030201918,"about_ca_topic_score_gemma":0.08602268,"teacher_disagreement_score":0.030201918,"about_ca_system_score_codex":0.0038488752,"about_ca_system_score_gemma":0.0031933298,"threshold_uncertainty_score":0.060052216},"labels":[],"label_agreement":null},{"id":"W7134522230","doi":"","title":"Of a Far-Off Sky","year":2013,"lang":"","type":"article","venue":"Bucknell Digital Commons (Bucknell University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Sunrise; Sky; Night sky; Beak","score_opus":0.022827181379222215,"score_gpt":0.1707653035594204,"score_spread":0.1479381221801982,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7134522230","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.005990733,0.0056505646,0.0025641627,0.015196661,0.01065395,0.0001112094,0.0048488253,0.0011931374,0.9537908],"genre_scores_gemma":[0.03803801,0.0038957845,0.0020485388,0.0050367983,0.002996387,0.000063333624,0.0028933971,0.00088217197,0.9441455],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999629,0.000076419325,0.0000108955755,0.00008300771,0.00011548981,0.00008516025],"domain_scores_gemma":[0.9990977,0.00011925675,0.000046228713,0.000113627495,0.00022478323,0.00039846607],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0005248912,0.00066681573,0.00038251645,0.0012757533,0.003845812,0.0042973533,0.0005605344,0.0013537923,0.3522522],"category_scores_gemma":[0.0016795605,0.0003282868,0.00052641885,0.0010195785,0.0009572516,0.003480585,0.0037472432,0.0020204603,0.10644969],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007968301,0.0000218843,0.00040358922,0.00013125235,0.000010442103,0.00023417504,0.00080064335,0.000048043432,0.0008222991,0.00648034,0.9518882,0.03907942],"study_design_scores_gemma":[0.0000054454663,0.000014752296,0.0012753676,0.00008605214,0.0000041085214,0.00015338228,0.00073488394,0.00002813787,0.00010710311,0.0006745452,0.9969105,0.0000055958867],"about_ca_topic_score_codex":0.0071049943,"about_ca_topic_score_gemma":0.024625259,"teacher_disagreement_score":0.3522522,"about_ca_system_score_codex":0.0010849051,"about_ca_system_score_gemma":0.0009831823,"threshold_uncertainty_score":0.9239336},"labels":[],"label_agreement":null},{"id":"W7134556541","doi":"","title":"Book review of \"Challenge for Change: activist documentary at the National Film Board of Canada\" edited by Thomas Waugh, Michael Brendan Baker, Ezra Winton. Montreal : McGill-Queen's University Press, 2010. ISBN: 978-0-7735-3662-3.&#13;\\n","year":2012,"lang":"","type":"article","venue":"ResearchOnline at James Cook University (James Cook University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Citizen journalism; Studio; Government (linguistics); Agency (philosophy); Film director","score_opus":0.026811828781790503,"score_gpt":0.2336681887143825,"score_spread":0.206856359932592,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7134556541","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0007012438,0.5524692,0.000728429,0.088607326,0.041935608,0.00015603071,0.0028545503,0.0002904725,0.3122572],"genre_scores_gemma":[0.00750072,0.30693892,0.0008315127,0.015375058,0.0056453506,0.00012382506,0.0023531325,0.0003150972,0.6609164],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99806505,0.00012927613,0.00004434896,0.00015529493,0.0013778924,0.00022815862],"domain_scores_gemma":[0.99666166,0.00045891877,0.00009469484,0.00008396622,0.0023272925,0.00037349632],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010389774,0.0013419061,0.0010952005,0.00522838,0.0060627265,0.008812362,0.0024534399,0.0028115953,0.055568904],"category_scores_gemma":[0.0035260979,0.00058282196,0.0004515443,0.012491987,0.002926302,0.003075728,0.0015029853,0.003118969,0.01613082],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000027367882,0.000003413148,0.000024485209,0.00018707379,0.0000013229625,0.00001751841,0.0001698358,0.000031849726,0.000024733488,0.001891669,0.9762948,0.021350715],"study_design_scores_gemma":[7.880957e-7,9.3288907e-7,0.00021269455,0.0002458084,0.0000011298588,0.000021330728,0.00014977124,0.0000082114875,0.000011864472,0.00012335942,0.99922,0.0000040329664],"about_ca_topic_score_codex":0.889056,"about_ca_topic_score_gemma":0.9539155,"teacher_disagreement_score":0.889056,"about_ca_system_score_codex":0.045063134,"about_ca_system_score_gemma":0.06117742,"threshold_uncertainty_score":0.32695746},"labels":[],"label_agreement":null},{"id":"W7135728297","doi":"","title":"Is Leonardo DiCaprio good investment?","year":2016,"lang":"cs","type":"dissertation","venue":"Digital Repository (National Repository of Grey Literature)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Revenue; Sample (material); Variable (mathematics); Star (game theory); Variables; Production (economics)","score_opus":0.013526481914726185,"score_gpt":0.22843311930802992,"score_spread":0.21490663739330373,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7135728297","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.94529015,0.0024826508,0.00016958115,0.0043267366,0.000065146836,0.000019960353,0.00016429002,0.0000075472353,0.047473975],"genre_scores_gemma":[0.995054,0.0014054875,0.000083275554,0.00017254865,0.000044957647,0.0000045877664,0.00007404463,0.0000028807526,0.0031581968],"study_design_codex":"observational","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992454,0.00031508697,0.000023325623,0.000083013845,0.00017660574,0.00015655611],"domain_scores_gemma":[0.99205506,0.0034616527,0.0030249848,0.00023107005,0.00047728475,0.00074996764],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012190958,0.00015081887,0.0002600927,0.0005251927,0.00048494796,0.0021356377,0.00023324258,0.00035117872,0.0070504867],"category_scores_gemma":[0.010660917,0.00011410649,0.00013783353,0.0009453943,0.0009923015,0.00078503694,0.000510087,0.00078930013,0.0005867749],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00094156916,0.000380053,0.8592407,0.0004646652,0.0002731773,0.0008258206,0.00461493,0.0003864892,0.0013960011,0.015804922,0.008807374,0.10686425],"study_design_scores_gemma":[0.000024024428,0.00024258216,0.9643016,0.00017985309,0.00015433553,0.00023861819,0.008738035,0.00036610858,0.00048501647,0.0014852002,0.023771018,0.000013479902],"about_ca_topic_score_codex":0.009497333,"about_ca_topic_score_gemma":0.012831074,"teacher_disagreement_score":0.009497333,"about_ca_system_score_codex":0.0011764521,"about_ca_system_score_gemma":0.00062411086,"threshold_uncertainty_score":0.023586214},"labels":[],"label_agreement":null},{"id":"W7135964471","doi":"","title":"Atom Egoyan's Films","year":2010,"lang":"sk","type":"dissertation","venue":"Digital Repository (National Repository of Grey Literature)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Narrative; Atom (system on chip); Subject (documents); Dysfunctional family; Subject matter; Film director; Feature (linguistics); Filmography","score_opus":0.009496359985184059,"score_gpt":0.22030396929822088,"score_spread":0.21080760931303683,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7135964471","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.11495002,0.006341003,0.00060301344,0.0108840475,0.0022686694,0.0001575634,0.0016934783,0.00012595374,0.86297625],"genre_scores_gemma":[0.45643863,0.008205905,0.0013345118,0.0010918465,0.00021058352,0.000046191704,0.00072655955,0.000111129,0.5318347],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993106,0.00008158996,0.000018556211,0.00008055717,0.00031145514,0.00019730495],"domain_scores_gemma":[0.99939024,0.000051400548,0.000029512852,0.00002643699,0.00034395437,0.00015840938],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00059243914,0.0003082487,0.00018990907,0.0012663455,0.0067222156,0.003230801,0.000414261,0.00046549365,0.016646374],"category_scores_gemma":[0.0012359233,0.00019818968,0.00017708573,0.0015936709,0.0011855029,0.00079488906,0.0013357913,0.0010064072,0.0016857738],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00029536526,0.00010044535,0.008087006,0.00062393665,0.00003160828,0.0020108544,0.08357506,0.00032917145,0.007589428,0.18164991,0.5627993,0.152908],"study_design_scores_gemma":[0.0000029081343,0.000010598488,0.00795708,0.000088277324,0.0000047893473,0.00019023346,0.012795805,0.00004911588,0.00084979273,0.00041342783,0.97762394,0.000013949344],"about_ca_topic_score_codex":0.5285293,"about_ca_topic_score_gemma":0.717172,"teacher_disagreement_score":0.5285293,"about_ca_system_score_codex":0.013250225,"about_ca_system_score_gemma":0.009735731,"threshold_uncertainty_score":0.9484946},"labels":[],"label_agreement":null},{"id":"W7139329675","doi":"","title":"The Fast Runner","year":2010,"lang":"","type":"article","venue":"Lincoln (University of Nebraska)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indigenous; Storytelling; Feature film; Legend; EPIC; Movie theater; Filmmaking; Front (military); Video production","score_opus":0.012347400158657724,"score_gpt":0.17436329775915074,"score_spread":0.162015897600493,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7139329675","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.022287792,0.004145672,0.0015099118,0.019183073,0.008453038,0.0000778897,0.0003679514,0.0004425142,0.9435322],"genre_scores_gemma":[0.0986083,0.0025006249,0.0014781458,0.005147873,0.00087739836,0.00004445207,0.00032407892,0.00053469,0.8904845],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989273,0.00019482723,0.000023787681,0.00023389881,0.00026497128,0.00035524502],"domain_scores_gemma":[0.999032,0.000067675595,0.000038557933,0.00008691916,0.00024485632,0.0005299565],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00081574096,0.0008483681,0.0003102107,0.00087200606,0.013633956,0.0073709455,0.0009005153,0.002106058,0.09068076],"category_scores_gemma":[0.0021537994,0.00035641858,0.00033854376,0.00062437594,0.0030365025,0.0056975703,0.005695782,0.003915962,0.017268369],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008464483,0.00006225339,0.0012435721,0.00013993582,0.000009828832,0.0010401424,0.03680979,0.000049027414,0.0016624359,0.08860899,0.79295653,0.07733288],"study_design_scores_gemma":[0.0000023764264,0.00001557697,0.0005785121,0.00007990082,0.000002386918,0.00029574882,0.008207172,0.000018185152,0.00014702191,0.00075425336,0.98988956,0.000009401262],"about_ca_topic_score_codex":0.035781715,"about_ca_topic_score_gemma":0.10405772,"teacher_disagreement_score":0.09068076,"about_ca_system_score_codex":0.0029555976,"about_ca_system_score_gemma":0.0032888532,"threshold_uncertainty_score":0.30335736},"labels":[],"label_agreement":null},{"id":"W7139331952","doi":"","title":"Disappearing Landscape","year":2013,"lang":"en","type":"article","venue":"UWA Profiles and Research Repository (University of Western Australia)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Expatriate; Immigration; League; Latin Americans; Face (sociological concept); Movie theater","score_opus":0.09533295259613588,"score_gpt":0.276060965999373,"score_spread":0.18072801340323713,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7139331952","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.07354652,0.003539159,0.0021952966,0.008504048,0.004208769,0.00006306595,0.0007232922,0.0006779265,0.90654206],"genre_scores_gemma":[0.3952377,0.0024850783,0.0016737271,0.0052985717,0.00043736692,0.00006522828,0.0012656905,0.001090762,0.59244585],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991866,0.00016115143,0.000024946876,0.00017303589,0.00014588686,0.0003083916],"domain_scores_gemma":[0.99955946,0.000032403033,0.000024951807,0.00008119527,0.00007878381,0.00022320685],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00050739374,0.00088811584,0.0005829914,0.0009684565,0.010199066,0.007938685,0.0011168108,0.0015640461,0.09948098],"category_scores_gemma":[0.0010357655,0.0003268428,0.0008367299,0.0009700379,0.0040846583,0.0060719685,0.007154763,0.0039926083,0.015299349],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00025451794,0.00014884355,0.0074680606,0.00039454343,0.000045490015,0.0055139754,0.11260639,0.00031219792,0.0027862133,0.14428808,0.5094437,0.21673806],"study_design_scores_gemma":[0.000005199909,0.000031977976,0.0021045904,0.00010672621,0.000009459508,0.0008091903,0.027599096,0.000042889398,0.00011638218,0.0017550617,0.96740746,0.000012033855],"about_ca_topic_score_codex":0.010603635,"about_ca_topic_score_gemma":0.030335253,"teacher_disagreement_score":0.09948098,"about_ca_system_score_codex":0.0019826565,"about_ca_system_score_gemma":0.0010952569,"threshold_uncertainty_score":0.33279705},"labels":[],"label_agreement":null},{"id":"W7140690551","doi":"10.5281/zenodo.19240819","title":"Modelagem de padrões de sucesso no IMDb (1960-2024) usando aprendizado de máquina e otimização de hiperparâmetros","year":2025,"lang":"pt","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Northwestern Polytechnic","funders":"","keywords":"Data collection; Principal component analysis; Random forest; Artificial neural network","score_opus":0.03759282565134082,"score_gpt":0.24780839110044434,"score_spread":0.21021556544910353,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7140690551","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8128926,0.0025046936,0.14927155,0.0016161418,0.00042194573,0.00032090925,0.014526308,0.0037176916,0.01472823],"genre_scores_gemma":[0.92700833,0.00086012884,0.042957958,0.0001547043,0.00006944459,0.0003762125,0.010582436,0.0005472163,0.017443594],"study_design_codex":"simulation_or_modeling","study_design_gemma":"simulation_or_modeling","domain_scores_codex":[0.9991511,0.00015988297,0.00004726465,0.0003374787,0.00018664781,0.00011756023],"domain_scores_gemma":[0.9963019,0.0018769883,0.00035422877,0.00038941705,0.0008644326,0.00021300679],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002327292,0.0011721507,0.0007136899,0.0015308427,0.00051359704,0.0023798202,0.0013287447,0.0010465288,0.00944015],"category_scores_gemma":[0.011966763,0.0005884868,0.0014255288,0.0015143992,0.00058442174,0.0019264596,0.0009605651,0.0017218745,0.0028492513],"study_design_candidate":"simulation_or_modeling","study_design_consensus":"simulation_or_modeling","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0024561014,0.0005893951,0.22692265,0.0012489079,0.0006593948,0.0007698952,0.0019180907,0.45635608,0.015641246,0.011810972,0.02397328,0.25765398],"study_design_scores_gemma":[0.00007243207,0.00047988063,0.13076049,0.00022767662,0.00022268963,0.00030095113,0.0008903173,0.82702607,0.008314581,0.008209113,0.023351483,0.00014431472],"about_ca_topic_score_codex":0.036047623,"about_ca_topic_score_gemma":0.02657669,"teacher_disagreement_score":0.036047623,"about_ca_system_score_codex":0.0015734544,"about_ca_system_score_gemma":0.0011844069,"threshold_uncertainty_score":0.07167566},"labels":[],"label_agreement":null},{"id":"W7140878875","doi":"10.5281/zenodo.19240818","title":"Modelagem de padrões de sucesso no IMDb (1960-2024) usando aprendizado de máquina e otimização de hiperparâmetros","year":2025,"lang":"pt","type":"article","venue":"Zenodo (CERN European Organization for Nuclear Research)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Northwestern Polytechnic","funders":"","keywords":"Data collection; Principal component analysis; Random forest; Artificial neural network","score_opus":0.03759282565134082,"score_gpt":0.24780839110044434,"score_spread":0.21021556544910353,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7140878875","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8128926,0.0025046936,0.14927155,0.0016161418,0.00042194573,0.00032090925,0.014526308,0.0037176916,0.01472823],"genre_scores_gemma":[0.92700833,0.00086012884,0.042957958,0.0001547043,0.00006944459,0.0003762125,0.010582436,0.0005472163,0.017443594],"study_design_codex":"simulation_or_modeling","study_design_gemma":"simulation_or_modeling","domain_scores_codex":[0.9991511,0.00015988297,0.00004726465,0.0003374787,0.00018664781,0.00011756023],"domain_scores_gemma":[0.9963019,0.0018769883,0.00035422877,0.00038941705,0.0008644326,0.00021300679],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002327292,0.0011721507,0.0007136899,0.0015308427,0.00051359704,0.0023798202,0.0013287447,0.0010465288,0.00944015],"category_scores_gemma":[0.011966763,0.0005884868,0.0014255288,0.0015143992,0.00058442174,0.0019264596,0.0009605651,0.0017218745,0.0028492513],"study_design_candidate":"simulation_or_modeling","study_design_consensus":"simulation_or_modeling","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0024561014,0.0005893951,0.22692265,0.0012489079,0.0006593948,0.0007698952,0.0019180907,0.45635608,0.015641246,0.011810972,0.02397328,0.25765398],"study_design_scores_gemma":[0.00007243207,0.00047988063,0.13076049,0.00022767662,0.00022268963,0.00030095113,0.0008903173,0.82702607,0.008314581,0.008209113,0.023351483,0.00014431472],"about_ca_topic_score_codex":0.036047623,"about_ca_topic_score_gemma":0.02657669,"teacher_disagreement_score":0.036047623,"about_ca_system_score_codex":0.0015734544,"about_ca_system_score_gemma":0.0011844069,"threshold_uncertainty_score":0.07167566},"labels":[],"label_agreement":null},{"id":"W7143635548","doi":"10.70675/6c194c23zedbez457ezbd44z2bc84c0176c6","title":"L’hybridation, de nouvelles formes cinématographiques amenées par les dernières technologies dans l’esthétique des films","year":2010,"lang":"","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Simulacrum; Beaker; Homogeneous","score_opus":0.018194090572691748,"score_gpt":0.23658771227772027,"score_spread":0.21839362170502852,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7143635548","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.09963863,0.009489605,0.042490613,0.007636832,0.0010365193,0.00014211959,0.00030652722,0.0002535949,0.8390057],"genre_scores_gemma":[0.78118765,0.005404689,0.016149145,0.0014730693,0.0005517429,0.00019580164,0.00021634523,0.0003277328,0.19449385],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9979005,0.0008857013,0.0000643842,0.0004877253,0.00045367278,0.00020800547],"domain_scores_gemma":[0.9981516,0.00085592415,0.00016030979,0.00037330878,0.00026707942,0.00019179269],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.002206703,0.0006373376,0.00031831957,0.0014556437,0.004889204,0.011606182,0.00079942704,0.0016106317,0.020720292],"category_scores_gemma":[0.0038648245,0.00041823596,0.00046268647,0.0012266056,0.009938248,0.008105035,0.00484372,0.0027331393,0.002708132],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000100745536,0.00003965119,0.0025888763,0.00046466198,0.000041352276,0.0006095565,0.13508451,0.00030310723,0.007215367,0.7800003,0.012650043,0.06090183],"study_design_scores_gemma":[0.000021982998,0.00007818551,0.0061191297,0.0005168868,0.000038268965,0.0015296438,0.04175599,0.00046463887,0.0021546301,0.046804555,0.90045595,0.000060059527],"about_ca_topic_score_codex":0.004128691,"about_ca_topic_score_gemma":0.0059121507,"teacher_disagreement_score":0.020720292,"about_ca_system_score_codex":0.0029240614,"about_ca_system_score_gemma":0.0016931914,"threshold_uncertainty_score":0.06931633},"labels":[],"label_agreement":null},{"id":"W7146190887","doi":"","title":"The Struggle for Gender Diversity in the Film Industry in Canada","year":2023,"lang":"ja","type":"article","venue":"Institutional Repositories DataBase (IRDB)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film industry; Diversity (politics); Gender diversity; Gender relations; Work (physics)","score_opus":0.07161578912509879,"score_gpt":0.2509525806716672,"score_spread":0.1793367915465684,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7146190887","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.8973398,0.0038486314,0.00036320288,0.028960086,0.00012453788,0.00005157934,0.0020957007,0.00004038968,0.067175984],"genre_scores_gemma":[0.9906221,0.0010585627,0.00012465939,0.00063562987,0.000019819901,0.0000068959666,0.00022582935,0.00001447158,0.007292069],"study_design_codex":"observational","study_design_gemma":"observational","domain_scores_codex":[0.9955669,0.0003858564,0.000115184615,0.00033337754,0.0016865565,0.0019120395],"domain_scores_gemma":[0.97954476,0.0031510603,0.001709964,0.00041363394,0.009358292,0.0058222977],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.003050431,0.00017096713,0.00046066058,0.0069755376,0.013829173,0.0091200555,0.0020326385,0.0010835556,0.010252801],"category_scores_gemma":[0.013879394,0.00030386145,0.00034435728,0.009545175,0.003668641,0.0019854864,0.0028747264,0.0016868865,0.00034683952],"study_design_candidate":"observational","study_design_consensus":"observational","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0004725235,0.00017354893,0.44196928,0.0003523412,0.00014777025,0.0019540351,0.14445755,0.0010259411,0.0015910983,0.11377265,0.06978284,0.22430038],"study_design_scores_gemma":[0.000018816168,0.00003880924,0.6021026,0.0005408305,0.00006494467,0.0003321055,0.25328583,0.0012958151,0.00062270794,0.0028558942,0.13874502,0.00009668462],"about_ca_topic_score_codex":0.9957455,"about_ca_topic_score_gemma":0.9983297,"teacher_disagreement_score":0.09834851,"about_ca_system_score_codex":0.09834851,"about_ca_system_score_gemma":0.14106664,"threshold_uncertainty_score":0.7135718},"labels":[],"label_agreement":null},{"id":"W7148379489","doi":"10.7202/1124260ar","title":"Introduction (fr)","year":2024,"lang":"fr","type":"article","venue":"Minorités linguistiques et société","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Concordia University; Université du Québec à Montréal; University of Ottawa","funders":"","keywords":"Ethnic group; Government (linguistics); Field (mathematics); Subject (documents)","score_opus":0.033498261773919014,"score_gpt":0.31387189856176084,"score_spread":0.28037363678784183,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7148379489","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011434846,0.014295633,0.0016420657,0.02090854,0.13027442,0.00029294082,0.020388024,0.0020645743,0.80899036],"genre_scores_gemma":[0.0060571413,0.0044174865,0.00061248895,0.0046454477,0.022406729,0.00015479943,0.0064107995,0.0006204598,0.95467466],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9987143,0.0001174853,0.000100614205,0.0002631427,0.0006522217,0.00015228179],"domain_scores_gemma":[0.9975007,0.0002908147,0.00019413051,0.0001988155,0.001567496,0.00024803044],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.00083755236,0.0015119425,0.00092993013,0.0025038894,0.0012928593,0.0034051004,0.001347395,0.0027053915,0.64766675],"category_scores_gemma":[0.004162246,0.0003503464,0.0009277186,0.001285344,0.0004965118,0.002228113,0.001965693,0.0016912073,0.53439397],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002870076,0.000010631817,0.0000662304,0.00016813606,0.0000025159413,0.000040531802,0.000027173228,0.000028833323,0.00021620867,0.002482655,0.9569523,0.039976086],"study_design_scores_gemma":[0.0000032235885,0.00000930295,0.00026253617,0.00009716063,0.0000012409682,0.000032394306,0.000014604404,0.0000095596615,0.00006569692,0.00037174788,0.9991291,0.0000034246855],"about_ca_topic_score_codex":0.010838695,"about_ca_topic_score_gemma":0.00892571,"teacher_disagreement_score":0.35233325,"about_ca_system_score_codex":0.0026216493,"about_ca_system_score_gemma":0.0013140491,"threshold_uncertainty_score":0.5025606},"labels":[],"label_agreement":null},{"id":"W7149660526","doi":"10.70675/ccb2d715z6fbfz40bdz89c8zd97c83b90844","title":"« Blended together in one great symphony » : documentaires officiels britanniques de la Seconde Guerre mondiale et paysage sonore de la nation","year":2020,"lang":"","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"First world war; World War II; Spanish Civil War; Nova scotia","score_opus":0.022051299500121146,"score_gpt":0.2738181562081352,"score_spread":0.2517668567080141,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7149660526","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19407406,0.03611255,0.001774748,0.062133964,0.012808358,0.0001882527,0.00040031827,0.0001593427,0.69234836],"genre_scores_gemma":[0.5458205,0.015451882,0.0017072657,0.0076310006,0.0011262663,0.00016794406,0.0002862063,0.00021366471,0.42759538],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9978682,0.0008185802,0.000096359836,0.00016882896,0.00072225573,0.00032575612],"domain_scores_gemma":[0.99716645,0.0011422313,0.00019284338,0.00020083925,0.0005293236,0.00076834124],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0032433681,0.0007916691,0.00029720634,0.0021449926,0.011288564,0.010734418,0.0011220789,0.0022902447,0.024314292],"category_scores_gemma":[0.003916996,0.00033981827,0.00021457388,0.0022910077,0.0069919163,0.003614208,0.005556513,0.0045763482,0.0032304234],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00019802518,0.00014758855,0.003348149,0.0013300526,0.000028101816,0.001293128,0.5627168,0.00022398592,0.007815838,0.21956256,0.10167943,0.101656444],"study_design_scores_gemma":[0.0000045270394,0.00002586789,0.0034310233,0.00027842235,0.0000065603544,0.00011794228,0.057153083,0.00003207984,0.0004695889,0.0009792969,0.93747777,0.00002394466],"about_ca_topic_score_codex":0.052760914,"about_ca_topic_score_gemma":0.18254112,"teacher_disagreement_score":0.052760914,"about_ca_system_score_codex":0.009440627,"about_ca_system_score_gemma":0.01118227,"threshold_uncertainty_score":0.10490757},"labels":[],"label_agreement":null},{"id":"W7152440449","doi":"10.70675/ea068830z435az4696z8c2az1c26208bff63","title":"La Mode et les Arts : un enseignement de la mode responsable lié aux pratiques artistiques","year":2025,"lang":"","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Public space; Cultural environment; Ethnic community; Handicraft","score_opus":0.02805011886564,"score_gpt":0.319773562128951,"score_spread":0.291723443263311,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7152440449","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.05773659,0.025861641,0.015288656,0.046564095,0.002113474,0.00007804983,0.00019802514,0.00017210073,0.85198736],"genre_scores_gemma":[0.8397248,0.011304182,0.004292851,0.0027884874,0.0010828092,0.000110822926,0.000052702497,0.00019023131,0.14045309],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9973225,0.0013217251,0.000056943652,0.00031585334,0.0006215563,0.00036144326],"domain_scores_gemma":[0.9968575,0.0014276694,0.0002479147,0.00041696063,0.0005992877,0.00045062785],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0031166049,0.00067587924,0.0003727928,0.0022436355,0.0109896315,0.014852971,0.0011684179,0.0024134195,0.015228614],"category_scores_gemma":[0.0045456477,0.0003271804,0.00024375219,0.0019322976,0.03108083,0.00803313,0.0053201756,0.0038209788,0.001377711],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000050922354,0.000014420901,0.0019457999,0.0001804583,0.0000056127815,0.00023812479,0.15360416,0.000095300384,0.0008381201,0.7708379,0.014893081,0.057296067],"study_design_scores_gemma":[0.0000102842405,0.000045934645,0.0046588094,0.0009510606,0.000008877314,0.00056848896,0.08598175,0.0002826077,0.00048013325,0.068734236,0.8382416,0.00003605964],"about_ca_topic_score_codex":0.08044722,"about_ca_topic_score_gemma":0.115505904,"teacher_disagreement_score":0.08044722,"about_ca_system_score_codex":0.009194407,"about_ca_system_score_gemma":0.007823462,"threshold_uncertainty_score":0.15995795},"labels":[],"label_agreement":null},{"id":"W7154837954","doi":"10.59236/emro.v27i10a124","title":"Mom","year":2025,"lang":"","type":"article","venue":"Educational Media Reviews Online","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Portrait; Documentary film; Conversation; Harm; Movie theater; Feature film","score_opus":0.0626093142274504,"score_gpt":0.32225715158809987,"score_spread":0.25964783736064945,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7154837954","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016072472,0.0010856325,0.00083260355,0.0055213203,0.006785074,0.00017615932,0.0014433337,0.0011984541,0.98135006],"genre_scores_gemma":[0.0037049598,0.0003715153,0.00033036797,0.0011861554,0.00041674258,0.000046970497,0.0005296643,0.00033307655,0.99308056],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994685,0.000082619124,0.000019688281,0.00012766679,0.00018447207,0.00011713206],"domain_scores_gemma":[0.9992378,0.000044460943,0.000030126213,0.00007837057,0.00024036963,0.00036892388],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00045637964,0.00078862056,0.000506092,0.0006686979,0.0029964151,0.003982317,0.0010094768,0.001339438,0.8302963],"category_scores_gemma":[0.0018301673,0.00036698362,0.00032890678,0.0005382544,0.00038132042,0.003434686,0.0049725166,0.0017360863,0.57017577],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000409215,0.000029346555,0.00019285857,0.00008410563,0.0000019908628,0.00014034186,0.00043506615,0.000016678116,0.00032708302,0.0033829212,0.92180145,0.07354731],"study_design_scores_gemma":[0.0000028662082,0.0000071013183,0.00018271817,0.000029314919,7.0859653e-7,0.000077396006,0.00029482483,0.000011126604,0.000039833856,0.00016837442,0.99918336,0.0000023972655],"about_ca_topic_score_codex":0.002369705,"about_ca_topic_score_gemma":0.0056705265,"teacher_disagreement_score":0.8302963,"about_ca_system_score_codex":0.0009119714,"about_ca_system_score_gemma":0.0010199492,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7155208438","doi":"10.7202/1124297ar","title":"Lizée’s <i>Katana of Choice</i> (2014/2016)","year":2025,"lang":"en","type":"article","venue":"Revue musicale OICRM","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Identification (biology); Process (computing); Product (mathematics)","score_opus":0.023464300283138013,"score_gpt":0.22353618095916308,"score_spread":0.20007188067602508,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7155208438","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0013631495,0.14264345,0.0026041633,0.6100815,0.058244977,0.000048882393,0.0019353791,0.00033992107,0.18273859],"genre_scores_gemma":[0.049002625,0.054943632,0.0026012924,0.059778765,0.02530034,0.00015319469,0.0011786808,0.0007654039,0.80627614],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99859947,0.00049713114,0.00004973357,0.00025117857,0.00040179474,0.00020068069],"domain_scores_gemma":[0.99742585,0.0010972032,0.00016748511,0.00014369724,0.0006362164,0.0005294951],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0020093475,0.0006599737,0.00050973974,0.0012923293,0.0035885246,0.0070349807,0.0007513901,0.003480147,0.07645297],"category_scores_gemma":[0.008206014,0.00028728598,0.00039018423,0.0012025561,0.0021455532,0.007153604,0.0027078823,0.004791612,0.019692421],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000013968886,0.0000070257192,0.00009406926,0.000050794446,0.0000036134447,0.000017287677,0.00035278924,0.00001051259,0.00003746019,0.031561773,0.95555675,0.012293999],"study_design_scores_gemma":[0.0000025050658,0.0000026124217,0.00034467547,0.00014566911,0.000001571483,0.000024204042,0.00026724208,0.000020004847,0.00005261726,0.004418275,0.99471384,0.000006657052],"about_ca_topic_score_codex":0.011810594,"about_ca_topic_score_gemma":0.027931605,"teacher_disagreement_score":0.07645297,"about_ca_system_score_codex":0.0034249332,"about_ca_system_score_gemma":0.0025910854,"threshold_uncertainty_score":0.25576067},"labels":[],"label_agreement":null},{"id":"W7160846260","doi":"10.7202/1124690ar","title":"Introduction (fr)","year":2025,"lang":"fr","type":"article","venue":"Minorités linguistiques et société","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Université du Québec à Trois-Rivières; University of Victoria","funders":"","keywords":"Identity (music); Subject (documents)","score_opus":0.02540067396384294,"score_gpt":0.3123621337292149,"score_spread":0.28696145976537196,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7160846260","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012386708,0.009633199,0.0015463721,0.0253497,0.1943074,0.0002788196,0.015849574,0.0018743314,0.74992186],"genre_scores_gemma":[0.0068516876,0.0025387742,0.0005058783,0.005817323,0.033008307,0.00013203622,0.0047781947,0.0006391907,0.9457287],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99872786,0.00012193402,0.000109374145,0.00026576943,0.0006060389,0.00016902761],"domain_scores_gemma":[0.99705195,0.00031244592,0.00022157974,0.00021099554,0.0018755572,0.00032749362],"candidate_categories":["insufficient_payload"],"consensus_categories":["insufficient_payload"],"category_scores_codex":[0.0010332144,0.0015561195,0.00094410346,0.0023778216,0.0013481753,0.0030789697,0.0013332678,0.0028225256,0.6242569],"category_scores_gemma":[0.004408721,0.00035268228,0.00084403733,0.0010192484,0.00046427475,0.00216683,0.001862408,0.0016707258,0.49285796],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000031014813,0.0000110396095,0.00006638747,0.00012184271,0.0000022799911,0.000047155747,0.00002417572,0.000020647356,0.00022164728,0.0019030855,0.9674876,0.030063082],"study_design_scores_gemma":[0.0000041116114,0.00001011619,0.00029224152,0.00007640125,0.000001265335,0.00003640823,0.000012480253,0.000009652623,0.000067635876,0.00035913062,0.99912673,0.0000037447935],"about_ca_topic_score_codex":0.0089133885,"about_ca_topic_score_gemma":0.008644362,"teacher_disagreement_score":0.3757431,"about_ca_system_score_codex":0.0025902623,"about_ca_system_score_gemma":0.0010807079,"threshold_uncertainty_score":0.5359519},"labels":[],"label_agreement":null},{"id":"W7161685198","doi":"10.3138/cjfms-2025-0021","title":"“Prospectors With Vision”: Montreal and Crawley Films’ <i>Expo 67</i> (1965)","year":2025,"lang":"en","type":"article","venue":"Canadian Journal of Film and Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Brock University","funders":"","keywords":"Corporation; Focus (optics); Government (linguistics)","score_opus":0.01579976916887329,"score_gpt":0.2182870428705214,"score_spread":0.2024872737016481,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161685198","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.1207542,0.018415187,0.00090195955,0.08235997,0.0015433226,0.000054955355,0.000460811,0.00005335806,0.77545625],"genre_scores_gemma":[0.8830044,0.0071526864,0.00034577525,0.0031931566,0.0004930077,0.000018958905,0.00009226628,0.00004158902,0.10565815],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993074,0.00027041134,0.0000070087744,0.000048851427,0.00017964678,0.00018666008],"domain_scores_gemma":[0.9987336,0.00042147047,0.00014442236,0.00005139176,0.00022716535,0.00042202897],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009544002,0.0003351753,0.0001048003,0.001056947,0.007997878,0.0077294796,0.00052745827,0.0012720798,0.011460388],"category_scores_gemma":[0.003981875,0.00025993478,0.00012303013,0.0021640891,0.007149512,0.0036365998,0.0014417507,0.0021560641,0.00046232628],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00009922058,0.00005516404,0.005761182,0.00010653935,0.000011497638,0.0007991842,0.16153318,0.00017365148,0.0003694682,0.5185723,0.2738634,0.038655214],"study_design_scores_gemma":[0.000012199054,0.000015591568,0.016860696,0.00016297452,0.000007796338,0.00015081264,0.05650763,0.00010524575,0.00019010565,0.0061506126,0.91980666,0.000029714927],"about_ca_topic_score_codex":0.7350894,"about_ca_topic_score_gemma":0.8885634,"teacher_disagreement_score":0.26491058,"about_ca_system_score_codex":0.022855159,"about_ca_system_score_gemma":0.008621019,"threshold_uncertainty_score":0.53294134},"labels":[],"label_agreement":null},{"id":"W7161690320","doi":"10.59236/emro.v27i2a8403","title":"Intercepted","year":2025,"lang":"","type":"article","venue":"Educational Media Reviews Online","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Active listening; Narrative; Phone; Context (archaeology)","score_opus":0.06421244632043162,"score_gpt":0.32742691191905354,"score_spread":0.26321446559862194,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161690320","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011685513,0.0008251599,0.0005565369,0.00093000755,0.0030577057,0.0001658053,0.002412913,0.0009372074,0.98994607],"genre_scores_gemma":[0.0017186945,0.00040001774,0.00023469879,0.00018666635,0.000216058,0.000029773735,0.00091856526,0.00022766797,0.9960679],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9997329,0.000023339986,0.000011043602,0.00006708106,0.00011279319,0.000052881598],"domain_scores_gemma":[0.99967647,0.0000292747,0.000013183419,0.000040063638,0.00013360025,0.000107339445],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0002912273,0.0008779191,0.0004144208,0.00086020934,0.0015009751,0.0040137097,0.000705085,0.0010109614,0.86980987],"category_scores_gemma":[0.0008034502,0.00037298742,0.0003950922,0.0006072165,0.00030877168,0.0022399654,0.0025708326,0.0013901653,0.60779756],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000820389,0.000037571754,0.00015935022,0.00013377173,0.000003254392,0.00012592676,0.00020784276,0.000034850807,0.0012512554,0.0024456456,0.8942346,0.101283856],"study_design_scores_gemma":[0.00000860291,0.000019622446,0.00057097827,0.00006010318,0.000001924804,0.00007809995,0.00019755472,0.000034606277,0.00016358942,0.0002221591,0.9986394,0.0000033776018],"about_ca_topic_score_codex":0.0034538847,"about_ca_topic_score_gemma":0.009503292,"teacher_disagreement_score":0.86980987,"about_ca_system_score_codex":0.00075802905,"about_ca_system_score_gemma":0.00070360187,"threshold_uncertainty_score":0.18570036},"labels":[],"label_agreement":null},{"id":"W7161694879","doi":"10.3138/cjfms-2023-0041","title":"Contemporary Latinx-Canadian and Latinx-Québecois Cinemas: A Diasporic Gaze","year":2025,"lang":"en","type":"article","venue":"Canadian Journal of Film and Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"Université de Montréal","funders":"","keywords":"Liminality; Gaze; Latin Americans; Perspective (graphical); Space (punctuation); Diaspora","score_opus":0.04877824748759402,"score_gpt":0.23533255872013506,"score_spread":0.18655431123254104,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161694879","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.60825753,0.018177059,0.0016692141,0.028048296,0.00076718663,0.00010719546,0.0006651187,0.00011546496,0.34219298],"genre_scores_gemma":[0.9504891,0.0057926946,0.00063187454,0.0011762053,0.00006644233,0.0000368781,0.00012563984,0.00004709113,0.041634165],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990852,0.00026369595,0.000014217333,0.00010531208,0.00017252157,0.0003590556],"domain_scores_gemma":[0.99856704,0.00029544125,0.000085099564,0.000039369632,0.0005708677,0.00044220142],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013767108,0.0006085963,0.00026592484,0.0019034024,0.02197329,0.008388593,0.0009893007,0.0011638353,0.008232562],"category_scores_gemma":[0.0026920442,0.00017397258,0.00019248646,0.003254754,0.009949952,0.0014200053,0.0025090028,0.0013407979,0.00023998161],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0001224697,0.000036098518,0.011971762,0.00022546045,0.000025266401,0.0013121971,0.8361497,0.00020695452,0.0017423596,0.07336797,0.03546865,0.03937116],"study_design_scores_gemma":[0.0000036501135,0.000011867878,0.014167092,0.00026253937,0.000018131836,0.00022939168,0.66877997,0.00010968004,0.00025376334,0.0008059078,0.31533208,0.000025940573],"about_ca_topic_score_codex":0.98316956,"about_ca_topic_score_gemma":0.99355,"teacher_disagreement_score":0.07700309,"about_ca_system_score_codex":0.07700309,"about_ca_system_score_gemma":0.042171758,"threshold_uncertainty_score":0.55869913},"labels":[],"label_agreement":null},{"id":"W7161700073","doi":"10.59236/emro.v27i6a439","title":"Candy Mountain","year":2025,"lang":"","type":"article","venue":"Educational Media Reviews Online","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Character (mathematics); Order (exchange); Focus (optics); Cash; Natural (archaeology)","score_opus":0.05250227706261952,"score_gpt":0.31974898104287114,"score_spread":0.26724670398025163,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161700073","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00056044315,0.0008777732,0.0005463009,0.0012487773,0.0018458599,0.00006528792,0.0013918309,0.0011059023,0.9923579],"genre_scores_gemma":[0.0012993236,0.0004135997,0.00031230593,0.0002552321,0.00016374643,0.000021008931,0.00073258794,0.00036969795,0.9964323],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996433,0.000025669824,0.000011701259,0.00010687155,0.0001520876,0.00006040679],"domain_scores_gemma":[0.99946517,0.000040153696,0.00002006212,0.00007587867,0.00018410379,0.0002147575],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00034545947,0.00088873046,0.00049549795,0.0011682687,0.002720623,0.0056578023,0.00093802135,0.0011416869,0.8479711],"category_scores_gemma":[0.00096254353,0.0003640224,0.0004744222,0.0009614679,0.00034987094,0.002917289,0.0031220454,0.0018232143,0.586232],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048908852,0.000026841557,0.00010961977,0.00007280771,0.0000038698854,0.00009589587,0.00010425523,0.000038703965,0.0004821543,0.0046970686,0.9247027,0.06961713],"study_design_scores_gemma":[0.0000049207183,0.000005226715,0.00021080996,0.000024177283,9.194949e-7,0.000029175195,0.00007129076,0.000023238143,0.000054268316,0.000229928,0.9993436,0.0000024038545],"about_ca_topic_score_codex":0.006435053,"about_ca_topic_score_gemma":0.017463041,"teacher_disagreement_score":0.8479711,"about_ca_system_score_codex":0.0009057239,"about_ca_system_score_gemma":0.0009356626,"threshold_uncertainty_score":0.2168507},"labels":[],"label_agreement":null},{"id":"W7161714712","doi":"10.3138/cjfms-2025-0017","title":"Kartemquin Films: Documentaries on the Frontlines of Democracy. By Patricia Aufderheide","year":2025,"lang":"en","type":"article","venue":"Canadian Journal of Film and Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Narrative; Government (linguistics); Perspective (graphical); Agency (philosophy)","score_opus":0.02572954328028195,"score_gpt":0.23102036331066253,"score_spread":0.20529082003038057,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161714712","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0034504656,0.34388304,0.00094176823,0.20733526,0.059510916,0.00007920235,0.0027811285,0.000353983,0.3816642],"genre_scores_gemma":[0.065293975,0.13940129,0.0013238767,0.010144282,0.023224091,0.00010431862,0.0013186241,0.0007957446,0.75839376],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99942905,0.00014131042,0.000030836276,0.000084981875,0.00024799615,0.00006569496],"domain_scores_gemma":[0.9986933,0.0007133517,0.00013742236,0.000081683706,0.00022693576,0.00014739373],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009671551,0.0008441979,0.00040981,0.0018160794,0.0022114094,0.0042091273,0.00051174936,0.0014134801,0.048664007],"category_scores_gemma":[0.003591363,0.0005885126,0.00018069026,0.0017893203,0.0013327479,0.0024632365,0.0019257317,0.0032267373,0.011460604],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000148812705,0.0000047143003,0.000051721363,0.0001188085,0.0000021849871,0.00004404005,0.0009577797,0.00004605224,0.00011611234,0.011806142,0.959987,0.02685065],"study_design_scores_gemma":[0.000002349029,0.0000020079071,0.00046441567,0.00019840208,8.1401294e-7,0.000036263362,0.00029511852,0.000019913292,0.00006288033,0.0005958577,0.99831945,0.0000025024344],"about_ca_topic_score_codex":0.014033681,"about_ca_topic_score_gemma":0.030687649,"teacher_disagreement_score":0.048664007,"about_ca_system_score_codex":0.0018744816,"about_ca_system_score_gemma":0.0014106097,"threshold_uncertainty_score":0.16279733},"labels":[],"label_agreement":null},{"id":"W7161721530","doi":"10.3138/cjfms-2025-0031","title":"Getting Credit: Judith Crawley, Camerawoman","year":2025,"lang":"en","type":"article","venue":"Canadian Journal of Film and Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Alberta","funders":"","keywords":"Amateur; Professionalization; Film director; Casual; Order (exchange); Screenwriting; State (computer science); Craft","score_opus":0.0320288796989707,"score_gpt":0.24063475093339406,"score_spread":0.20860587123442337,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161721530","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.013174709,0.03588835,0.003065662,0.48225546,0.038822792,0.000191361,0.0011331241,0.0009455983,0.42452303],"genre_scores_gemma":[0.07071813,0.015215125,0.0025969644,0.041347302,0.0049602976,0.000080738544,0.00040045055,0.00060619315,0.86407465],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99864787,0.00024221925,0.00004591359,0.00024302029,0.00063633587,0.0001845894],"domain_scores_gemma":[0.9943039,0.0009779315,0.00029010474,0.00023239234,0.0022313728,0.0019643048],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010477643,0.00042811417,0.000356396,0.001947833,0.0076263906,0.00601009,0.00077206094,0.0019351201,0.12014904],"category_scores_gemma":[0.013890487,0.00031109832,0.00013178098,0.001717567,0.0020618192,0.004377479,0.001954955,0.002510884,0.020616274],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0000074504883,0.000005888719,0.0005843924,0.00003271066,0.0000012082285,0.00016819766,0.0016086157,0.000007789035,0.00011984785,0.0029097588,0.9708642,0.023690082],"study_design_scores_gemma":[0.0000034175396,0.000004386931,0.001174258,0.0001078219,0.0000024148876,0.0002873603,0.0046850042,0.000036280067,0.00011530309,0.000533749,0.99303883,0.0000112741],"about_ca_topic_score_codex":0.13916875,"about_ca_topic_score_gemma":0.287733,"teacher_disagreement_score":0.13916875,"about_ca_system_score_codex":0.005325232,"about_ca_system_score_gemma":0.00512282,"threshold_uncertainty_score":0.40193862},"labels":[],"label_agreement":null},{"id":"W7161736455","doi":"10.3138/cjfms-2024-0047","title":"Establishing Shots: an Oral History of the Winnipeg Film Group. By Kevin Nikkel","year":2025,"lang":"en","type":"article","venue":"Canadian Journal of Film and Media Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"University of Winnipeg","funders":"","keywords":"Oral history; White (mutation); George (robot)","score_opus":0.03758248311597517,"score_gpt":0.22372292178355904,"score_spread":0.18614043866758387,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161736455","genre_codex":"review","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.021188715,0.35155162,0.001472246,0.3182025,0.03299814,0.0002527396,0.0007374559,0.00012342085,0.27347314],"genre_scores_gemma":[0.17585656,0.19667058,0.003756708,0.01832608,0.009043643,0.00012978347,0.0006114886,0.00065208616,0.5949531],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.9985329,0.00035437607,0.00005877644,0.00016558755,0.00055938703,0.0003289492],"domain_scores_gemma":[0.9974976,0.0006736595,0.00013784025,0.00009119351,0.0008173443,0.0007822659],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0028767583,0.0005687786,0.00044475074,0.0020596334,0.0075153955,0.008031979,0.0009788405,0.0017831593,0.014763864],"category_scores_gemma":[0.006721273,0.00057411764,0.000126648,0.002068716,0.002866007,0.0039063445,0.0037747787,0.002493252,0.0023010492],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042674452,0.000024676796,0.00059639337,0.00027310385,0.0000075508137,0.00020981119,0.017067593,0.000056044246,0.00048474345,0.022050021,0.81806254,0.14112481],"study_design_scores_gemma":[0.0000016843952,0.000005457118,0.0012605876,0.00018499815,0.0000020717407,0.000043170243,0.005311649,0.000011895073,0.00012991184,0.0004062524,0.992636,0.0000063256666],"about_ca_topic_score_codex":0.33894122,"about_ca_topic_score_gemma":0.5938265,"teacher_disagreement_score":0.6610588,"about_ca_system_score_codex":0.008136907,"about_ca_system_score_gemma":0.008972369,"threshold_uncertainty_score":0.6739367},"labels":[],"label_agreement":null},{"id":"W7161782292","doi":"10.82308/40456","title":"The sound of government realism: The politics and aesthetics of NFB film music, 1939-1964","year":2024,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Politics; Filmmaking; Movie theater; Popular music","score_opus":0.022384942433427944,"score_gpt":0.23024288364275006,"score_spread":0.2078579412093221,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161782292","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.16393487,0.00452441,0.0010959588,0.017636502,0.00048350636,0.000031377633,0.00009919198,0.00004449389,0.8121497],"genre_scores_gemma":[0.9549816,0.0006199772,0.00019928782,0.0005029273,0.00007667895,0.000014377941,0.000020297894,0.000042645268,0.043542136],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9978446,0.00088365556,0.00002893664,0.00020463661,0.0005236509,0.0005145948],"domain_scores_gemma":[0.9991905,0.00030777344,0.000081206796,0.00007579946,0.00017281131,0.00017187446],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001871758,0.00040948568,0.00027265714,0.0018553388,0.021149872,0.010796117,0.0007269245,0.0016392447,0.008374376],"category_scores_gemma":[0.0037787145,0.0002626642,0.0001817403,0.0017564838,0.031875465,0.0020669647,0.0026080194,0.0028380353,0.00046941233],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010047464,0.0000175973,0.0017776687,0.00006489048,0.000007456767,0.00028144807,0.366863,0.00016539736,0.0007074935,0.5952251,0.015113318,0.019676136],"study_design_scores_gemma":[0.000027187541,0.000029150426,0.012606533,0.00036997205,0.000013918799,0.00022849305,0.2480949,0.00029772366,0.0005247094,0.025310058,0.7124642,0.000033144035],"about_ca_topic_score_codex":0.56624836,"about_ca_topic_score_gemma":0.7104706,"teacher_disagreement_score":0.43375164,"about_ca_system_score_codex":0.05826427,"about_ca_system_score_gemma":0.010377002,"threshold_uncertainty_score":0.8726122},"labels":[],"label_agreement":null},{"id":"W7161959030","doi":"10.82308/20518","title":"1979 : reading the tax-shelter boom in Canadian film history","year":2004,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Hollywood; Movie theater; Boom; Historiography; Feature film; Film industry; Film studies; Style (visual arts); Period (music)","score_opus":0.023261316452702428,"score_gpt":0.21040018009563255,"score_spread":0.18713886364293011,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161959030","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.08723354,0.3008739,0.0009531562,0.09664198,0.004104497,0.00013270874,0.0015584307,0.00009637729,0.5084053],"genre_scores_gemma":[0.7329274,0.16671361,0.0012955009,0.005591797,0.0010747518,0.00006443046,0.00075081986,0.00010620305,0.09147549],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99876475,0.00017249961,0.00004651557,0.00012089916,0.00064109784,0.0002541119],"domain_scores_gemma":[0.99729997,0.0007295789,0.00015292432,0.00004713436,0.001550432,0.00022001623],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013177426,0.00046231286,0.00024619623,0.005088064,0.01337858,0.008030069,0.00096000935,0.0013477749,0.00616132],"category_scores_gemma":[0.0052057984,0.00034028967,0.00014515345,0.008081852,0.006852638,0.002821868,0.0010445835,0.0016560496,0.0004659127],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000074032854,0.000025431496,0.006787225,0.0014604107,0.000021746508,0.0012154455,0.24665861,0.00030162465,0.0014865883,0.18872905,0.38876978,0.16447017],"study_design_scores_gemma":[0.0000029611945,0.000007225041,0.019363262,0.0010327884,0.000020232137,0.00016043318,0.056492116,0.00007062073,0.00042282947,0.0019513874,0.92045087,0.00002521835],"about_ca_topic_score_codex":0.98605067,"about_ca_topic_score_gemma":0.993932,"teacher_disagreement_score":0.13422792,"about_ca_system_score_codex":0.13422792,"about_ca_system_score_gemma":0.07032152,"threshold_uncertainty_score":0.97389627},"labels":[],"label_agreement":null},{"id":"W7161979435","doi":"10.82308/16466","title":"Racial diversity's journey to constancy : initiatives for redressing the colour imbalance in documentary filmaking at the National Film Board of Canada","year":2001,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Redress; Diversity (politics); Action (physics); Racism; Documentary film; People of color; Natural (archaeology)","score_opus":0.04140893497831667,"score_gpt":0.2807254177707458,"score_spread":0.23931648279242912,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161979435","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.66259825,0.003199224,0.002161986,0.12395354,0.0003167952,0.00015981053,0.000095299365,0.00003936073,0.20747562],"genre_scores_gemma":[0.9853694,0.0010774211,0.00077697076,0.0023865546,0.000034803863,0.00002224259,0.000021210913,0.000014887522,0.010296666],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.994842,0.0017559231,0.000055570297,0.00024119882,0.0011256147,0.0019796728],"domain_scores_gemma":[0.9937237,0.0010979703,0.0005867567,0.00015011948,0.0014531948,0.0029882852],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.005255051,0.00018091197,0.00021710036,0.0013701133,0.025226755,0.013808611,0.0016012646,0.0015588714,0.0035865833],"category_scores_gemma":[0.010545542,0.00018468258,0.00014536091,0.0021070442,0.010350011,0.0027322879,0.0052374927,0.0031404898,0.00016645475],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014558184,0.0003601909,0.061271682,0.00023858533,0.000029305342,0.00078280683,0.42037103,0.000795391,0.0015501261,0.2910033,0.061095245,0.16235681],"study_design_scores_gemma":[0.00002439813,0.0000611606,0.099375345,0.0004923008,0.000029261064,0.00012440927,0.5642898,0.00072106806,0.0007796862,0.014035395,0.3200128,0.00005434489],"about_ca_topic_score_codex":0.9220681,"about_ca_topic_score_gemma":0.96085376,"teacher_disagreement_score":0.07793188,"about_ca_system_score_codex":0.070774265,"about_ca_system_score_gemma":0.13294256,"threshold_uncertainty_score":0.51350564},"labels":[],"label_agreement":null},{"id":"W7161992947","doi":"10.59236/emro.v26i8a8292","title":"Green Fish","year":2024,"lang":"","type":"article","venue":"Educational Media Reviews Online","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Brother; Narrative; Drama; Fish <Actinopterygii>; Contemplation; Seriousness; Shit; Hollywood; Everyday life","score_opus":0.07913508139403125,"score_gpt":0.3161105691082433,"score_spread":0.23697548771421206,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7161992947","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0005780993,0.0006996943,0.0005918221,0.0019457866,0.0024693164,0.0000925625,0.0028436002,0.0017006246,0.98907846],"genre_scores_gemma":[0.0014258807,0.0002995537,0.00026123555,0.00044914827,0.00015354052,0.000029519782,0.000966572,0.00066026725,0.99575436],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99953425,0.00005252647,0.000017257236,0.00013678477,0.00016861806,0.00009058535],"domain_scores_gemma":[0.9991239,0.00007115861,0.000042838095,0.00015745322,0.00027735258,0.00032721253],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0004871415,0.0010892309,0.00046828925,0.0014325673,0.0024395948,0.005968926,0.0011090201,0.0019762113,0.88039666],"category_scores_gemma":[0.0016116258,0.00047753283,0.00045025718,0.0013921665,0.0006901793,0.0045898836,0.005036632,0.0017365061,0.7095082],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000040907875,0.000018272498,0.00009424792,0.00009004029,0.0000028725697,0.00007770164,0.00017902142,0.000020862417,0.00038248862,0.0031080688,0.9407911,0.055194423],"study_design_scores_gemma":[0.0000033311826,0.0000044605963,0.0001710612,0.000029267494,7.4529544e-7,0.000026202557,0.00014432136,0.000012323432,0.000055531207,0.00021732827,0.9993332,0.0000023262835],"about_ca_topic_score_codex":0.006644851,"about_ca_topic_score_gemma":0.016833324,"teacher_disagreement_score":0.88039666,"about_ca_system_score_codex":0.0012267866,"about_ca_system_score_gemma":0.0012907677,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7162005191","doi":"10.82308/49334","title":"Beyond the decline: Revaluing Montreal's movie palaces","year":2016,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Historicity (philosophy); ESPACE; Ceremony; Meaning (existential)","score_opus":0.018699912081325293,"score_gpt":0.2428750511918109,"score_spread":0.22417513911048562,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7162005191","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5371822,0.0045857294,0.0012713778,0.019442335,0.00051547185,0.000113019014,0.00043670327,0.000102717706,0.4363504],"genre_scores_gemma":[0.93484885,0.0010115361,0.00020574605,0.0007674342,0.00007585146,0.000026209864,0.00010573017,0.000059384012,0.062899254],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9988819,0.00024518988,0.000015908397,0.00015071707,0.0002849829,0.00042134058],"domain_scores_gemma":[0.99872404,0.00020277259,0.00009975759,0.00010894774,0.0004148806,0.0004495674],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001295195,0.00040742318,0.00021749921,0.0013209544,0.015540541,0.009025614,0.0016049768,0.0011190264,0.011942042],"category_scores_gemma":[0.0042034793,0.00022131045,0.00021281997,0.0016079625,0.008998622,0.003599214,0.004104433,0.0024948285,0.0005094786],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00012126941,0.000041380186,0.013148535,0.0001814301,0.000021718928,0.0011681763,0.7072147,0.00038209715,0.0019699011,0.18310587,0.03920673,0.053438257],"study_design_scores_gemma":[0.000009985392,0.000043636373,0.04120193,0.0002858249,0.000015775722,0.00015571014,0.2687111,0.00024707144,0.00049737754,0.003100246,0.6856892,0.00004208765],"about_ca_topic_score_codex":0.8428879,"about_ca_topic_score_gemma":0.9382183,"teacher_disagreement_score":0.15711212,"about_ca_system_score_codex":0.034320313,"about_ca_system_score_gemma":0.021648647,"threshold_uncertainty_score":0.31607473},"labels":[],"label_agreement":null},{"id":"W7162041623","doi":"10.82308/48373","title":"Modern times : time and the modern in the fiction films of William D. MacGillivray","year":2000,"lang":"en","type":"dissertation","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Rhetoric; Narrative; Lament; Value (mathematics); Plea; Modernity; Mainstream; Wonder","score_opus":0.011915325806133045,"score_gpt":0.20779095363563707,"score_spread":0.19587562782950402,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7162041623","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.06506687,0.11119298,0.0013362245,0.30729342,0.011980258,0.000044589306,0.00024205673,0.000093345305,0.5027503],"genre_scores_gemma":[0.7393889,0.03217582,0.0012013265,0.020363335,0.00463748,0.00005266263,0.000095544856,0.0001475735,0.20193735],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9992175,0.00032299917,0.000011089991,0.00007161188,0.0002153753,0.0001613765],"domain_scores_gemma":[0.9988451,0.0005689443,0.000073060604,0.000041821273,0.00026808644,0.00020292503],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009371856,0.000535793,0.000216568,0.0011159356,0.013212132,0.0067929174,0.00080245023,0.0015744669,0.0036645231],"category_scores_gemma":[0.003571468,0.00021428641,0.00016278964,0.0008360652,0.012478066,0.0026700685,0.0015575613,0.0041680527,0.00025356124],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057069916,0.000019239626,0.00061174465,0.000113267415,0.000010386357,0.0006318042,0.18273644,0.00014299974,0.000493991,0.3475007,0.4458314,0.021851081],"study_design_scores_gemma":[0.0000021289572,0.0000039795823,0.00060708594,0.00012206759,0.0000031232375,0.00009383779,0.01962368,0.000035068704,0.00012770205,0.0033233953,0.9760465,0.0000114311515],"about_ca_topic_score_codex":0.5626776,"about_ca_topic_score_gemma":0.72411704,"teacher_disagreement_score":0.5626776,"about_ca_system_score_codex":0.024045127,"about_ca_system_score_gemma":0.0070029297,"threshold_uncertainty_score":0.87979573},"labels":[],"label_agreement":null},{"id":"W7162074034","doi":"10.59236/emro.v26i3a8183","title":"Guardians","year":2024,"lang":"","type":"article","venue":"Educational Media Reviews Online","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Conversation; Appeal; Narrative; Situated; Relevance (law); Perspective (graphical)","score_opus":0.07419766662355319,"score_gpt":0.31989512634615097,"score_spread":0.24569745972259777,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7162074034","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0016409643,0.0014813351,0.001279247,0.0045993966,0.0041612126,0.00017051843,0.0017091741,0.0018698546,0.9830883],"genre_scores_gemma":[0.0032094626,0.00038098884,0.0003439632,0.0007842031,0.0001740152,0.000033566797,0.00069892,0.0003532172,0.9940216],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990972,0.00011631073,0.00003733018,0.00026619423,0.0003337493,0.00014926135],"domain_scores_gemma":[0.9990427,0.000078386955,0.00005546109,0.00015236615,0.00029853618,0.00037243785],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00067071634,0.00085477676,0.00046141294,0.0007997124,0.0021541128,0.0030713829,0.0012212447,0.00196562,0.8341152],"category_scores_gemma":[0.0022270796,0.0004679568,0.00040575632,0.0005528355,0.0005050198,0.0023374688,0.0043603964,0.0017274785,0.6217405],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000076252305,0.0000317759,0.00028565602,0.00011738357,0.0000029724833,0.00015094732,0.00025947663,0.000032688855,0.00066749944,0.0051959157,0.8493834,0.14379601],"study_design_scores_gemma":[0.000004303511,0.000008852635,0.00021565103,0.000036121073,7.8956487e-7,0.00008628605,0.00010307221,0.000020173758,0.00006686868,0.00021067157,0.9992448,0.0000024630187],"about_ca_topic_score_codex":0.004445302,"about_ca_topic_score_gemma":0.00806179,"teacher_disagreement_score":0.8341152,"about_ca_system_score_codex":0.0010267495,"about_ca_system_score_gemma":0.0013502166,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7162090475","doi":"10.59236/emro.v26i1a8123","title":"Rojek","year":2024,"lang":"","type":"article","venue":"Educational Media Reviews Online","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Islam; Metaphor; Modernity; Face (sociological concept); Turkish; Spectacle; Terrorism; State (computer science)","score_opus":0.08658113376942257,"score_gpt":0.32666276827805485,"score_spread":0.2400816345086323,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7162090475","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0011828045,0.0011108188,0.00030759987,0.0018932073,0.002977324,0.00008049116,0.0014543554,0.0009273984,0.99006593],"genre_scores_gemma":[0.004334666,0.00088240585,0.00040759775,0.00046820752,0.00044761246,0.00003774363,0.0009881242,0.00053023454,0.99190336],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959856,0.00004389268,0.000019856336,0.0000886003,0.00016258493,0.000086548134],"domain_scores_gemma":[0.99937797,0.000054061955,0.00003640329,0.00010388119,0.00023771363,0.00018992949],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0004699205,0.0008571151,0.0004353518,0.0011686973,0.0027882287,0.0070883227,0.0008555912,0.0013445504,0.72347754],"category_scores_gemma":[0.0014643442,0.00043854254,0.00042045617,0.00095921534,0.0005548425,0.0033242726,0.0030419233,0.0020523816,0.47038156],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000055218385,0.00002804808,0.00015744378,0.00014584698,0.000003359197,0.00012526895,0.00044208614,0.000024856901,0.00061686564,0.0041267583,0.9277339,0.06654036],"study_design_scores_gemma":[0.0000041990493,0.0000057311986,0.0003762927,0.000057435023,0.0000016864598,0.00007822591,0.00023793898,0.000016286887,0.000074872674,0.00013324808,0.9990107,0.0000033180993],"about_ca_topic_score_codex":0.0068698293,"about_ca_topic_score_gemma":0.019642357,"teacher_disagreement_score":0.27652246,"about_ca_system_score_codex":0.0011178928,"about_ca_system_score_gemma":0.0011826707,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7162186992","doi":"10.59236/emro.v25i8a8045","title":"Sweetheart","year":2023,"lang":"","type":"article","venue":"Educational Media Reviews Online","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"TRIPS architecture; Storytelling; Character (mathematics); Lesbian; Identity (music); Narrative","score_opus":0.11947444670327918,"score_gpt":0.33345317553838816,"score_spread":0.213978728835109,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7162186992","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00068000297,0.0008869546,0.001449568,0.0021956796,0.0026731675,0.00011029168,0.0026548158,0.003811455,0.9855381],"genre_scores_gemma":[0.00242896,0.00051967637,0.00076113665,0.00079366885,0.00031084105,0.00006251989,0.0014746985,0.0013392556,0.9923091],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9993222,0.000079187936,0.00003517377,0.00019235193,0.0002586409,0.0001125377],"domain_scores_gemma":[0.9985677,0.00014239563,0.00007607474,0.00027744574,0.00037198517,0.00056435395],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006803079,0.0008360581,0.0005343836,0.0013673265,0.0018786686,0.006234936,0.0011763099,0.0020577328,0.8641603],"category_scores_gemma":[0.0026261178,0.000601364,0.00051331683,0.0010757677,0.00044185735,0.0040752552,0.004861326,0.0018889325,0.66594714],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000056654495,0.00002268166,0.00011701954,0.0001215165,0.0000035717765,0.0000997134,0.00021594057,0.000020394667,0.00059340324,0.0038899155,0.9100144,0.08484477],"study_design_scores_gemma":[0.00000471605,0.000007093755,0.00019290597,0.000041819225,0.0000012036087,0.00006515101,0.000110384164,0.000021225253,0.00009665386,0.00032354603,0.9991315,0.000003762072],"about_ca_topic_score_codex":0.0020213625,"about_ca_topic_score_gemma":0.004214405,"teacher_disagreement_score":0.8641603,"about_ca_system_score_codex":0.00068436406,"about_ca_system_score_gemma":0.00086224335,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7162202995","doi":"10.59236/emro.v25i8a8036","title":"Fight Like Hell","year":2023,"lang":"","type":"article","venue":"Educational Media Reviews Online","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Battle; Publicity; Movie theater; State (computer science); Clothing; Hollywood; Immigration","score_opus":0.0950822547803583,"score_gpt":0.3146829891074693,"score_spread":0.21960073432711097,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7162202995","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00202109,0.0008668832,0.00064162206,0.006208746,0.00484373,0.00007752144,0.00037439066,0.00047869724,0.9844875],"genre_scores_gemma":[0.009161026,0.00051803474,0.0003737408,0.0023185269,0.0004751266,0.000030785897,0.00014804243,0.00026130083,0.9867135],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99966013,0.00007804493,0.000008100493,0.0000649116,0.00008949825,0.00009925751],"domain_scores_gemma":[0.9996382,0.000040681778,0.000021533542,0.000036304617,0.000081599275,0.00018158855],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0003313219,0.0008757439,0.00034953153,0.000444885,0.005072374,0.004674762,0.00056485884,0.0013838216,0.4631277],"category_scores_gemma":[0.0013982767,0.00035160934,0.00041015312,0.00029054092,0.0012909626,0.0038356432,0.004451568,0.0035364123,0.22169608],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002197081,0.000020539388,0.0001588211,0.00004733527,0.0000031018235,0.00011262596,0.002651675,0.000009338939,0.00036960075,0.005926323,0.9643007,0.026378058],"study_design_scores_gemma":[0.0000022046856,0.0000062681543,0.00024352105,0.000034390232,9.821786e-7,0.00006508876,0.0021392342,0.000008009693,0.000047622867,0.00025431789,0.99719596,0.0000023194762],"about_ca_topic_score_codex":0.0032188166,"about_ca_topic_score_gemma":0.010364541,"teacher_disagreement_score":0.4631277,"about_ca_system_score_codex":0.00076833245,"about_ca_system_score_gemma":0.0004463947,"threshold_uncertainty_score":0.7657832},"labels":[],"label_agreement":null},{"id":"W7162206451","doi":"10.59236/emro.v25i11a8104","title":"Experimental Curator: The Sally Dixon Story","year":2023,"lang":"","type":"article","venue":"Educational Media Reviews Online","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Film director; Movie theater; Storytelling; Champion; Film industry; Biography; Reputation; Hollywood","score_opus":0.09593067186331503,"score_gpt":0.33031655323440384,"score_spread":0.23438588137108882,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7162206451","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.008002903,0.011609527,0.0013862761,0.16781838,0.03613886,0.00039643454,0.0027412847,0.000770485,0.77113575],"genre_scores_gemma":[0.031024681,0.00343025,0.00086335634,0.03749728,0.0028245763,0.00031374645,0.000775634,0.00057576963,0.9226946],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9995209,0.0001369056,0.000013365495,0.000134655,0.0001216771,0.0000725191],"domain_scores_gemma":[0.99949837,0.00015809931,0.000021721344,0.00003867664,0.00012389183,0.00015926303],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005446323,0.0009000388,0.00038819137,0.0008912418,0.0079947235,0.0029125148,0.0008724498,0.0017675852,0.15428783],"category_scores_gemma":[0.002332001,0.00036447484,0.00020787952,0.00068891724,0.0012898251,0.0025470064,0.0030226847,0.004134899,0.028991232],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000016309363,0.0000121289,0.00004698438,0.00003996543,7.1051414e-7,0.00018103827,0.0021025466,0.000004382127,0.00013994772,0.0030545592,0.98945796,0.004943504],"study_design_scores_gemma":[0.0000019805136,0.000003977063,0.00010472846,0.00003515389,6.3631984e-7,0.00009042488,0.001431605,0.000006809656,0.000052420823,0.000090113244,0.9981804,0.0000017147177],"about_ca_topic_score_codex":0.020756893,"about_ca_topic_score_gemma":0.06314126,"teacher_disagreement_score":0.15428783,"about_ca_system_score_codex":0.002748503,"about_ca_system_score_gemma":0.0014025865,"threshold_uncertainty_score":0.5161442},"labels":[],"label_agreement":null},{"id":"W7162626302","doi":"10.59236/emro.v24i6a7814","title":"Sweet Thing","year":2022,"lang":"","type":"article","venue":"Educational Media Reviews Online","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Film director; Girl; Brother; Shot (pellet); White (mutation); Piano; Subject (documents); Character (mathematics)","score_opus":0.08242585057771327,"score_gpt":0.3049489542119205,"score_spread":0.2225231036342072,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7162626302","genre_codex":"other","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0010395035,0.001016975,0.0009121775,0.007530616,0.0065943077,0.00011462254,0.00096357317,0.0011158809,0.9807124],"genre_scores_gemma":[0.004506115,0.00066289154,0.0006429206,0.004030409,0.00076886575,0.00005419098,0.0006486086,0.0005680918,0.9881179],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99936134,0.000097417054,0.000023667511,0.00014494486,0.000236398,0.00013624661],"domain_scores_gemma":[0.9991942,0.000060425216,0.00003908775,0.00010746677,0.00025726054,0.00034151858],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00049908337,0.00084367476,0.00046272352,0.00084533525,0.0033666112,0.0062079136,0.0009467278,0.0018587789,0.6966418],"category_scores_gemma":[0.0023174777,0.00033878352,0.00054568506,0.0006165962,0.0006695607,0.0054876297,0.0055971364,0.0025804844,0.4567001],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000023598164,0.00001827137,0.00011447127,0.00007270473,0.0000032108578,0.00009934345,0.00049831107,0.000009546704,0.00027767342,0.0049487543,0.94688046,0.047053702],"study_design_scores_gemma":[0.00000245502,0.000005704011,0.00015143718,0.000036718782,0.0000010854966,0.00007726515,0.00044721775,0.0000068609556,0.0000362684,0.0003701108,0.9988619,0.0000030208378],"about_ca_topic_score_codex":0.0026550563,"about_ca_topic_score_gemma":0.00640053,"teacher_disagreement_score":0.6966418,"about_ca_system_score_codex":0.0009045618,"about_ca_system_score_gemma":0.00081708375,"threshold_uncertainty_score":0.4327036},"labels":[],"label_agreement":null},{"id":"W7162653762","doi":"10.59236/emro.v24i7a7829","title":"Nobody's Watching","year":2022,"lang":"","type":"article","venue":"Educational Media Reviews Online","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Feeling; Disappointment; Insignificance; Romance; Character (mathematics); White (mutation); Stress (linguistics); Uncanny; Ridiculous","score_opus":0.07485694153643443,"score_gpt":0.3021229693246946,"score_spread":0.2272660277882602,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7162653762","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0018592426,0.0013752447,0.00036241164,0.004583598,0.008046153,0.00015996155,0.0014905307,0.0013751024,0.98074776],"genre_scores_gemma":[0.0026598533,0.0006440564,0.00022046818,0.0012041195,0.00045495637,0.000048544134,0.00061771326,0.00033509068,0.9938153],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996184,0.000041470594,0.0000109825905,0.000099767916,0.0001378149,0.000091468144],"domain_scores_gemma":[0.99897313,0.00004870946,0.00002573907,0.00006604294,0.00023160061,0.00065478863],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00041452947,0.0007687726,0.0004838717,0.0005088329,0.003749066,0.004515068,0.00067849236,0.0011560643,0.77233577],"category_scores_gemma":[0.0014644511,0.00042744173,0.00038857103,0.00042665543,0.00043595314,0.0040934333,0.00459757,0.0023543404,0.4807083],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00002733665,0.000026014111,0.00011293045,0.00005800402,0.0000017285057,0.000049468756,0.0002579918,0.000005949788,0.00032533598,0.0008408634,0.9663426,0.031951718],"study_design_scores_gemma":[0.00000490517,0.000014859106,0.0005995795,0.00004736588,0.0000012915668,0.00005248058,0.00045579788,0.00001135037,0.000051921572,0.00008704237,0.9986695,0.0000039385104],"about_ca_topic_score_codex":0.004872871,"about_ca_topic_score_gemma":0.018330587,"teacher_disagreement_score":0.77233577,"about_ca_system_score_codex":0.00077842455,"about_ca_system_score_gemma":0.0009795434,"threshold_uncertainty_score":0.32473534},"labels":[],"label_agreement":null},{"id":"W7162659891","doi":"10.59236/emro.v24i7a7830","title":"Coded","year":2022,"lang":"","type":"article","venue":"Educational Media Reviews Online","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Period (music); Representation (politics); Queer; Theme (computing); Imprisonment; Performance art; Ridiculous","score_opus":0.08358716499056255,"score_gpt":0.30541839078903665,"score_spread":0.22183122579847409,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7162659891","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0008267259,0.0003703261,0.0027127806,0.0021262078,0.0034982013,0.00031308338,0.008900584,0.002717803,0.9785342],"genre_scores_gemma":[0.0028148794,0.00028632715,0.001752974,0.00065939804,0.00022130269,0.00015556075,0.0045112674,0.0011635321,0.9884348],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9990947,0.00011661587,0.000050633527,0.00018410261,0.0004091793,0.00014477277],"domain_scores_gemma":[0.99809414,0.00016178768,0.0000571693,0.0003727217,0.0009832522,0.0003309963],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.0010004267,0.00084870163,0.00052896544,0.0017659108,0.0023501809,0.0057429667,0.0015750028,0.0015395808,0.8544532],"category_scores_gemma":[0.0040868563,0.0005690324,0.00054802303,0.0015791149,0.00061807036,0.003215798,0.0036913322,0.00187389,0.708597],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000048979524,0.000021193548,0.00010958863,0.00008317154,0.0000021144942,0.000034295703,0.00016826544,0.000030403846,0.00030679427,0.005045639,0.9168664,0.07728321],"study_design_scores_gemma":[0.000007394896,0.000008135518,0.0002817269,0.000055468336,0.0000011731621,0.000034964563,0.00020118683,0.000046196466,0.00013525246,0.00074993604,0.9984731,0.0000055089686],"about_ca_topic_score_codex":0.0075031454,"about_ca_topic_score_gemma":0.013282029,"teacher_disagreement_score":0.1455468,"about_ca_system_score_codex":0.0015595529,"about_ca_system_score_gemma":0.0020570995,"threshold_uncertainty_score":0},"labels":[],"label_agreement":null},{"id":"W7164713463","doi":"","title":"Media Archaeology as Practice : The case of Bill Morrison&apos;s Dawson City: Frozen Time","year":2018,"lang":"en","type":"article","venue":"Lusophone University Repository","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Topos theory; Historical record; Reflection (computer programming)","score_opus":0.02182701157743193,"score_gpt":0.22314520651737516,"score_spread":0.20131819493994324,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7164713463","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.48112395,0.008315462,0.0028849447,0.1476343,0.0010422185,0.00008128243,0.0001448987,0.00007059152,0.35870224],"genre_scores_gemma":[0.9405167,0.0028411853,0.0010896442,0.00611941,0.00021753534,0.000047746315,0.000032264008,0.00011472373,0.049020827],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9966086,0.0021483907,0.00005437287,0.0002697266,0.00032800672,0.00059086556],"domain_scores_gemma":[0.99526227,0.002811271,0.0003519148,0.00032819837,0.00031556567,0.00093072624],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0029462692,0.00044609592,0.0003147019,0.0017656058,0.037913848,0.0122143505,0.0021366216,0.0046976274,0.007429494],"category_scores_gemma":[0.0071708565,0.00068629737,0.00024001436,0.0032605536,0.030741988,0.0076690745,0.0058236774,0.0053415,0.00050033943],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000030176725,0.000031349995,0.0015432002,0.000058465143,0.000006700253,0.004899729,0.8212232,0.000069566275,0.00021301433,0.13473672,0.027072232,0.010115613],"study_design_scores_gemma":[0.000006779268,0.0000122029505,0.0013629731,0.0002326075,0.000008536176,0.00092530175,0.6047382,0.00011926371,0.00018464314,0.0049834996,0.38740316,0.000022858047],"about_ca_topic_score_codex":0.20301871,"about_ca_topic_score_gemma":0.40336022,"teacher_disagreement_score":0.7969813,"about_ca_system_score_codex":0.016173687,"about_ca_system_score_gemma":0.007622234,"threshold_uncertainty_score":0.40367407},"labels":[],"label_agreement":null},{"id":"W7164887867","doi":"10.1080/17153379.2020.12559570","title":"People’s Republic of Desire. Directed, produced, cinematography","year":2020,"lang":"en","type":"article","venue":"Pacific Affairs","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Cinematography; Movie theater","score_opus":0.030635699569138242,"score_gpt":0.20327438321039523,"score_spread":0.17263868364125698,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7164887867","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.01533303,0.0056198756,0.00022075867,0.0065654586,0.0015196466,0.00003008513,0.0056907707,0.00015994899,0.9648604],"genre_scores_gemma":[0.16283166,0.004582165,0.00039604364,0.0011782992,0.00048521595,0.00003904824,0.0021598383,0.000118568816,0.82820904],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9999298,0.000018095016,0.0000025239333,0.000010226776,0.000017925082,0.000021561465],"domain_scores_gemma":[0.9998697,0.000027637694,0.000015629585,0.0000103828625,0.00003162835,0.00004507818],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00016003792,0.00017873954,0.00008002647,0.0007311692,0.0007262467,0.0018586196,0.00011946386,0.00034056048,0.12072094],"category_scores_gemma":[0.00070601923,0.00007357639,0.00006158573,0.00083526416,0.0002415239,0.0007991258,0.0005503401,0.00043464586,0.017777992],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00006693998,0.000039403734,0.003262103,0.00023726898,0.0000049823407,0.00016120361,0.0027165692,0.00004991399,0.0005773631,0.031469643,0.7862435,0.1751711],"study_design_scores_gemma":[0.0000015660376,0.0000037418756,0.00642257,0.000038841637,0.0000015523591,0.00007039311,0.00095788273,0.000019934385,0.00008727433,0.00031255273,0.99208224,0.0000015352805],"about_ca_topic_score_codex":0.013790201,"about_ca_topic_score_gemma":0.02615215,"teacher_disagreement_score":0.12072094,"about_ca_system_score_codex":0.00068840175,"about_ca_system_score_gemma":0.0005315036,"threshold_uncertainty_score":0.40385175},"labels":[],"label_agreement":null},{"id":"W7164923707","doi":"10.1080/17153379.2014.12557219","title":"Censorium: Cinema and the Open Edge of Mass Publicity.","year":2014,"lang":"en","type":"article","venue":"Pacific Affairs","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Enhanced Data Rates for GSM Evolution","score_opus":0.022633452144252705,"score_gpt":0.21197187511891605,"score_spread":0.18933842297466336,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7164923707","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.12235874,0.06924949,0.0075827376,0.13181306,0.002096778,0.000033765216,0.0006499999,0.00016310805,0.6660524],"genre_scores_gemma":[0.9537743,0.01415018,0.00061933213,0.0017845758,0.0024029075,0.000020492911,0.00010645234,0.000041668853,0.02710007],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99932754,0.0004162032,0.000014264328,0.000066551336,0.00009431513,0.00008108984],"domain_scores_gemma":[0.9912628,0.0061887805,0.0009926689,0.00038386957,0.0005004537,0.0006714425],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013376749,0.00026654394,0.00021160714,0.0015205229,0.0017016788,0.007226966,0.000474754,0.0017669677,0.01733974],"category_scores_gemma":[0.013059914,0.00017653294,0.000149723,0.0019146447,0.003814367,0.007856201,0.0016241898,0.0023698402,0.000704061],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00011056342,0.00006367934,0.0045698285,0.00023567166,0.000022190172,0.00034457404,0.010389435,0.00027943577,0.00021862287,0.8412523,0.07788624,0.0646275],"study_design_scores_gemma":[0.000030462454,0.00008994158,0.029102672,0.0013869996,0.00006779765,0.00070567953,0.024639841,0.0024632951,0.000716815,0.37799662,0.5627516,0.000048291702],"about_ca_topic_score_codex":0.0037578694,"about_ca_topic_score_gemma":0.0046520643,"teacher_disagreement_score":0.01733974,"about_ca_system_score_codex":0.0015921755,"about_ca_system_score_gemma":0.0009514087,"threshold_uncertainty_score":0.05800718},"labels":[],"label_agreement":null},{"id":"W7164930790","doi":"10.1080/17153379.2013.12556855","title":"Girl Model [film].","year":2013,"lang":"en","type":"article","venue":"Pacific Affairs","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"","score_opus":0.02473197676982088,"score_gpt":0.19699546472386475,"score_spread":0.17226348795404386,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7164930790","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.019868802,0.0030435019,0.19319141,0.009474465,0.0017114899,0.0002789064,0.18454206,0.010042618,0.5778467],"genre_scores_gemma":[0.28304276,0.004446192,0.07070571,0.0013093259,0.0007866958,0.0009810972,0.063315265,0.006410496,0.5690025],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9998233,0.00006552574,0.000008559572,0.000040111732,0.000031127856,0.00003148676],"domain_scores_gemma":[0.9992526,0.00029100417,0.00006265913,0.00010751765,0.00019159855,0.000094680516],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00051763427,0.0006748154,0.0006359678,0.0008200383,0.00047750393,0.001980331,0.0025097942,0.0020781662,0.29819426],"category_scores_gemma":[0.0033372592,0.0005512875,0.00082731096,0.0011463172,0.00021442334,0.0015683001,0.00077877694,0.0011501028,0.067555524],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00020821921,0.0001002158,0.0019826435,0.0003888608,0.0001160678,0.0001397605,0.00018737833,0.110881366,0.00028433156,0.25975424,0.56444776,0.061509125],"study_design_scores_gemma":[0.00019797852,0.00006055488,0.0017788423,0.00022593421,0.000108118176,0.0001818516,0.0002498685,0.36363524,0.00048036917,0.12975967,0.5032693,0.000052179323],"about_ca_topic_score_codex":0.027291449,"about_ca_topic_score_gemma":0.027916208,"teacher_disagreement_score":0.29819426,"about_ca_system_score_codex":0.00071640336,"about_ca_system_score_gemma":0.00068967364,"threshold_uncertainty_score":0.9975592},"labels":[],"label_agreement":null},{"id":"W7164936492","doi":"10.1080/17153379.2023.12558308","title":"Alluring Monsters: The Pontianak and Cinemas of Decolonization.","year":2023,"lang":"en","type":"article","venue":"Pacific Affairs","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater","score_opus":0.02250373613064119,"score_gpt":0.20680270654847943,"score_spread":0.18429897041783824,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W7164936492","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.29066998,0.023746418,0.0012452082,0.081541814,0.0015926593,0.000044009215,0.0004309931,0.000069451475,0.60065943],"genre_scores_gemma":[0.9514817,0.004181866,0.00022007946,0.0016483401,0.000478276,0.000012875564,0.000059753173,0.000036639805,0.041880384],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.99959606,0.0002306633,0.000005438293,0.00003608955,0.00004545678,0.000086277854],"domain_scores_gemma":[0.99878937,0.0005818714,0.00018474377,0.00007609526,0.000118801254,0.0002490353],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00074109476,0.00020955376,0.000110993446,0.00042663183,0.0022568947,0.0029049998,0.00033082414,0.0008299584,0.0139215],"category_scores_gemma":[0.0044546686,0.00012257473,0.00007287768,0.0005606474,0.0036418475,0.0035744077,0.0016814788,0.0022479165,0.000513959],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00034868313,0.00014124044,0.010970213,0.00038538693,0.00003146239,0.001129254,0.17033653,0.0002935001,0.0005028675,0.47687778,0.22109056,0.11789248],"study_design_scores_gemma":[0.000019906754,0.000089232475,0.06080689,0.00080157875,0.00002907591,0.0007081377,0.120232694,0.0005017918,0.0005751672,0.03452456,0.7816842,0.000026802363],"about_ca_topic_score_codex":0.009465126,"about_ca_topic_score_gemma":0.026552742,"teacher_disagreement_score":0.0139215,"about_ca_system_score_codex":0.0015475177,"about_ca_system_score_gemma":0.0010127728,"threshold_uncertainty_score":0.04657203},"labels":[],"label_agreement":null},{"id":"W759715941","doi":"","title":"In the Web with David Cronenberg: Spider and the New Auteurism","year":2005,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Filmmaking; Movie theater; Genius; Hollywood; Film director; Romance; Postmodernism; Psyche; Opposition (politics); Film studies; Objectivity (philosophy); Auteur theory; Aesthetics; Film genre; Literature; Art; Art history; Sociology; Epistemology; Philosophy; Politics; Law; Political science","score_opus":0.01768991451423618,"score_gpt":0.21271390491315986,"score_spread":0.19502399039892368,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W759715941","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.009796198,0.1105853,0.0014988129,0.48166364,0.013747133,0.000021676513,0.000057658577,0.00013170918,0.38249788],"genre_scores_gemma":[0.31686893,0.07707935,0.0025661793,0.17076497,0.014419246,0.000099623816,0.000079723526,0.00032819397,0.4177938],"study_design_codex":"not_applicable","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.99855953,0.0007529601,0.000027498749,0.00017804469,0.00030983897,0.00017206531],"domain_scores_gemma":[0.9989442,0.0005377099,0.00006513148,0.00006264044,0.00012385056,0.00026641047],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011648079,0.00044164638,0.00030906973,0.0013041414,0.009041536,0.0075098597,0.0007248645,0.0032938186,0.009686715],"category_scores_gemma":[0.002859464,0.0002483828,0.00019480738,0.0008183386,0.014048276,0.009310554,0.0043687033,0.0064615575,0.0017661613],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000027418564,0.000028732271,0.00050559494,0.000082379134,0.000004562332,0.00039549303,0.024125082,0.000033267872,0.00014926726,0.41223156,0.5254291,0.0369875],"study_design_scores_gemma":[0.0000036723309,0.00000490596,0.00032364318,0.00017414076,0.0000013066145,0.00032193807,0.008291914,0.000034772496,0.00005357658,0.02741172,0.96337026,0.00000826321],"about_ca_topic_score_codex":0.024752744,"about_ca_topic_score_gemma":0.058565125,"teacher_disagreement_score":0.97524726,"about_ca_system_score_codex":0.0037173317,"about_ca_system_score_gemma":0.0026247357,"threshold_uncertainty_score":0.049217343},"labels":[],"label_agreement":null},{"id":"W77263698","doi":"","title":"“Invention in the Name of Community”: Workshops, the Avant-Garde and The Black Audio Film Collective","year":2010,"lang":"en","type":"article","venue":"Scholarship@Western (Western University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Filmmaking; Sociology; Media studies; Representation (politics); Gender studies; Visual arts; Movie theater; Political science; Art; Law; Politics","score_opus":0.08824272187786897,"score_gpt":0.27512435411627784,"score_spread":0.18688163223840887,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W77263698","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.51593184,0.015428123,0.0066621383,0.097457126,0.0014050665,0.00013538796,0.000043478056,0.0000760711,0.36286074],"genre_scores_gemma":[0.9796482,0.0016572269,0.0006474364,0.0013877916,0.00017950495,0.000044420507,0.000008383686,0.000034335004,0.016392747],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.99134856,0.0072388113,0.00007651377,0.00028399858,0.00035011716,0.0007019667],"domain_scores_gemma":[0.99009997,0.006567537,0.0007441831,0.00041888613,0.00034688285,0.0018225568],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.008802347,0.00044017704,0.00024731044,0.0014342585,0.016539024,0.012075689,0.0014349888,0.0031888206,0.0051334267],"category_scores_gemma":[0.014007637,0.00036001694,0.00017194905,0.0011773143,0.029643964,0.009339182,0.009727722,0.003117075,0.00042957277],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00008437101,0.00006525048,0.0012845508,0.00014229784,0.0000072973135,0.0009512963,0.7011167,0.00008086874,0.00040887555,0.25743642,0.012847168,0.025574902],"study_design_scores_gemma":[0.00002462289,0.000087228145,0.001764742,0.00040334582,0.000008298477,0.0005022713,0.6564866,0.00020098564,0.00052531314,0.03653316,0.30343556,0.000027841505],"about_ca_topic_score_codex":0.0071939477,"about_ca_topic_score_gemma":0.013575132,"teacher_disagreement_score":0.016539024,"about_ca_system_score_codex":0.0047059753,"about_ca_system_score_gemma":0.0039542406,"threshold_uncertainty_score":0.046551764},"labels":[],"label_agreement":null},{"id":"W793456115","doi":"10.3138/cjfs.23.1.109","title":"Film Appreciation and Cultural Leadership: Rudolf Arnheim, Roger Manvell, and Two Books Called <i>Film</i>","year":2014,"lang":"fr","type":"article","venue":"Canadian Journal of Film Studies","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art; Art history","score_opus":0.07733071494896357,"score_gpt":0.2443767010204194,"score_spread":0.16704598607145582,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W793456115","genre_codex":"commentary","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.027562093,0.22944526,0.00089744956,0.45092645,0.009404757,0.00004329157,0.000053191125,0.00006941315,0.28159818],"genre_scores_gemma":[0.41723225,0.092866115,0.0010347825,0.04218134,0.006879527,0.00012949276,0.00006395452,0.00024897433,0.43936363],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99835676,0.0010403779,0.000024285157,0.00013078171,0.00023939692,0.00020830469],"domain_scores_gemma":[0.9987445,0.00062652654,0.00013438369,0.00004338494,0.00019450774,0.0002566288],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0011809291,0.0007293514,0.00027364705,0.0010762304,0.006348961,0.007890946,0.000900191,0.0021562788,0.0063059446],"category_scores_gemma":[0.0032348344,0.00030750755,0.00020714448,0.0010543495,0.0077823694,0.0054672076,0.001934622,0.004312419,0.0012125687],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005507797,0.00006331907,0.0010999036,0.00022331909,0.000014369551,0.0004591668,0.0993438,0.000062592364,0.00039105045,0.16390713,0.6853834,0.04899692],"study_design_scores_gemma":[0.000008147172,0.000017330747,0.0011951546,0.00033081564,0.0000052928885,0.00013368283,0.03932156,0.00003379029,0.00014859067,0.004164162,0.95463145,0.000010053346],"about_ca_topic_score_codex":0.033505395,"about_ca_topic_score_gemma":0.070503205,"teacher_disagreement_score":0.033505395,"about_ca_system_score_codex":0.0055070464,"about_ca_system_score_gemma":0.0034584536,"threshold_uncertainty_score":0.06662071},"labels":[],"label_agreement":null},{"id":"W799802147","doi":"","title":"Forget Your Desire: The Cinema of Guy Maddin","year":2006,"lang":"en","type":"article","venue":"Millennium film journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":1,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Narrative; Art; Literature; Postmodernism; Aesthetics; Irony; Visual arts; History","score_opus":0.032579867941287734,"score_gpt":0.21660806348793393,"score_spread":0.1840281955466462,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W799802147","genre_codex":"empirical","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.42947653,0.05107587,0.0013615951,0.2744305,0.00908861,0.00020405928,0.0004943783,0.0004348215,0.23343371],"genre_scores_gemma":[0.8850423,0.008856239,0.001978903,0.027381688,0.0020809663,0.00005957802,0.00016898551,0.00016920047,0.07426211],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.9994779,0.00023110477,0.000010768941,0.000060358565,0.000060845017,0.00015899133],"domain_scores_gemma":[0.99958664,0.00010633259,0.000044049448,0.000021749463,0.000046933477,0.00019428635],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00067726005,0.0005852674,0.0002455092,0.0007081193,0.00808439,0.0034302643,0.000625431,0.0018229852,0.004615792],"category_scores_gemma":[0.001382613,0.00031160828,0.0001793165,0.0005476189,0.0037646608,0.002039878,0.003147686,0.0034514565,0.00082370866],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000326041,0.00012850968,0.003918113,0.0005998844,0.000032313354,0.009133212,0.54818046,0.00014851191,0.0053208056,0.020227266,0.36783487,0.04414997],"study_design_scores_gemma":[0.00001677298,0.0000866192,0.0058951774,0.00030458774,0.000019370204,0.005618033,0.16392079,0.00012655677,0.0006642525,0.0011654531,0.822135,0.000047465397],"about_ca_topic_score_codex":0.014884128,"about_ca_topic_score_gemma":0.033910964,"teacher_disagreement_score":0.014884128,"about_ca_system_score_codex":0.0027042043,"about_ca_system_score_gemma":0.0008650372,"threshold_uncertainty_score":0.029594958},"labels":[],"label_agreement":null},{"id":"W801536266","doi":"","title":"Crowdfunding Indie Theatre: Understanding the Costs","year":2014,"lang":"en","type":"article","venue":"Project Muse (Johns Hopkins University)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Indie film; Strengths and weaknesses; Media studies; Advertising; Visual arts; Sociology; Art; Public relations; Political science; Marketing; Business; Psychology","score_opus":0.046693732033836303,"score_gpt":0.2141489507185059,"score_spread":0.1674552186846696,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W801536266","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.53381944,0.0049045407,0.03253884,0.04437197,0.00041028985,0.00033489833,0.0002825041,0.000119198296,0.38321847],"genre_scores_gemma":[0.9882287,0.0011706161,0.0027659256,0.00053585926,0.00010619508,0.000093450515,0.00002827679,0.000033760683,0.0070372643],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.9912237,0.0052328566,0.00019412026,0.00036498564,0.0017787055,0.0012056502],"domain_scores_gemma":[0.9480049,0.036672708,0.0064583234,0.00166588,0.0050389585,0.0021592192],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.010321803,0.00044369465,0.00035026742,0.003635377,0.004608614,0.01059259,0.0016734328,0.0024774866,0.009393136],"category_scores_gemma":[0.050531235,0.0004112668,0.00031418263,0.00208435,0.008483671,0.010064951,0.0041733542,0.0021394345,0.00058185286],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000412878,0.00035488995,0.042627737,0.0007110038,0.00008179769,0.0017025584,0.08161746,0.009269727,0.0016574699,0.6499316,0.030800285,0.18083256],"study_design_scores_gemma":[0.000086182525,0.00041348446,0.05853946,0.0020620958,0.00012353911,0.0011736377,0.231276,0.014270262,0.002428275,0.23486896,0.45452967,0.00022843949],"about_ca_topic_score_codex":0.014128922,"about_ca_topic_score_gemma":0.018844398,"teacher_disagreement_score":0.014128922,"about_ca_system_score_codex":0.010112038,"about_ca_system_score_gemma":0.0055540106,"threshold_uncertainty_score":0.07336825},"labels":[],"label_agreement":null},{"id":"W826491558","doi":"","title":"Persistence of Double Vision: Essays on Clint Eastwood by William Beard (review)","year":2001,"lang":"en","type":"article","venue":"University of Toronto Quarterly","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Persistence (discontinuity); History; Law and economics; Art; Art history; Sociology; Geology","score_opus":0.02272684920901193,"score_gpt":0.21372231072368675,"score_spread":0.1909954615146748,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W826491558","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.00016789779,0.5643537,0.0000769562,0.42383885,0.010552512,0.0000034999011,0.000029632049,0.0000031420968,0.00097377505],"genre_scores_gemma":[0.006534566,0.6757761,0.00022028558,0.2729927,0.041772094,0.000034546247,0.00005755191,0.000032490978,0.0025796397],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99541026,0.0015066689,0.00040931278,0.0009195706,0.0014190162,0.0003353168],"domain_scores_gemma":[0.9562859,0.030102106,0.0025944498,0.0010955706,0.0074377726,0.0024841106],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.014242549,0.00076304394,0.002407512,0.0022751107,0.002569883,0.0073069,0.0020240394,0.012161082,0.0041499822],"category_scores_gemma":[0.064113155,0.0007387347,0.0008537129,0.0045304527,0.009135581,0.013005265,0.004730533,0.015747314,0.0015964061],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00004701874,0.000015123126,0.0003216315,0.00082886434,0.000053359763,0.000056914712,0.0005914543,0.000058287747,0.00003563086,0.00964625,0.9273286,0.061016988],"study_design_scores_gemma":[0.00004465506,0.00002341627,0.0017808989,0.0052833487,0.00006627189,0.00028063735,0.0009860842,0.000034995646,0.00006555398,0.016772667,0.9746106,0.00005099082],"about_ca_topic_score_codex":0.020398017,"about_ca_topic_score_gemma":0.026680721,"teacher_disagreement_score":0.020398017,"about_ca_system_score_codex":0.0066097137,"about_ca_system_score_gemma":0.010948041,"threshold_uncertainty_score":0.07532269},"labels":[],"label_agreement":null},{"id":"W839177621","doi":"","title":"Neverland: Peter Pan Prequel","year":2012,"lang":"da","type":"article","venue":"VBN Forskningsportal (Aalborg Universitet)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History; Geography","score_opus":0.019304165156524365,"score_gpt":0.19728083608246147,"score_spread":0.1779766709259371,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W839177621","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012608735,0.049708147,0.0015036494,0.08252731,0.0116254585,0.000046371653,0.00092859246,0.00045432633,0.85194534],"genre_scores_gemma":[0.0080539,0.011731992,0.0004694061,0.0051964545,0.0011955423,0.000034953544,0.00022690577,0.00029958048,0.9727913],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99925095,0.00017218641,0.000037378817,0.00018474736,0.00026323536,0.000091409755],"domain_scores_gemma":[0.9991191,0.00022839305,0.000079765334,0.00010440264,0.0002400433,0.0002282748],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0006642808,0.0007621007,0.00043001198,0.0012677877,0.0029952729,0.006435611,0.00057281676,0.0020828824,0.23264883],"category_scores_gemma":[0.003932184,0.0004940908,0.0002586125,0.0013188237,0.0016236432,0.0057936786,0.0028676344,0.0031959068,0.107265756],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000014428621,0.00000753737,0.00015088561,0.00007900079,0.0000024467874,0.000099085315,0.0007301625,0.000025420291,0.00008133461,0.028136263,0.92575413,0.044919353],"study_design_scores_gemma":[4.834068e-7,0.0000011472423,0.00008886786,0.00004362001,3.9196482e-7,0.000043650263,0.00018494664,0.0000056971,0.000017268614,0.00086025614,0.9987521,0.0000016387129],"about_ca_topic_score_codex":0.008879366,"about_ca_topic_score_gemma":0.022770852,"teacher_disagreement_score":0.23264883,"about_ca_system_score_codex":0.0018740179,"about_ca_system_score_gemma":0.002392234,"threshold_uncertainty_score":0.7782879},"labels":[],"label_agreement":null},{"id":"W842725459","doi":"","title":"The Department of Defense, the Motion Picture Production Office and Hollywood: Military Film Policy","year":2013,"lang":"en","type":"article","venue":"SSRN Electronic Journal","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Ontario Tech University","funders":"","keywords":"Hollywood; Studio; Geopolitics; Film industry; World War II; Agency (philosophy); Political science; Movie theater; Sociology; Law; History; Art history; Visual arts; Art; Social science; Politics","score_opus":0.008227683472526733,"score_gpt":0.1964349446331211,"score_spread":0.18820726116059439,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W842725459","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.023517607,0.07858151,0.0010311308,0.22326422,0.002937015,0.0000537811,0.0018259329,0.00008271067,0.6687061],"genre_scores_gemma":[0.38060465,0.06416289,0.0012745998,0.019827908,0.0013081877,0.000100764984,0.0011032078,0.00009258679,0.5315252],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991924,0.0002476756,0.000035818346,0.0001087289,0.00023713223,0.00017813478],"domain_scores_gemma":[0.9983285,0.00076224224,0.00025660166,0.000056786655,0.00029712994,0.00029867346],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0010658432,0.00036584958,0.00012934956,0.000976461,0.0032511945,0.005723502,0.0006224393,0.0029225298,0.05088676],"category_scores_gemma":[0.0041969414,0.00024272667,0.00009460487,0.0022695605,0.0012723675,0.0038371924,0.0011419327,0.002495746,0.0038773261],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000066692846,0.00005223242,0.0032737502,0.00017089154,0.000007999277,0.00015548932,0.0012786203,0.00018949661,0.00038656918,0.31676987,0.5814836,0.096164756],"study_design_scores_gemma":[0.0000048781258,0.000011342284,0.004634661,0.00016848033,0.0000047031945,0.000035434754,0.0019148341,0.00008385611,0.00018317919,0.0039127376,0.9890386,0.0000073104925],"about_ca_topic_score_codex":0.0548443,"about_ca_topic_score_gemma":0.070103414,"teacher_disagreement_score":0.0548443,"about_ca_system_score_codex":0.0060122013,"about_ca_system_score_gemma":0.0047471165,"threshold_uncertainty_score":0.17023319},"labels":[],"label_agreement":null},{"id":"W845188105","doi":"10.5206/notabene.v5i1.6583","title":"“Adventure is out there!”: Pastiche and Postmodernism in the Music of Up","year":2013,"lang":"en","type":"article","venue":"Nota bene","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"Wilfrid Laurier University","funders":"","keywords":"Musical; Hollywood; Highbrow; Literature; Art; Adventure; Popular music; Aesthetics; Narrative; Visual arts; Music history; Art history","score_opus":0.04651373153871444,"score_gpt":0.22232943059416427,"score_spread":0.17581569905544983,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W845188105","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.28367782,0.0071043954,0.007954645,0.02621993,0.0009486195,0.000045507015,0.00004980947,0.00011477191,0.6738844],"genre_scores_gemma":[0.9724567,0.001457648,0.0007320451,0.0012492371,0.00037084287,0.000030546926,0.000013604433,0.000071114686,0.023618292],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"qualitative","domain_scores_codex":[0.99754554,0.0016384575,0.000043826345,0.00021202427,0.00033568474,0.00022441003],"domain_scores_gemma":[0.9983637,0.00088429055,0.00012641614,0.00026402445,0.00012352563,0.00023804081],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027626401,0.00050592603,0.00024834633,0.0013938666,0.007961333,0.008532523,0.00096757204,0.0012964266,0.003504652],"category_scores_gemma":[0.0042187097,0.00022246748,0.00016471374,0.00085689256,0.02809788,0.0064332113,0.0060068145,0.0039991247,0.00040005028],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00005670615,0.000029879533,0.0015257009,0.00009008428,0.000005439558,0.00041573803,0.45998776,0.000057416837,0.00048379187,0.5055927,0.0068386523,0.024916133],"study_design_scores_gemma":[0.000027756621,0.00013732449,0.011028229,0.00070536067,0.000020483203,0.0014546448,0.297995,0.00055931864,0.0011573308,0.1062391,0.58062243,0.00005298483],"about_ca_topic_score_codex":0.0042752987,"about_ca_topic_score_gemma":0.008522276,"teacher_disagreement_score":0.008532523,"about_ca_system_score_codex":0.0032193013,"about_ca_system_score_gemma":0.0009933,"threshold_uncertainty_score":0.023357809},"labels":[],"label_agreement":null},{"id":"W84754570","doi":"","title":"L’Aventure Cinéma (V.O. québécoise) : si le cinéma m’était conté","year":2006,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Art history","score_opus":0.012825043034600879,"score_gpt":0.1944203568735293,"score_spread":0.1815953138389284,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W84754570","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.03656797,0.17709683,0.0039869132,0.33165282,0.015139287,0.00008093069,0.002222065,0.00014920608,0.4331041],"genre_scores_gemma":[0.48476303,0.04760264,0.0030150553,0.018997174,0.003036614,0.00006392375,0.0007313523,0.00019988779,0.44159037],"study_design_codex":"not_applicable","study_design_gemma":"qualitative","domain_scores_codex":[0.99938095,0.0001870122,0.000017216405,0.00010282165,0.00017886606,0.00013308345],"domain_scores_gemma":[0.9979861,0.0006295299,0.00016654597,0.00007570564,0.0007496288,0.00039253008],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013467715,0.00045731486,0.00037742936,0.001333288,0.005434366,0.005189622,0.0005576337,0.0027897975,0.026195785],"category_scores_gemma":[0.0061235735,0.00027824947,0.00024109,0.001604801,0.0026942282,0.003782382,0.0008414536,0.002918127,0.0017963637],"study_design_candidate":"qualitative","study_design_consensus":null,"about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00010953765,0.0000306025,0.0072163222,0.00021660033,0.00002759027,0.0004626228,0.008865797,0.00021482151,0.000639299,0.1520174,0.7260797,0.104119755],"study_design_scores_gemma":[0.00001009084,0.000019310302,0.021161046,0.0005394834,0.000014808393,0.00038684192,0.0048949765,0.00042148287,0.0003787203,0.009481422,0.96264404,0.000047880185],"about_ca_topic_score_codex":0.8231556,"about_ca_topic_score_gemma":0.9012193,"teacher_disagreement_score":0.17684442,"about_ca_system_score_codex":0.01310704,"about_ca_system_score_gemma":0.010567043,"threshold_uncertainty_score":0.35577172},"labels":[],"label_agreement":null},{"id":"W892003233","doi":"","title":"Sunshine : La fin des dogmes Sunshine, Canada / Hongrie / Autriche / Allemagne, 1999, 180 minutes Sunshine, Canada / Hongrie / Autriche / Allemagne, 1999, 180 minutes","year":2000,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art","score_opus":0.014743717059388947,"score_gpt":0.20416342560847506,"score_spread":0.1894197085490861,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W892003233","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.082835436,0.015929647,0.0014111242,0.012008079,0.009057381,0.0006514229,0.2093406,0.0019152573,0.666851],"genre_scores_gemma":[0.071574666,0.0029631718,0.00104577,0.00037210144,0.00035551534,0.00010169116,0.02877769,0.00035179962,0.8944576],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996152,0.0000166599,0.000010053613,0.0000789189,0.00017280415,0.00010637863],"domain_scores_gemma":[0.9991284,0.000038276674,0.00003696799,0.000025274303,0.00046444708,0.00030669136],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005057074,0.0007238846,0.00042110015,0.0010903162,0.0036224218,0.0031643314,0.0006132316,0.0011999289,0.2533341],"category_scores_gemma":[0.0014290614,0.00040899994,0.00022974226,0.0018251836,0.000572081,0.0009772051,0.0007614622,0.0016361551,0.034229826],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00041205107,0.00006251521,0.006014874,0.00016635277,0.000017706308,0.00018461327,0.0006276653,0.00029885414,0.00079940906,0.0016219434,0.951691,0.038103003],"study_design_scores_gemma":[0.00005484504,0.00003247373,0.108519584,0.00014751092,0.000008059642,0.000052003303,0.0014139747,0.00016094354,0.00050043885,0.0002054955,0.88888013,0.000024660481],"about_ca_topic_score_codex":0.85804766,"about_ca_topic_score_gemma":0.96420485,"teacher_disagreement_score":0.85804766,"about_ca_system_score_codex":0.011512229,"about_ca_system_score_gemma":0.012196057,"threshold_uncertainty_score":0.847487},"labels":[],"label_agreement":null},{"id":"W897840602","doi":"","title":"After the Death of Film: Writing the Natural World in the Digital Age","year":2008,"lang":"en","type":"article","venue":"Visible Language","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":7,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Materiality (auditing); Postmodernism; Art; Natural (archaeology); Aesthetics; Cliché; Modernism (music); Visual arts; Literature; History","score_opus":0.02139919697446752,"score_gpt":0.22802249544263495,"score_spread":0.20662329846816743,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W897840602","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.19917074,0.017897733,0.0058131497,0.076492175,0.0040597464,0.00005280039,0.00019944167,0.00013145167,0.6961827],"genre_scores_gemma":[0.8685216,0.0062488625,0.0012935372,0.0054481043,0.00074983516,0.000035523575,0.000100237514,0.000102781465,0.11749955],"study_design_codex":"qualitative","study_design_gemma":"theoretical_or_conceptual","domain_scores_codex":[0.9976636,0.0015369774,0.00006556047,0.00024825791,0.00030255676,0.00018310662],"domain_scores_gemma":[0.9961307,0.0022229115,0.0003435546,0.00028605925,0.00049810443,0.0005185835],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022340307,0.00031030475,0.00020222447,0.0007226311,0.008791711,0.010377609,0.00072989275,0.0016123772,0.008309388],"category_scores_gemma":[0.0064524417,0.00012538557,0.00010846755,0.0004991362,0.013304475,0.0068580015,0.0032170378,0.0024570334,0.0013106444],"study_design_candidate":"theoretical_or_conceptual","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000052071504,0.000048745325,0.0017637081,0.00022560167,0.0000069841603,0.0015123846,0.6195445,0.00011085515,0.0008812395,0.2692223,0.06230689,0.044324733],"study_design_scores_gemma":[0.000006908512,0.00002201099,0.0008426551,0.00032888222,0.000004198384,0.00053178717,0.17568529,0.000096635515,0.0005623157,0.015233028,0.80667436,0.000011924459],"about_ca_topic_score_codex":0.0071733864,"about_ca_topic_score_gemma":0.013024603,"teacher_disagreement_score":0.010377609,"about_ca_system_score_codex":0.0033237988,"about_ca_system_score_gemma":0.0020695392,"threshold_uncertainty_score":0.027797699},"labels":[],"label_agreement":null},{"id":"W92065261","doi":"","title":"Introduction: Reading Movies.","year":2002,"lang":"en","type":"article","venue":"Essays on Canadian writing","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":2,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Reading (process); Art; Linguistics; Philosophy","score_opus":0.031417313744509255,"score_gpt":0.19746152336224712,"score_spread":0.16604420961773786,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W92065261","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0023820284,0.099339105,0.0013395612,0.10500577,0.107107714,0.00029264414,0.012049045,0.0008272331,0.67165685],"genre_scores_gemma":[0.014482505,0.0328948,0.0011015622,0.020407295,0.044281863,0.00010325861,0.0062322225,0.00030661843,0.88018996],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996153,0.00004238134,0.000019913638,0.000077481025,0.00017432465,0.00007056807],"domain_scores_gemma":[0.9974596,0.00027824778,0.00008170053,0.000094329545,0.0015348763,0.0005512969],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0005796139,0.001035146,0.0006992485,0.0032532194,0.0027336928,0.0032124964,0.0011401387,0.0019204664,0.23615244],"category_scores_gemma":[0.003308142,0.00023878996,0.0004956087,0.0023699563,0.0007671396,0.002183586,0.0011249696,0.0017184091,0.08729251],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011856785,0.000015374813,0.00009219172,0.00009970518,0.0000015434291,0.000016443142,0.00009157012,0.000016737387,0.00010211918,0.001206228,0.97948545,0.018860795],"study_design_scores_gemma":[0.0000022612414,0.000007029925,0.0016002516,0.00019572383,0.0000021506658,0.00003205808,0.00013903632,0.000010603063,0.00006272579,0.00078381604,0.99715936,0.000004884757],"about_ca_topic_score_codex":0.08134511,"about_ca_topic_score_gemma":0.14928932,"teacher_disagreement_score":0.9186549,"about_ca_system_score_codex":0.003473332,"about_ca_system_score_gemma":0.0022328566,"threshold_uncertainty_score":0.7900086},"labels":[],"label_agreement":null},{"id":"W925725620","doi":"","title":"Le film des fils. Sauvage innocence, de Philippe Garrel, France-Italie 2001, 135 minutes. . Le pornographe, de Bertrand Bonello, France-Canada 2001, 108 minutes. Sauvage innocence, de Philippe Garrel, France-Italie 2001, 135 minutes. Le pornographe, de Bertrand Bonello, France-Canada 2001, 108 minutes.","year":2003,"lang":"fr","type":"article","venue":"Spirale : Arts • Lettres • Sciences humaines","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Innocence; Art; Humanities; Political science; Law","score_opus":0.022998932071462367,"score_gpt":0.21716575901659343,"score_spread":0.19416682694513107,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W925725620","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.002103578,0.038822185,0.0005147361,0.028916871,0.014072453,0.00012752514,0.0075383806,0.0013107634,0.9065935],"genre_scores_gemma":[0.004653337,0.005302126,0.00022661583,0.0008062336,0.000970157,0.000037523947,0.0015804869,0.00031495636,0.9861085],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996178,0.000053293672,0.000012481053,0.00006884806,0.00015835573,0.000089113506],"domain_scores_gemma":[0.999218,0.00013793795,0.00005055316,0.000029660852,0.00030864667,0.00025523902],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00050712586,0.0013663234,0.00057052966,0.0014231205,0.002125128,0.0037414106,0.0006153208,0.0016334647,0.6755053],"category_scores_gemma":[0.0023731017,0.0005145925,0.00034199792,0.0013654832,0.0003623418,0.0023370762,0.0012941443,0.00170161,0.41587606],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00003069245,0.000007644982,0.0000776212,0.000034913388,0.0000010493196,0.000027083483,0.000042187225,0.000014794414,0.000065095606,0.00036846672,0.9808246,0.018505903],"study_design_scores_gemma":[0.0000048530574,0.0000069577463,0.0009647717,0.00006699108,9.88378e-7,0.000043843494,0.000114869574,0.000021773429,0.000038414888,0.000083413965,0.9986499,0.0000032660628],"about_ca_topic_score_codex":0.024003047,"about_ca_topic_score_gemma":0.055992283,"teacher_disagreement_score":0.6755053,"about_ca_system_score_codex":0.0024399073,"about_ca_system_score_gemma":0.0010754102,"threshold_uncertainty_score":0.4628523},"labels":[],"label_agreement":null},{"id":"W927049039","doi":"","title":"A Room of Its Own: Screening Space and Spectatorial Experience in Yang Fudong's Fifth Night and Omer Fast's Continuity","year":2013,"lang":"en","type":"article","venue":"Cineaction!","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Movie theater; Art; Visual arts; Casual; Photography; Sculpture; Space (punctuation); Exhibition; Computer science; Political science","score_opus":0.02656486224083483,"score_gpt":0.2309309310049632,"score_spread":0.20436606876412838,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W927049039","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.9654741,0.00038872808,0.0005301762,0.0013129017,0.00009499275,0.00002026996,0.000036683297,0.000032189968,0.03210993],"genre_scores_gemma":[0.9892089,0.00014654371,0.00019048776,0.00013378556,0.000011594633,0.00001231397,0.000031057385,0.00002522601,0.010240063],"study_design_codex":"qualitative","study_design_gemma":"not_applicable","domain_scores_codex":[0.999244,0.00042867626,0.000011219803,0.00006672873,0.00006629031,0.00018312737],"domain_scores_gemma":[0.99938416,0.00016807037,0.000043029395,0.000028426486,0.00004022376,0.00033603463],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0012036745,0.00047480222,0.0003999035,0.000675349,0.013470797,0.003730228,0.00078382966,0.0011322184,0.008372591],"category_scores_gemma":[0.0015171205,0.00030524473,0.00039029474,0.000553469,0.0065746717,0.0024286534,0.004205847,0.0026495177,0.00037187117],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000024216397,0.000026252155,0.001806707,0.000024655174,0.0000024081223,0.0008548237,0.98963284,0.0000193207,0.0007288438,0.0024434803,0.0015337506,0.002902744],"study_design_scores_gemma":[0.000002923843,0.00007022045,0.004552731,0.00003725462,0.0000050587028,0.00042154774,0.97121,0.00007463502,0.0002523315,0.00021051463,0.023142613,0.000020183874],"about_ca_topic_score_codex":0.02151577,"about_ca_topic_score_gemma":0.051753953,"teacher_disagreement_score":0.02151577,"about_ca_system_score_codex":0.0020184433,"about_ca_system_score_gemma":0.0011514182,"threshold_uncertainty_score":0.042781055},"labels":[],"label_agreement":null},{"id":"W935245955","doi":"","title":"Après…, Canada [Québec] 2001, 50 minutes Après…, Canada [Québec] 2001, 50 minutes","year":2002,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Environmental science","score_opus":0.032100192547102474,"score_gpt":0.19991148411562334,"score_spread":0.16781129156852087,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W935245955","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0045060758,0.011715028,0.00097105897,0.013736453,0.027889261,0.0012785279,0.06185659,0.002861345,0.87518555],"genre_scores_gemma":[0.00298008,0.0010723091,0.00022896804,0.0005163195,0.00056418305,0.00011795294,0.0038320932,0.00027545405,0.99041265],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.999252,0.00005734768,0.000027002283,0.00011692792,0.00032043856,0.0002261885],"domain_scores_gemma":[0.9973041,0.00014407131,0.00007924795,0.00009302723,0.0016523536,0.0007271736],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00093917176,0.0021772056,0.0013945431,0.0017295955,0.0063494667,0.0061446815,0.0013898006,0.0035975627,0.72975206],"category_scores_gemma":[0.0036058743,0.0008679008,0.00076410995,0.0026119829,0.00091581314,0.0015896335,0.0014837442,0.0023172374,0.456271],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00007153375,0.00001852839,0.00015879418,0.000052299238,0.000003011218,0.000038744034,0.00003417425,0.0000853762,0.00009699112,0.00021244431,0.9910315,0.008196584],"study_design_scores_gemma":[0.000040663333,0.000021928483,0.005043556,0.00014375901,0.0000049982914,0.000016096292,0.0002022727,0.00011916347,0.00008490847,0.00014107475,0.99416816,0.000013363882],"about_ca_topic_score_codex":0.71858054,"about_ca_topic_score_gemma":0.92706704,"teacher_disagreement_score":0.72975206,"about_ca_system_score_codex":0.012160132,"about_ca_system_score_gemma":0.010586184,"threshold_uncertainty_score":0.5661535},"labels":[],"label_agreement":null},{"id":"W94235166","doi":"","title":"The Search for Spectators: VistaVision and Technicolor in The Searchers","year":2010,"lang":"en","type":"article","venue":"","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Western University","funders":"","keywords":"Popularity; Technicolor; Studio; Attendance; Art; Advertising; Visual arts; Media studies; Multimedia; World Wide Web; Sociology; Computer science; Business; Political science; Physics","score_opus":0.0373366152643158,"score_gpt":0.2759077161443701,"score_spread":0.2385711008800543,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W94235166","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.855298,0.0069960426,0.0014864152,0.015734889,0.00009688134,0.000026121656,0.00024914893,0.000021848782,0.12009076],"genre_scores_gemma":[0.98764634,0.0012615796,0.00019163794,0.00037034275,0.00008183448,0.000009417839,0.00006358941,0.00001544704,0.010359716],"study_design_codex":"theoretical_or_conceptual","study_design_gemma":"not_applicable","domain_scores_codex":[0.9991522,0.00043998845,0.000027568101,0.00008349844,0.00014431654,0.00015246266],"domain_scores_gemma":[0.99418324,0.0036190865,0.0013073693,0.000084214116,0.00030536207,0.0005006645],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0013690053,0.00024923586,0.0004226926,0.002447111,0.0022899027,0.0064108064,0.00056581234,0.001844135,0.015113591],"category_scores_gemma":[0.008572451,0.00026826252,0.00018088713,0.0029683416,0.00428332,0.0062902686,0.0026196525,0.0016136357,0.0007734667],"study_design_candidate":"not_applicable","study_design_consensus":null,"about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.0014472972,0.00036337326,0.23341636,0.0007372565,0.00011674612,0.004585914,0.2786358,0.00077275716,0.002387414,0.32056424,0.05246705,0.10450594],"study_design_scores_gemma":[0.00011401876,0.0003085118,0.26718616,0.0010365298,0.00013591748,0.002929046,0.57241666,0.003965388,0.0015809941,0.04866984,0.10151258,0.0001443002],"about_ca_topic_score_codex":0.023230795,"about_ca_topic_score_gemma":0.03153292,"teacher_disagreement_score":0.023230795,"about_ca_system_score_codex":0.0022872384,"about_ca_system_score_gemma":0.00078453246,"threshold_uncertainty_score":0.050559998},"labels":[],"label_agreement":null},{"id":"W954876258","doi":"10.1017/cbo9780511606953","title":"British Film","year":2004,"lang":"en","type":"book","venue":"Cambridge University Press eBooks","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":26,"is_retracted":false,"has_abstract":true,"route_ca_aff":true,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":false,"ca_institutions":"Brock University","funders":"","keywords":"Movie theater; Hollywood; Comedy; Ideology; Film studies; Media studies; Studio; Relation (database); National cinema; Realism; Politics; Style (visual arts); Art; Sociology; Aesthetics; History; Visual arts; Political science; Art history; Law; Computer science","score_opus":0.022612604938540854,"score_gpt":0.17232022805596967,"score_spread":0.1497076231174288,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W954876258","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0012757615,0.009285444,0.0003040174,0.002359259,0.0025464364,0.000023375747,0.0017075824,0.00019025411,0.9823078],"genre_scores_gemma":[0.005022735,0.0037695023,0.00029438676,0.00035893914,0.00016115996,0.000011274542,0.00092610385,0.0001168219,0.98933905],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99961877,0.000039721755,0.000016295307,0.00008152691,0.00018742026,0.000056130342],"domain_scores_gemma":[0.9996395,0.00005783681,0.000015595779,0.000034105953,0.00017255392,0.0000803832],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.000264586,0.0005057824,0.0003525786,0.0019241065,0.0023661284,0.004457099,0.0005862385,0.0009641539,0.28429723],"category_scores_gemma":[0.0010669876,0.00026523863,0.00025005252,0.0026162486,0.00048887613,0.0017507285,0.0009792056,0.0010531713,0.083490856],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000025531555,0.0000108504455,0.00013628764,0.00021094373,0.0000023856142,0.00009946209,0.00071824156,0.00004501517,0.00041560427,0.024353545,0.89198595,0.08199606],"study_design_scores_gemma":[6.283537e-7,0.000001956434,0.00020615151,0.00004387783,6.454761e-7,0.000043257718,0.0001274275,0.000009357697,0.00004956037,0.0002638612,0.9992519,0.0000012067353],"about_ca_topic_score_codex":0.039002746,"about_ca_topic_score_gemma":0.11477323,"teacher_disagreement_score":0.28429723,"about_ca_system_score_codex":0.0034390383,"about_ca_system_score_gemma":0.0015493747,"threshold_uncertainty_score":0.951069},"labels":[],"label_agreement":null},{"id":"W95935551","doi":"","title":"Autumn almanac: Venice & Toronto","year":2009,"lang":"en","type":"article","venue":"Sight & sound/Sight and sound","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Art history; Art; Performance art; Media studies; Visual arts; History; Sociology","score_opus":0.025724754626322177,"score_gpt":0.22976197350289748,"score_spread":0.2040372188765753,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W95935551","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0031393475,0.02710228,0.0004051766,0.021973321,0.012733111,0.00010766004,0.00601342,0.0006379696,0.92788774],"genre_scores_gemma":[0.0059392517,0.0025469605,0.0001393963,0.00043420392,0.0004315515,0.000011141695,0.0005765151,0.00013434075,0.98978674],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99964094,0.000030055991,0.000009257566,0.000082325896,0.00012861224,0.000108747314],"domain_scores_gemma":[0.99922085,0.000041385647,0.000037100086,0.000054916243,0.00028548663,0.0003602785],"candidate_categories":["insufficient_payload"],"consensus_categories":[],"category_scores_codex":[0.00045203266,0.00087945996,0.00044033924,0.00080682675,0.004798527,0.0043003764,0.00074158225,0.001820365,0.5046338],"category_scores_gemma":[0.0008086417,0.0004024244,0.00034871165,0.001287094,0.00081874186,0.0013758563,0.0016388334,0.001738218,0.102423035],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000042730753,0.000008243771,0.00025022312,0.00006328755,0.0000030445105,0.00020040524,0.00024683174,0.000040678697,0.0002232948,0.0019922142,0.981201,0.015728166],"study_design_scores_gemma":[0.000003091729,0.000003850149,0.0009992062,0.00004558414,0.0000010859771,0.000027510487,0.00025003488,0.00001416278,0.000044007986,0.00008588763,0.998522,0.000003525297],"about_ca_topic_score_codex":0.31886786,"about_ca_topic_score_gemma":0.75471824,"teacher_disagreement_score":0.68113214,"about_ca_system_score_codex":0.0054343096,"about_ca_system_score_gemma":0.005789659,"threshold_uncertainty_score":0.7065798},"labels":[],"label_agreement":null},{"id":"W963018057","doi":"","title":"À découvrir… Du moteur à explosion. Canada, 2000, 40 minutesCanada, 2000, 40 minutes","year":2001,"lang":"fr","type":"article","venue":"Séquences : La revue de cinéma","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Philosophy","score_opus":0.018623460006582878,"score_gpt":0.20101759148547987,"score_spread":0.182394131478897,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W963018057","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.10601138,0.022401782,0.0022269865,0.029710844,0.009341089,0.00030776186,0.32545963,0.0017926929,0.50274783],"genre_scores_gemma":[0.2215381,0.009564915,0.0022629166,0.0014253292,0.0009631237,0.00013780204,0.07715958,0.00038267326,0.6865654],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9996717,0.000013504229,0.0000108135155,0.000043696116,0.00017081833,0.000089440924],"domain_scores_gemma":[0.9987921,0.00008158505,0.00005780542,0.000019302912,0.0007710411,0.00027821294],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00035257134,0.00057121605,0.00022513219,0.0020123771,0.0029681665,0.0028324744,0.00044490045,0.0010155579,0.059363488],"category_scores_gemma":[0.0026761424,0.00027663092,0.00021338504,0.0042178766,0.0004017404,0.00077971636,0.0005490164,0.0014375335,0.0085465815],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023162385,0.000032285603,0.009469108,0.00021269803,0.000015285703,0.00025166903,0.0016049824,0.0006246226,0.00047422532,0.0032019024,0.9244942,0.05938743],"study_design_scores_gemma":[0.000025474827,0.000012902014,0.1416997,0.0002027316,0.00001166959,0.000053629148,0.0028273936,0.0003453843,0.00045373553,0.0004155563,0.85393053,0.000021333788],"about_ca_topic_score_codex":0.9660578,"about_ca_topic_score_gemma":0.9855003,"teacher_disagreement_score":0.059363488,"about_ca_system_score_codex":0.015854659,"about_ca_system_score_gemma":0.020153241,"threshold_uncertainty_score":0.19859064},"labels":[],"label_agreement":null},{"id":"W969635211","doi":"","title":"1st Montreal Student Film and Video Festival","year":2003,"lang":"fr","type":"article","venue":"Érudit (Université de Montréal)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Visual arts; Film festival; Media studies; Art; Sociology","score_opus":0.008502954951204832,"score_gpt":0.16289135159430923,"score_spread":0.1543883966431044,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W969635211","genre_codex":"other","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":"other","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0631938,0.015782615,0.0015379725,0.038799524,0.017840104,0.0005358167,0.052104775,0.0014913593,0.80871403],"genre_scores_gemma":[0.069739856,0.0017793991,0.00079571,0.0007361217,0.0010129916,0.00006360364,0.00509185,0.00025118596,0.9205293],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99941313,0.000052583306,0.000009981854,0.00010184648,0.00020412011,0.00021830248],"domain_scores_gemma":[0.9985128,0.0000718042,0.000045457346,0.000081046615,0.0005790726,0.00070971553],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.00073683355,0.0010870808,0.0005520433,0.0020392528,0.0066959774,0.004476518,0.0014035185,0.001481044,0.2905797],"category_scores_gemma":[0.0018746521,0.00041098037,0.0005664218,0.0016632623,0.0005805563,0.0008730981,0.0016845248,0.001251222,0.025460094],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00023872044,0.00014947024,0.0038182526,0.00015820753,0.000037820515,0.000378944,0.00078831526,0.00019144062,0.0009489289,0.004518137,0.9286451,0.060126662],"study_design_scores_gemma":[0.000021048689,0.000051147952,0.030886672,0.00009536177,0.000019134808,0.000077484816,0.0010052825,0.00013486412,0.00060443324,0.0003819287,0.9666954,0.000027198068],"about_ca_topic_score_codex":0.6211725,"about_ca_topic_score_gemma":0.9008917,"teacher_disagreement_score":0.3788275,"about_ca_system_score_codex":0.012596515,"about_ca_system_score_gemma":0.008532661,"threshold_uncertainty_score":0.97208595},"labels":[],"label_agreement":null},{"id":"W980919758","doi":"10.11575/prism/28129","title":"The English Canadian historical film, 1970-2010: An enquiry into marginality","year":2014,"lang":"en","type":"dissertation","venue":"PRISM (University of Calgary)","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"History","score_opus":0.015634498997488158,"score_gpt":0.18817273226863765,"score_spread":0.17253823327114948,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W980919758","genre_codex":"empirical","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":"empirical","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.5994539,0.026632318,0.00091336475,0.026861846,0.0007992908,0.0000860882,0.0009306876,0.00003335238,0.34428918],"genre_scores_gemma":[0.9770166,0.008369103,0.00024233772,0.0011823815,0.00007127339,0.000021776577,0.00015285781,0.00003111629,0.012912505],"study_design_codex":"qualitative","study_design_gemma":"qualitative","domain_scores_codex":[0.9979221,0.00039284682,0.000041476138,0.00016825076,0.00057642185,0.00089892064],"domain_scores_gemma":[0.99645835,0.0010605073,0.00020357505,0.00011069598,0.0015988675,0.0005679248],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0022592722,0.0004169788,0.00038580477,0.004197276,0.026266076,0.00913212,0.0011059516,0.0010021648,0.005468777],"category_scores_gemma":[0.0074969805,0.00027483673,0.0001911876,0.0057617077,0.012066136,0.004037111,0.0028092272,0.0026059686,0.00022717632],"study_design_candidate":"qualitative","study_design_consensus":"qualitative","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000057528472,0.000019019608,0.0093825245,0.00023599972,0.000008988845,0.0011143234,0.88051283,0.000051816107,0.00049081625,0.07129338,0.016657017,0.02017566],"study_design_scores_gemma":[0.0000019713234,0.000007762918,0.020640686,0.00042389717,0.000014596758,0.0002661055,0.70350015,0.000039796414,0.00019551173,0.0008279033,0.27406394,0.000017725693],"about_ca_topic_score_codex":0.96815085,"about_ca_topic_score_gemma":0.9840051,"teacher_disagreement_score":0.08163086,"about_ca_system_score_codex":0.08163086,"about_ca_system_score_gemma":0.053052634,"threshold_uncertainty_score":0.5922761},"labels":[],"label_agreement":null},{"id":"W98445271","doi":"","title":"Le passé, un objet de désir. Minuit à Paris de Woody Allen, États-Unis, 2011, 100 minMinuit à Paris de Woody Allen, États-Unis, 2011, 100 min","year":2011,"lang":"fr","type":"article","venue":"Ciné bulles","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":false,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":true,"route_about_ca":false,"ca_institutions":"","funders":"","keywords":"Humanities; Art","score_opus":0.03240518243258141,"score_gpt":0.22987927208629033,"score_spread":0.1974740896537089,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W98445271","genre_codex":"commentary","genre_gemma":"other","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"other","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0014227319,0.31418812,0.0012682818,0.41717082,0.09684399,0.00002993299,0.0017701591,0.00042359805,0.16688228],"genre_scores_gemma":[0.011405319,0.06292712,0.0008887584,0.026154056,0.021247044,0.000044669614,0.00068177725,0.0007152198,0.87593603],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9989065,0.0002893015,0.000049281472,0.00025586612,0.00034894078,0.0001501909],"domain_scores_gemma":[0.9979553,0.0006313177,0.00015734152,0.0001239417,0.00075057853,0.00038150817],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.001365232,0.0011209762,0.00069053454,0.0012670695,0.003646115,0.008243096,0.00088616787,0.0033548784,0.11921242],"category_scores_gemma":[0.005237346,0.00075864006,0.0003679365,0.0021590248,0.0017967186,0.009267077,0.002379691,0.005367645,0.047480922],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":false,"about_ca_topic_consensus":false,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000011230807,0.0000032081355,0.000050579787,0.00003986823,0.000001803078,0.000012103233,0.00013406879,0.000013945476,0.000036177127,0.0034764388,0.9863203,0.009900191],"study_design_scores_gemma":[0.0000017354572,0.0000022615834,0.00035741823,0.000073818795,0.0000012262022,0.000015449195,0.00020855997,0.000012217928,0.000022910865,0.00059278077,0.99870837,0.0000032655346],"about_ca_topic_score_codex":0.025770118,"about_ca_topic_score_gemma":0.07244097,"teacher_disagreement_score":0.11921242,"about_ca_system_score_codex":0.0043676062,"about_ca_system_score_gemma":0.0024448156,"threshold_uncertainty_score":0.39880526},"labels":[],"label_agreement":null},{"id":"W985336621","doi":"10.25365/thesis.16671","title":"The otherness of Canadian cinema","year":2011,"lang":"de","type":"article","venue":"University of Vienna","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Movie theater; Art; Art history","score_opus":0.039397300389062806,"score_gpt":0.16130522680723836,"score_spread":0.12190792641817555,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W985336621","genre_codex":"other","genre_gemma":"empirical","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"empirical","genre_consensus":null,"domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.04000221,0.011401493,0.00061263784,0.024687082,0.0016221403,0.00003797787,0.0005078452,0.000094485506,0.92103416],"genre_scores_gemma":[0.71815056,0.009213538,0.0008320932,0.003191416,0.00053121394,0.000023380882,0.0003637671,0.0001673496,0.26752672],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.9985973,0.00024765654,0.000022330534,0.00018316426,0.00054058817,0.00040891787],"domain_scores_gemma":[0.9977767,0.0002562122,0.00011809112,0.000102753664,0.0007412756,0.001004979],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0009143841,0.0004868488,0.0001943595,0.0021633953,0.01739101,0.011578984,0.00077390944,0.0010749671,0.052417085],"category_scores_gemma":[0.002974618,0.00027583528,0.00022471698,0.002391268,0.005994846,0.0022889562,0.0029849454,0.0016440363,0.0016064361],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.00014335451,0.00003835135,0.0075286976,0.00042369473,0.000032433778,0.0009081908,0.13179131,0.00017639878,0.0019528229,0.33867675,0.4035865,0.11474144],"study_design_scores_gemma":[0.0000045134516,0.000005489218,0.007760704,0.00018465759,0.000011215724,0.00016177256,0.022304548,0.00007741581,0.00015164191,0.0016746711,0.9676388,0.000024414341],"about_ca_topic_score_codex":0.95345384,"about_ca_topic_score_gemma":0.98412836,"teacher_disagreement_score":0.052417085,"about_ca_system_score_codex":0.045761924,"about_ca_system_score_gemma":0.03500913,"threshold_uncertainty_score":0.33202755},"labels":[],"label_agreement":null},{"id":"W99727844","doi":"","title":"Jim LEACH et Jeannette SLONIOWSKI (dir.) (2003), Candid Eyes. Essays on Canadian Documentaries. Toronto, University of Toronto Press","year":2010,"lang":"en","type":"article","venue":"Communication. Information médias théories pratiques","topic":"Cinema and Media Studies","field":"Economics, Econometrics and Finance","cited_by":0,"is_retracted":false,"has_abstract":true,"route_ca_aff":false,"route_ca_fund":false,"route_ca_venue":false,"route_about_ca":true,"ca_institutions":"","funders":"","keywords":"Humanities; Political science; Art; Media studies; Sociology","score_opus":0.01481401066528979,"score_gpt":0.23631663738706057,"score_spread":0.2215026267217708,"validation_status":"score_only:v0-immature-baseline","prediction":{"id":"W99727844","genre_codex":"review","genre_gemma":"review","domain_codex":null,"domain_gemma":null,"model_version":"metacan-v3-hybrid-931329e0061c","genre_candidate":"review","genre_consensus":"review","domain_candidate":null,"domain_consensus":null,"prediction_status":"machine_predicted_unvalidated","genre_scores_codex":[0.0004953497,0.8924204,0.0005625824,0.074679956,0.004223321,0.000018018161,0.0005848838,0.000063504725,0.026951944],"genre_scores_gemma":[0.022442631,0.7770211,0.0011005965,0.010723631,0.0047389297,0.000059786515,0.00060415413,0.00022567456,0.18308358],"study_design_codex":"not_applicable","study_design_gemma":"not_applicable","domain_scores_codex":[0.99838126,0.00034436348,0.000099998004,0.00018035363,0.0007536265,0.00024040235],"domain_scores_gemma":[0.99664515,0.001304982,0.0002459396,0.00009397187,0.0013277326,0.00038228047],"candidate_categories":[],"consensus_categories":[],"category_scores_codex":[0.0027876613,0.002025258,0.001250192,0.0069598826,0.008578378,0.008514805,0.0017748382,0.003543726,0.030403152],"category_scores_gemma":[0.0053349044,0.0013111912,0.00049805635,0.01143605,0.0058079064,0.008142905,0.0014555155,0.0032577252,0.012249263],"study_design_candidate":"not_applicable","study_design_consensus":"not_applicable","about_ca_topic_candidate":true,"about_ca_topic_consensus":true,"about_ca_system_candidate":false,"about_ca_system_consensus":false,"study_design_scores_codex":[0.000029111792,0.00000863374,0.0002933272,0.00043838163,0.000009411604,0.00008422106,0.0036051676,0.000057521367,0.00008608257,0.016574545,0.94028544,0.038528126],"study_design_scores_gemma":[0.00000791278,0.0000036043941,0.0026150504,0.000598848,0.000009628011,0.0000726801,0.0030962601,0.000031969164,0.00008552595,0.0042786775,0.9891766,0.000023137714],"about_ca_topic_score_codex":0.7245257,"about_ca_topic_score_gemma":0.87802255,"teacher_disagreement_score":0.2754743,"about_ca_system_score_codex":0.02594182,"about_ca_system_score_gemma":0.017417643,"threshold_uncertainty_score":0.55419326},"labels":[],"label_agreement":null}]}